Category Archives: Movie review

Movie Review: Alien: Romulus

23 Friday Aug 2024

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Prequel, sequels, threequels, and whatnumberisthisoneagain-quels… has there been a more wildly heartbreaking body of work than the Alien franchise?

From 2 absolute master class films, to a litany of dross to follow, we come to it again and again hoping this next instalment – whatever it may be timeline wise – will be different. And no amount of pre-hype or pedigree (can you say David Fincher boys & girls?) seems to make a scrap of difference.  They either range from “it was ok” to “what the fuck was that?”

So when yet another one is announced and the trailer hits the socials – we hold our collective breaths and say “well… it looks slick. But so did Prometheus…”. And then we see the name of the director and we dare to do the one thing years of alien vs predator movies told us not to.  Hope.

Fede Álvarez is the helmsman of The Girl in the Spiders Web, Don’t Breathe and the Evil Dead remake.  All decent outings with Don’t Breathe a very notable one.

And with his name on the credits for this Xenomorph outing, will he do the impossible and create the spiritual 3rd film (ALL THE OTHERS DON’T COUNT) that the Alien trilogy cries out for?

Can this auteur from Uruguay carve out a name worthy of being mentioned in the same breath as Cameron and Scott?

Let’s dig in, shall we?

Firstly, there is not a Romulan to be seen, so that’s a letdown straight away…

Secondly, this venture takes place some 20 years after the end of Alien, so Ripley is still floating around out there asleep with her cat in a capsule, and that’s interesting to think about.

Because one of the more annoying aspects of this franchise is that post Aliens, all the instalments (crossovers included) bar Three & Resurrection are PREQUELS.  Which means they continually have to retcon (in some way or another) humanities “first” interaction with the Xenomorph.

In fact, it’s gotten to the point that when Ripley & crew first encounter the Alien onboard the Nostromo, they’re basically the only humans who HAVEN’T met it yet!

But I digress.  Set up wise this film takes place on a mining moon, laced in the gritty low light aesthetic that is a moniker for all these movies now.  Life for the workers there is basically indentured, so ways to get off-planet are few and far between.

Thus when an opportunity presents itself in the shape of a seemingly abandoned orbiting spacecraft that for some reason NO ONE on the surface of this world can see other than a bunch of space Gen Z-ers, who happen to have a working spaceship (that belonged to their now dead parents, because the mines are filled with space asbestos, apparently) they see a way out of their bondage.  Because their ship has everything a group of kids need to travel to another world EXCEPT Cryosleep capsules.  Something this mystery spaceship above must surely have…

And thus we have our blueprint to get the ball rolling.  1 – Set a cast, 2 – throw them into a contained location, and then 3 – sprinkle them with Facehuggers. 

4 – rinse.

The how and the why there are Facehuggers on this mystery ship is a fine enough idea…but for the purposes of exploring more abstract and interesting observations, we shall leave that for you to discover on your own time.  For now, I will list off the immediate thoughts that struck me whilst watching this movie.

One – all the other Alien filmmakers have tipped their hat to Ridley’s and Cameron’s outings, naturally, but we are now entering an era of films from storytellers who were children when those first 2 flicks came out, and Álvarez is clearly printing out a love letter to them both with Romulus.  It is littered with numerous nods, ranging from set design, to television computer screens, 70’s 8-bit GFX, sound FX, Pink Floyd lighting, and of course, a perpetual motion beak dipping bird.

And that’s just the tip of the “let’s-see-what-else-we-can-jam-in-there-iceberg”.  

Two – it suffers – as you would expect – from the “Zombie Conundrum”.  Ie: We, the audience, know what the peril is and how it works.  The characters in the movie do not.  So we wait patiently whilst they play catch up, which means the film burns through valuable attention grabbing time.  There are of course creative ways around this – the best one is to show something new about the Alien’s “process”, but with so many films under the bridge, this is very difficult without completely retconning its history.  And that violates our list of what makes a great sequel (see below).

