Category Archives: Movie review

The Substance (2024) – Coralie Fargeat’s Visceral Exploration of Beauty, Decay, and Rebirth

17 Tuesday Sep 2024

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Coralie Fargeat’s sophomore feature, The Substance, is an audacious, mesmerizing, and deeply disturbing exploration of beauty and societal pressure that amplifies the raw tension seen in her previous work, Revenge. If Revenge was a hyperbolic and frenetic tour de force, then The Substance takes that fanaticism to even greater extremes. Fargeat once again proves she is unafraid to push boundaries, crafting a film that both shocks and seduces in equal measure.

At the heart of the story is fading film star Elisabeth Sparkle (Demi Moore), who embarks on a desperate and grotesque journey to recapture her youth and beauty. It’s a story that channels Dr. Jekyll and Mr. Hyde and The Picture of Dorian Gray, but Fargeat gives it a visceral, modern twist. Sparkle’s desire to regain her status sees her quite literally shedding her skin, only to reveal the youthful, more vibrant Sue (Margaret Qualley) beneath. This metaphor of transformation is one that Fargeat mines deeply, blending psychological horror with body horror to unnerving effect.

The film’s thematic exploration of the pressures placed on women in society is bold and cutting. In a world where perfection is both demanded and worshipped, The Substance critiques the lengths to which women are pushed in order to meet unattainable standards. Elisabeth Sparkle’s journey feels like a distorted mirror to Demi Moore’s own life, a meta-commentary on the demands of Hollywood and media scrutiny on aging actresses. Moore delivers what is arguably her finest performance to date, embracing the vulnerability, desperation, and eventual monstrosity of her character. Her portrayal is one that feels intensely personal, capturing the very real horror of societal rejection and the obsessive pursuit of eternal beauty.

Fargeat establishes clear rules within the twisted reality of The Substance, only to heighten the stakes with each passing scene. The film’s world is meticulously constructed, and as Elisabeth Sparkle begins her physical transformation, the boundaries between her public persona and inner turmoil dissolve. The journey is as much psychological as it is physical, with every transition becoming more grotesque and extreme.

The body horror effects are stunningly grotesque, matching the film’s over-sensualization with moments of visceral revulsion. Fargeat is unflinching in her depiction of bodily transformation, and while this may not appeal to all audiences, it is undeniably impactful. There’s a near-obsessive focus on the body—its beauty, decay, and renewal—that drives the film’s horrific imagery. These moments, combined with the film’s sensual tone, are deeply unsettling and visually striking.

The Substance also stands as a masterclass in atmosphere. Fargeat laces every frame with a sense of heightened tension and seductive horror, much like in Revenge, but here she pushes the boundaries even further. The use of lighting, sound, and color accentuates the hyperreal world in which Elisabeth Sparkle exists, adding to the film’s surreal tone. There’s an elegance to the horror, a controlled chaos that feels intentional and artfully executed.

The Prognosis:

Though The Substance is not for everyone, its bold vision, daring execution, and Demi Moore’s tour-de-force performance make it a near-perfect film for those willing to immerse themselves in Fargeat’s nightmarish world. It’s a film you don’t dare replicate, as it masterfully melds beauty with horror, elegance with grotesquery. Fargeat’s ability to combine all these elements results in a piece of cinema that lingers, challenging its audience with every frame.

  • Saul Muerte

The Substance is screening at cinemas nationwide from Thursday 19th Sept.

Trap (2024) – M. Night Shyamalan’s Latest Caught in Its Own Web of Predictability and Mystery

15 Sunday Sep 2024

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M. Night Shyamalan’s Trap is a film that finds itself, fittingly, ensnared by the very traps the director has become known for over his career. Oscillating between moments of genuine intrigue and stretches of predictable plotting, Trap attempts to weave in suspense and tension, but too often falls victim to Shyamalan’s familiar trappings. While the film offers its share of tension, it struggles to surprise, leaning too heavily on well-worn formulas that dilute its impact.