Three – The Sequel Checklist.  Does this hit it?  For fans of our reviews, The SOH Sequel checklist (AKA: Things you need to make a great sequel) looks like this…

  • Does it respect the first film and not shit on it?
  • Does it “fail” to be carbon copy of the first film?
  • Does it add/expand on the legend/universe started by the first film?
  • Does it still stay within the SAME SPIRIT established by the first film?
  • Does it stand on its own 2 feet as a standalone film?

To which answer wise, I give it three yeses’, one kinda (but not really) and a sorta.

The Prognosis:

As to what answer goes with what point, I’ll leave that up to you to see & agree.  For Romulus is definitely worth checking out, but ultimately as a story it could have taken a few coins out it’s “homage” budget and drop them into its “make em care & they’ll scare” budget.

For the film only has 2 memorable leads (the actual leads) who are played by Cailee Spaeny and David Jonsson.  A brother and sister duo with a twist.  Or it would have been had the trailer not given it away.  So that means with the rest of the cast, you’re kinda just waiting for them to get ganked.  Or not.  But you’re not holding your breath too hard when they do.  Or don’t.

They have one cool action set piece that is original.  Although several scientist friends of mine have already lamented its floating inaccuracy.  And for all its tributes towards the first 2 films (the only 2 worth tributing) it does dips into a controversial idea first explored in Alien Resurrection, and to its credit, actually pulls it off.  At least visually.

Overall, its not the spiritual threequel I’m still looking for (and I accept, may never find) but I will definitely be keen to see Alien Klingon Homeworld when it comes out. (See what I did there nerds?)

  • Antony Yee

SUFF 2024 – Movie Review: The Organist (2024)

21 Wednesday Aug 2024

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If ever there was a reason to get behind homegrown cinema then it’s got to be in support of Andy Burkitt’s feature directorial debut, The Organist; this darkly, hilarious take on the underground organ donor industry. At the heart of this surrealist and macabre view is Jack Braddy’s delectable take of down and nearly out grifter and gift of the gab, Greame Sloane. It’s precisely Sloane’s natural persuasive abilities that landed his job as the face and mouthpiece of a organ-procurement organisation. His charm and subtle appeal is all on show from the get-go as he successfully secures a donation from an unwitting suburbanite. From this swift introduction though, the curtain drops and reveals a far sinister movement behind the veil, one that has been building on the trust of such donors to feed a collective of highly financial cannibals. Now Sloane must fight tooth and nail to fight every ounce and fibre of his being that detests the notion of feeding these elite human bloodhounds, battling in a corner that has no way out, but keep on talking. Has Sloane bitten off more than he can chew though?

To watch The Organist, there needs to be some suspension of disbelief as each scenario presented reads as ridiculous as the next, but this in effect is also its charm. It resonates with the Aussie battler appeal with Sloane continuously digging further and further into a pit of despair, and hopelessness. Whether it’s trying to engage with with the hilariously sinister HR rep Tracey (Lena Moon); building up the hopes of a donor recipient’s father, Bruce (Garth Edwards); trying to dissect the mind of the psychopathic cannibal; or fuse or diffuse his connection with would be buddy-yet-potential multiple donor, the suicidal Riley (Luke Fisher). This bromance shared between Sloane and Riley is in part symbiotic, relying on each other’s strengths and seemingly shared beliefs to pull them through to the bitter end. And in doing so, drives the viewers engagement with the feature, willing for hope to shine through this heartachingly bitter string of scenarios.

Burkitt relies on your faith to stick to his vision. In doing so, you are rewarded with a harrowingly, dark and hilariously bleak tale of humanity that may take every part of your body to see it through to the end.

  • Saul Muerte

Catch the screening of The Organist at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

SATURDAY 14TH SEPTEMBER – 7.30PM

SUNDAY 15TH SEPTEMBER – 1PM

Hell Hole (2024): A Frack-tured Tale of Lovecraftian Horror and Dark Comedy

21 Wednesday Aug 2024

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Toby Poser and John Adams, the duo behind the 2021 indie hit Hellbender, return to the horror genre with Hell Hole, their latest collaboration streaming on Shudder. With a promising blend of survival thriller, dark comedy, and ecological commentary, the film aims to delve into the horrors lurking beneath both the earth’s surface and the human condition. However, while Hell Hole offers moments of intrigue and unease, it ultimately struggles to fully capitalise on its potential, leaving viewers with a film that feels more like a missed opportunity than a horror classic.

The premise is undeniably compelling. Set in the remote Serbian wilderness, Hell Hole follows an American-led fracking crew that unwittingly unearths a French soldier frozen for over two centuries. Unfortunately for them, this soldier serves as a host for a parasitic, mollusc-like creature that has a taste for human flesh—particularly male flesh. The creature’s Lovecraftian design is one of the film’s highlights, with its slimy, amorphous form and parasitic nature evoking the cosmic horrors that genre fans will appreciate. The concept of an ancient being lying dormant beneath the earth’s crust is rich with potential, and the film taps into this to create a sense of unease and dread.

However, despite this intriguing setup, Hell Hole never quite finds its footing. The film attempts to balance horror with dark comedy, but the humour often feels forced and out of place, detracting from the tension rather than enhancing it. Moments that should be terrifying are undercut by awkward jokes or tonal shifts that leave the audience unsure of how to react. The result is a film that feels uneven, as though it’s unsure whether it wants to be a straight horror or a satirical commentary.

The creature itself, while visually impressive, is underutilised. Its Lovecraftian presence is more hinted at than fully explored, leaving much to be desired in terms of its backstory and true nature. There are moments where the film flirts with the kind of existential dread that Lovecraft’s work is known for, but these moments are fleeting, replaced too quickly by more conventional horror tropes or ill-timed comedic beats.

One of the more interesting aspects of Hell Hole is its commentary on the male-skewed landscape of the fracking crew and, by extension, the larger societal structures they represent. The creature’s preference for male hosts could be seen as a metaphor for the parasitic nature of toxic masculinity, feeding on and destroying those who fall victim to it. Additionally, the film’s ecological message against fracking is clear, but it feels somewhat heavy-handed, lacking the subtlety that could have made it more impactful. Instead of weaving the environmental critique seamlessly into the narrative, Hell Hole often comes across as preachy, pulling viewers out of the story.

The cast, which includes Poser, Adams, Olivera Penunicic, Bruno Veljanovski, and others, delivers solid performances, but they are hampered by a script that doesn’t quite know what to do with them. The characters are thinly drawn, serving more as fodder for the creature than as fully realized individuals. This makes it difficult to become fully invested in their fates, and as a result, the film lacks the emotional weight that could have elevated it above a standard creature feature.

The Prognosis:

Hell Hole is a film with a lot of interesting ideas but an execution that doesn’t quite do them justice. The Lovecraftian elements, dark humour, and ecological commentary all have potential, but they never coalesce into a cohesive whole. For fans of Poser and Adams’ previous work, or for those who enjoy creature features with a twist, Hell Hole might still be worth a watch. However, it’s unlikely to leave a lasting impression, feeling more like a middling entry in the horror genre than a must-see Shudder original.

  • Saul Muerte

Hell Hole will be streaming on Shudder from Fri 23rd Aug.

SUFF 2024 – Movie Review: Mother Father Sister Brother Frank

15 Thursday Aug 2024

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With the program release dropping this week for the much-anticipated 18th Annual Sydney Underground Film Festival, it was a great pleasure to sit down and watch one of the feature lineups, Mother, Father, Sister, Brother, Frank (MFSBF). The joy is not only in realizing that one of my favorite festivals, dedicated to the twisted and macabre, is back, but in how MFSBF epitomizes the style and substance that makes the festival so great. The film delivers a unique blend of the darker side of cinema, whether it’s full-throttle gore or outlandishly dark humor. MFSBF firmly falls into the latter category, offering a humorous tale of a family caught in a night of murder and mishap.