The film draws noticeable inspiration from Hitchcockian thrillers, particularly Shadow of a Doubt. Shyamalan borrows elements of psychological cat-and-mouse games and suspicion, aiming to inject Trap with a similar slow-burn dread. The Hitchcock influence is unmistakable in the way the story unfolds, with characters hiding dark secrets and a persistent air of unease hovering over the narrative. However, Shyamalan’s execution feels more obligatory than original, making Trap more a homage than a fresh take on the genre.

Josh Hartnett is the film’s clear standout, offering a performance that feels fully in control of the tension at play. As the character trapped in a high-stakes game, Hartnett channels both calm and calculated manipulation alongside a simmering undercurrent of insecurity. His performance brings to mind Hitchcock’s most compelling antiheroes, balancing charm with danger in a way that keeps the audience guessing. Hartnett’s ability to toggle between these emotions gives the film a much-needed anchor, especially as the plot begins to lean too heavily into predictable twists.

Where Trap falters is in its attempt to maintain the fine balance between mystery and Shyamalan’s trademark twist-heavy approach. While the setup is promising and the tension builds nicely, the film quickly falls into a familiar rhythm. The twists that emerge—while necessary for the narrative—don’t quite land with the same impact that one might expect from a Shyamalan film. Rather than feeling shocking or fresh, they seem to borrow from films of the past, leaving Trap feeling a bit too derivative.

Yet despite these shortcomings, Trap remains fun, largely due to Shyamalan’s ability to create mood and atmosphere. The Hitchcockian elements add a layer of tension, even if they lack originality, and the film maintains a steady rhythm that keeps you engaged, if not fully surprised.

The Prognosis:

Trap is entertaining but uneven. Shyamalan’s attempt to balance Hitchcock-inspired suspense with his own familiar twists results in a film that’s enjoyable yet flawed. But with a standout performance from Josh Hartnett and a few tense moments, it’s still a fun ride, even if it feels like you’ve been down this road before.

  • Saul Muerte

The Deliverance (2023) – A Character-Driven Drama That Falls Back on Familiar Formulas

14 Saturday Sep 2024

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The Deliverance, based on a true story, aims to delve deep into the emotional and personal struggles of its characters, particularly those portrayed by Glenn Close and Andra Day. At first glance, it promises a gripping, introspective journey, focusing on the kind of slow-burn, character-driven drama that pulls you in. However, while the film does dedicate ample time to fleshing out its protagonists, it unfortunately stumbles by offering little else to elevate the overall experience.

The film takes its time to build up its central characters, Close and Day in particular, giving the audience a peek into their inner worlds and traumas. Their performances are solid, with Close bringing her seasoned gravitas and Day delivering a commendable portrayal of emotional depth. This focus on character development is understandable, considering it’s a true story, and the filmmakers clearly want us to empathise with their journey. The problem, however, is that the film seems overly invested in this process to the detriment of its narrative pacing and structure.

Once we move past the extensive character-building, what’s left is a plot that feels like it’s on autopilot. Instead of diving into new, thought-provoking territory, The Deliverance resorts to formulaic tropes that have been recycled countless times before. The tension builds, as expected, but there’s an unmistakable feeling that you’ve seen it all before in other dramas of its kind—films from yesteryear that The Deliverance borrows from without adding anything fresh to the mix.

The film’s reliance on tried and tested formulas creates a sense of predictability, leaving few surprises for the audience. Even moments that should hit hard emotionally feel muted because the narrative follows such a familiar path. What starts as an intriguing, personal story ultimately loses momentum, weighed down by clichés and conventional plot devices that strip the film of its potential impact.

The Prognosis:

Despite the strong performances and a promising setup, The Deliverance falls short in its attempt to be more than the sum of its parts. Its commitment to character development is admirable but comes at the cost of the film’s overall engagement, leaving the audience with a story that feels hollow beneath the surface.

  • Saul Muerte

We Are Zombies (2024) – A Nostalgic Nod to 90s Horror-Comedy

12 Thursday Sep 2024

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We Are Zombies, the latest offering from RKSS (the team behind Turbo Kid and Summer of 84), attempts to inject a new burst of energy into the well-worn zombie genre. Set in a world where the undead, or “living-impaired,” coexist with humans, the film follows three slackers—Karl, Maggie, and Freddy—as they cook up a scheme to profit from selling off zombies to a shady corporation. However, their plan takes a turn for the worse when their grandmother is kidnapped, launching them into a frantic rescue mission.

Blending irreverent humour with over-the-top gore, We Are Zombies harkens back to the quirky horror-comedies of the 90s. Its tone, humour, and overall vibe recall classics like Army of Darkness and Dead Alive, where the absurdity of the premise is embraced with gleeful abandon. Karl, Maggie, and Freddy are likeable slackers, reminiscent of the kind of lovable goofs you’d expect to find in a Kevin Smith or early Robert Rodriguez film. This throwback appeal is one of the film’s strongest elements, and RKSS clearly revels in balancing old-school horror tropes with a playful, modern twist.

However, despite its charm and humour, the film doesn’t fully break new ground. While the dynamic trio makes for fun protagonists, the story occasionally feels thin, relying heavily on gore and slapstick rather than delivering more depth or innovation to the zombie genre. The plot’s predictable turns and the comedy’s reliance on familiar beats may make We Are Zombies feel more like an homage than a truly fresh entry.

That being said, it’s clear that RKSS had a blast creating this gory, comedic world, and for fans of horror-comedy, it’s an entertaining ride. The practical effects are top-notch, and the splattery, often grotesque visuals add a layer of fun for those who enjoy a more old-school, hands-on approach to horror makeup.

The Prognosis:

We Are Zombies may not reinvent the wheel, but it’s a solid, fun throwback to the 90s horror-comedy era with a modern edge. If you’re a fan of quirky, likeable characters getting in over their heads amid a blood-soaked zombie outbreak, this film is worth a watch—even if it doesn’t completely shamble into classic territory.

  • Saul Muerte

Catch the screening of We Are Zombies at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 9:45 PM

Saint Clare (2024) – Promising Cast, Unbalanced Execution

09 Monday Sep 2024

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Saint Clare, directed by Mitzi Peirone, comes with a premise that immediately piqued my interest—blending psychological tension with the religious undertones of its titular character, Clare Beeker. While the film boasts a notable cast, including Bella Thorne in the lead role, along with the familiar faces of Ryan Phillippe and Rebecca De Mornay, it ultimately struggles to find its footing, leaving much of its potential untapped.

Let’s start with Bella Thorne. I’ll admit, she’s not an actor I typically connect with on screen, as her performances often come across as lacking emotional depth. However, in Saint Clare, she does a decent job portraying the enigmatic and haunted Clare Beeker. There’s a fragility to her portrayal that occasionally breaks through, and I found myself more engaged with her performance than I expected to be. That said, there are still moments where her character feels distant and underdeveloped, which keeps the audience from fully investing in Clare’s internal turmoil. It’s as though she’s on the cusp of something more profound but never quite reaches it.

The film also brings back Ryan Phillippe and Rebecca De Mornay, which is a pleasant surprise for anyone who’s missed seeing these two on screen. Phillippe plays his role competently, though there’s not much for him to work with. De Mornay, meanwhile, brings her usual grace and presence, but like Phillippe, her character is underutilized, leaving me wanting more from both actors. Their presence feels more like a nostalgic nod than an essential component of the story.

The true standout, however, is Frank Whaley. Despite being criminally underused, Whaley steals every scene he’s in, offering a refreshing balance between reality and fantasy. His performance adds a much-needed layer of complexity to a film that often teeters on the edge of surrealism but never fully commits. Whaley’s ability to walk the fine line between grounded reality and unsettling fantasy suggests that Saint Clare could have leaned further into its psychological aspects, using his character as a bridge between the two worlds.

Unfortunately, the film’s execution is where things start to falter. While there are moments that hint at something deeper—particularly with its exploration of Clare’s fractured psyche and the eerie atmosphere surrounding her—the pacing is uneven, and the script lacks focus. What could have been an intense exploration of faith, guilt, and redemption gets bogged down by disjointed storytelling and underwhelming tension. The film never fully grips you in the way it intends to, leaving key plot points feeling unresolved or poorly developed.

Visually, Saint Clare has its moments. There are a few arresting images that play with the boundaries between reality and Clare’s inner world, but the cinematography often feels at odds with the tone. Rather than fully embracing the psychological horror or surrealism that the narrative teases, it settles into a more straightforward drama, which doesn’t quite mesh with the potential lurking beneath the surface.

The Prognosis:

Saint Clare feels like a missed opportunity. It boasts a capable cast and an interesting premise, but the uneven execution keeps it from being more than a brief curiosity. While Bella Thorne delivers a better performance than usual, and Frank Whaley shines in his limited screen time, the film fails to maintain momentum or dive deep into its more intriguing themes. It’s worth a watch for the cast alone, but Saint Clare ultimately struggles to rise above mediocrity, leaving me wanting more from what could have been a much darker, more compelling tale.

  • Saul Muerte

Catch the screening of Saint Clare at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 7PM

SATURDAY 14TH SEPTEMBER – 8PM

All You Need is Death (2024) – A Sinister Tune that Loses Its Power

07 Saturday Sep 2024

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Paul Duane’s All You Need is Death begins with an enticing premise, steeped in the rich folklore and haunting traditions of Ireland, but as the narrative unfolds, it struggles to maintain the initial tension and promise it sets up. The film, which revolves around a young couple’s discovery of an ancient, taboo folk ballad, dives into themes of love, death, and the dark power of music. While there are moments of disturbing brilliance and an intriguing exploration of Irish mythology, the film ultimately falters in delivering a cohesive or captivating story.

At its core, All You Need is Death is a meditation on the power of music to carry both history and curses through time. The young couple, played with solid commitment by Simone Collins and her co-star Charlie Maher, are collectors of rare folk ballads, drawn into a sinister mystery when they record and translate a forbidden song from the distant past. The weight of the song—carried through generations of women who were forced to bear its cursed legacy—is a compelling idea, and Duane’s vision of an ancient, almost primal force embedded in the music has genuine potential.

The film’s opening scenes are some of its strongest, immersing the audience in the deep, folkloric atmosphere of rural Ireland. There’s a palpable sense of dread and mystery as the couple’s curiosity leads them into darker, more dangerous territory. The exploration of cult-like figures, secret histories, and the uncanny resonance of the song is effective in building tension, and Duane crafts these scenes with an unsettling edge, suggesting that the past is never truly gone—it lingers in the present, carried through cultural artifacts like music.

However, once the initial mystery is established, the film struggles to keep up the momentum. What starts as a fascinating delve into the supernatural and the occult loses its sharpness as the plot meanders, repeating certain ideas without developing them further. While the cursed ballad is an effective metaphor for the way history and trauma are passed down through time, the execution feels drawn out, and the film becomes bogged down in its own mythology. Instead of deepening the intrigue, All You Need is Death falls into a series of repetitive sequences that dampen the initial sense of dread.

Simone Collins is a clear standout in the film, delivering a nuanced performance that captures the slow unraveling of her character’s sanity as the curse takes hold. Her portrayal of a woman caught between the ancient and the modern, the living and the dead, is powerful, and she brings emotional depth to the film even when the script falters. Collins’ ability to convey the psychological toll of the song’s curse elevates the otherwise flat narrative, and her performance alone is worth watching.

The film’s themes of repressed history, particularly in its treatment of women’s voices being both vessels and victims of the curse, resonate on a symbolic level. The idea that the song has been carried through time, forced upon generations of women who had no choice but to bear its weight, is a strong thematic thread, but it’s one that is never fully explored. The horror of being a conduit for something destructive is hinted at but never given the depth it deserves. As the film progresses, these ideas are overshadowed by less compelling plot developments, and the emotional weight of the story is lost in the shuffle.

Duane’s direction is strongest when he leans into the more abstract, mystical aspects of the story. There are visually arresting moments—such as scenes that depict the landscape of Ireland as both beautiful and foreboding, echoing the duality of the song itself—but these moments are too few and far between. The film could have benefitted from a more focused exploration of the ancient, pagan themes it toys with rather than falling into a conventional horror rhythm that feels tired by the time the climax arrives.

The Prognosis:

All You Need is Death suffers from a lack of narrative drive. While it touches on fascinating ideas—such as the inescapability of history, the power of songlines to carry curses, and the dark side of love—the film doesn’t sustain these themes in a way that keeps the audience engaged. What begins as a chilling and thought-provoking journey into the past becomes a meandering tale that loses its bite.

For a film that promises a lot with its eerie concept, it ultimately leaves much to be desired. All You Need is Death is worth a watch for its themes and some strong performances, particularly from Simone Collins, but it never quite reaches its potential, losing steam before the credits roll.

  • Saul Muerte

All You Need Is Death is currently streaming on Shudder.

The Demon Disorder (2024) – A Mixed Bag of Revenge and Reckoning

04 Wednesday Sep 2024

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The Demon Disorder by Steven Boyle is a horror film that taps into the darker side of family dynamics, exploring themes of toxic masculinity, repressed secrets, and supernatural revenge. While the film has some standout moments, particularly in its special effects, it ultimately falls short of delivering a fully cohesive or compelling experience.

The story revolves around the Reilly family, with the patriarch, played by John Noble, casting a long shadow even after his death. His three estranged sons—Graham (Christian Willis), Jake (Dirk Hunter), and Phillip (Charles Cottier) — are drawn back to their father’s garage, the site where they uncover a buried family secret that unleashes a vengeful force from beyond the grave. As the brothers confront their past and the legacy of their father, they’re forced to reckon with the toxic masculinity that has defined their lives.

One of the film’s strongest elements is its special effects. Boyle clearly knows how to create a sense of dread and terror, with the supernatural elements being both visually striking and unsettling. The scenes of the vengeful spirit manifesting in the garage are genuinely creepy, and the practical effects used to bring these moments to life are a cut above what one might expect from a mid-tier horror film. There’s a visceral quality to the hauntings that keeps the audience engaged, even when the narrative starts to waver.

The film’s thematic exploration of toxic masculinity is also noteworthy. The Reilly brothers are all shaped, in different ways, by their father’s domineering presence. The late patriarch, portrayed with chilling intensity by Noble, represents a man whose illness stripped away his physical strength, but not his overpowering influence. His sons, left to grapple with their own unresolved issues, embody different aspects of the toxic traits they’ve inherited. Graham is the responsible but emotionally distant one, Jake is the angry and rebellious middle child, and Phillip is the youngest, still struggling to find his place. The tension between them is palpable, and the film does a decent job of showing how their father’s legacy has poisoned their relationships with each other.

However, despite these promising elements, The Demon Disorder struggles to maintain a consistent tone or pace. The film often feels disjointed, with the narrative shifting awkwardly between character drama and horror. The brothers’ backstory is hinted at but never fully explored, leaving their motivations and conflicts feeling underdeveloped. This lack of depth makes it difficult to fully invest in their plight, and the emotional beats don’t hit as hard as they should.

Additionally, while the film’s exploration of toxic masculinity is commendable, it can sometimes feel heavy-handed. The script doesn’t always trust the audience to pick up on the nuances of the brothers’ relationships, opting instead for blunt dialogue that spells out the themes rather than letting them emerge naturally from the story. This approach can make the film feel preachy at times, detracting from the horror elements that should be driving the plot.

The performances, while competent, are similarly uneven. John Noble is the standout, even in death, delivering a menacing portrayal of a man whose influence lingers beyond the grave. However, the actors playing the Reilly brothers struggle to elevate their characters beyond the archetypes they’re given. The result is a set of performances that, while not bad, fail to leave a lasting impression.

The Prognosis:

The Demon Disorder is a film with strong ideas and solid technical execution, but it doesn’t quite come together as a whole. The special effects and thematic undercurrents make it worth a watch for horror fans, but the disjointed narrative and uneven character development keep it from being more than a middling effort. It’s a film that hints at greatness but ultimately settles for something more forgettable.

  • Saul Muerte

THE DEMON DISORDER is now available to watch at home.

C.H.U.D. (1984) – A Cult Classic That Crawls from the Sewers

31 Saturday Aug 2024

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Celebrating its 40th anniversary, C.H.U.D. (1984) remains a quintessential example of 1980s B-movie horror that has somehow survived the passage of time to become a cult classic. Directed by Douglas Cheek and featuring an unexpectedly strong cast, the film has earned a special place in the hearts of genre fans despite its many flaws. As we revisit C.H.U.D. four decades later, it’s clear that while the film is far from perfect, its blend of camp, social commentary, and creature-feature thrills continues to captivate audiences.

The film’s title, an acronym for “Cannibalistic Humanoid Underground Dwellers,” sets the tone for what’s to come. The plot revolves around the mysterious disappearance of homeless people in New York City, which leads a small group of investigators—including a photographer, a police captain, and a soup kitchen operator—to uncover a horrifying government cover-up. Toxic waste has transformed the city’s homeless population into grotesque, flesh-eating mutants lurking in the sewers.

One of the most intriguing aspects of C.H.U.D. is its social commentary. Beneath the surface-level monster mayhem, the film touches on issues like homelessness, government negligence, and environmental hazards. While these themes are never fully developed, their presence gives the film a bit more depth than the average creature feature of the era. The gritty depiction of New York City in the 1980s, with its urban decay and pervasive sense of danger, adds an extra layer of authenticity to the story.

The film’s cast is surprisingly strong for a B-movie, with John Heard, Daniel Stern, and Christopher Curry all delivering solid performances. Heard’s portrayal of photographer George Cooper and Stern’s turn as the eccentric but earnest soup kitchen operator, A.J. “The Reverend” Shepherd, give the film a bit more gravitas than one might expect from a movie about sewer mutants. Their performances help ground the film, even when the plot veers into outlandish territory.

However, C.H.U.D. is not without its shortcomings. The film’s pacing is uneven, with stretches that feel sluggish and others that are frenetic but disjointed. The low budget is evident in the creature effects, which are charmingly cheesy but lack the polish of higher-end productions. While the monsters themselves are memorable, they’re not utilized as effectively as they could be, often appearing only briefly and in poorly lit scenes that obscure their design.

The film’s tone is another area where C.H.U.D. falters. It walks a fine line between serious horror and campy fun, but it never fully commits to either. This ambiguity can be jarring, as the film oscillates between scenes of genuine tension and moments of unintentional comedy. This tonal inconsistency is part of what gives the film its unique charm, but it also prevents it from being a truly great horror movie.

Despite these issues, C.H.U.D. has endured as a beloved cult classic. Its blend of horror, social commentary, and dark humor resonates with fans who appreciate its quirky, DIY spirit. The film’s influence can be seen in later horror and science fiction movies, as well as in pop culture references that have kept it in the public consciousness long after its initial release.

As we celebrate the 40th anniversary of C.H.U.D., it’s worth acknowledging its place in the horror canon—not as a masterpiece, but as a scrappy underdog that has managed to claw its way into the hearts of genre fans. While it may not be a perfect film, it’s undeniably memorable, and its mix of urban horror and mutant mayhem continues to entertain. For those who haven’t yet ventured into the sewers with the Cannibalistic Humanoid Underground Dwellers, there’s no better time to take the plunge.

  • Saul Muerte

Movie Review: Satranic Panic (2024)

27 Tuesday Aug 2024

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If you haven’t heard the name Alice Maio Mackay being discussed in horror circles by now, then you need to wake up and smell the coffee. In the space of three years, Mackay has produced 4 movies with a fifth due before the close of the year. While one can question this kind of output and the quality involved, Mackay brazenly kids down the door with low-budget dynamics and more than makes up for this with down to earth, topical conversations under the guise of the horror genre, making for a powerful and relevant mouthpiece for the transgender community.

The latest feature to be presented by Mackay sees Aria (Cassie Hamilton) and Jay (Zarif) grieving for the loss of her brother and Jay’s boyfriend Max at the hands of a cult. Beneath the veil of the diva attitudes and larger than life persona that Aria carries though is an inner turmoil, lurking within. One that has her in tune with the darker elements that run riot in the underworld, and threaten to bring about the ride of demonkind. Part of this conflict also comes the mix of a tormented gift that allows Aria to sense when demons are near. Can Aria and Jay put aside their differences and the wedge that comes in the form of the mysterious Nell (Lisa Fanto), and conquer their demons?

While Satranic Panic may be the most straightforward feature from Mackay’s work so far, it certainly doesn’t shy away from the core themes of oppression, isolation and flipping the label of victim into one of assailants in order to regain the power that has been struck from the key protagonists. Hamilton scintillates on screen and packs a powerful portrayal of Aria. There’s moments of musical renditions as she storms the stage and grabs your attention. This is counterbalanced by the serene-yet-earnest Jay, proving to the back bone of the couple thrown together through their shared grief to overcome the obstacles and blatant privilege that confronts them day in day out. 

The Prognosis:

Another fine entry into Mackay’s canon of work so far. Real characters dealing with real issues in surreal circumstances. The performances are strong and once again Mackay calls the shots with a voice uniquely their own. 

  • Saul Muerte

Satranic Panic available to buy or rent now.

Useful Links:

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Movie Review: Butchers Book Two: Raghorn

25 Sunday Aug 2024

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Director Adrian Langley seems determined to step beyond mediocrity with his Texas Chainsaw Massacre-inspired Butchers trilogy. The second installment, Butchers Book Two: Raghorn, was released on Home Entertainment this month and continues the familiar theme of a small group of youths who break down in the middle of nowhere, only to encounter some unscrupulous, unsavory characters with a taste for human flesh.

This time, Langley takes a slightly novel approach with his core group of protagonists: Sarah (Hollie Kennedy), her cousin Josh (Sam Huntsman), Rico (Miguel Cortez), and Brian (Dave Coleman). The group hatches a plan to kidnap and ransom Ash (Corgand Svendsen), a wealthy child whose parents might pay a hefty sum for their child’s safe return. However, their grand plan quickly unravels when their getaway vehicle crashes headlong into a buck in the backwoods. This collision leads to an encounter with Clyde (Nick Biskupek), who takes charge of the situation, turns the tables on the group, and leads them back to his lair. There, Clyde, with the help of his brother Crusher (Michael Swatton)—a name that directly references his preferred method of dispatching victims—unleashes unspeakable forms of torture.

What struck me about the first film in the series was that, despite being fairly average, it resonated in a way that hinted at something more promising bubbling beneath the surface. It was brutal and savage, traits that Butchers Book Two: Raghorn also boasts in abundance. However, while the sequel continues to glorify gore, it feels as though someone has shifted the car into neutral and is content to coast along without making any real impact. What this film desperately needs is a monstrous obstacle—a metaphorical buck in the road—to jolt it out of its complacency and allow the carnage to truly unfold.

Unfortunately, each character in Raghorn feels a bit one-note, making it difficult to care about who survives. The film attempts to build hope through the character of Ash, a gender-fluid individual who could have added a compelling layer to the narrative. However, Ash is left on the sidelines for far too long, making it hard for the audience to invest in their ordeal or root for their survival.

The Prognosis:

Butchers Book Two: Raghorn represents a missed opportunity to elevate the profile of the Butchers trilogy. While it delivers a steady supply of brutal and torturous events, these are not enough to compensate for the weak characters and ultimately mediocre plotline. Let’s hope that for the conclusion, Langley steps up his game and delivers the satisfying climax this series needs.

  • Saul Muerte