Set in what appears to be a typical suburban household, the Jennings family prepares to sit down for a Sunday dinner. But beneath the surface of Dad’s drinking, Jim’s phone habits, and Jolene’s dietary concerns, lies a web of secrets that no amount of sugar-coating from Mum can keep buried—especially when Uncle Frank arrives and threatens to expose everything. It doesn’t take long for thoughts to turn to murder, but the question remains: just how capable are the Jennings in carrying out their dark deeds and keeping their secrets hidden for good?

Tonally, director Caden Douglas masterfully places the humor just right, slowly dialing up the angst while delivering a series of painfully hilarious sequences that highlight how inept the family is. Each bungled attempt at solving their problems leads them further into potential ruin, as they metaphorically and literally dig their own graves. The film deftly explores whether the Jennings can bond together and claw their way out of the chaos they’ve created.

Special mention must be made of standout performances by Enrico Colantoni (Galaxy Quest) and Mindy Cohn (The Facts of Life), who delicately portray the father and mother roles with painful poise and bumbling brilliance. Their chemistry anchors the film, providing both comedic and emotional depth.

  • Saul Muerte

Catch the screening of Mother, Father, Sister, Brother, Frank at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 9.30PM

SUNDAY 15TH SEPTEMBER – 3.30PM

Movie Review: In A Violent Nature (2024)

02 Friday Aug 2024

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There has been a lot of buzz circulating around the Canadian slasher film In A Violent Nature, written and directed by Chris Nash. The film’s simple yet intriguing concept of following the narrative from the killer’s point of view has drawn comparisons to horror classics like Friday the 13th and The Texas Chain Saw Massacre. However, while this unique perspective offers some fresh insights, it also reveals the film’s significant flaws.

The plot of In A Violent Nature centers on a silent, cold-blooded assassin who stalks his victims through the dense Ontario woodlands. Nash’s decision to frame the story from the killer’s viewpoint is both a stroke of genius and an Achilles heel. On one hand, it effectively highlights the calculative and methodical nature of the killer, providing a chilling glimpse into his mind. The killer finds unique and gruesome ways to dispatch his unsuspecting victims, adding a layer of intrigue to the narrative.

However, this one-note delivery can become tedious as the audience is forced to trawl along with the killer through the seemingly monotonous and meandering forest. The slow pace and lack of variation risk boring the viewers, pulling them out of the immersive world that Nash strives to create. The supporting cast’s poor acting exacerbates this issue, as their performances often feel forced and unrealistic.

While some might argue that over-the-top acting is a staple of slasher films, there is a fine line between deliberate campiness and simply bad acting. Unfortunately, In A Violent Nature falls into the latter category, with dialogue that feels stilted and characters that fail to come across as genuine or engaging. This stark contrast to Nash’s intended style and substance is jarring and detracts from the overall experience.

Despite its shortcomings, the film’s conclusion delivers a powerful key message. By the end, the killer’s actions reveal a bleak commentary on the nature of violence and the desensitization of society. This ending attempts to leave the audience with a thought-provoking reflection on the cyclical and inescapable nature of brutality, aligning with the grim tone set by its horror predecessors.

The Prognosis:

In A Violent Nature is a mixed bag. While its concept of following the killer’s perspective is innovative and offers some intriguing moments, the execution falls flat due to pacing issues and subpar acting. The film’s influences from horror classics like Friday the 13th and The Texas Chain Saw Massacre are evident, but it struggles to live up to the standards set by these genre-defining movies. For die-hard slasher fans, it might be worth a watch, but for others, it may not leave a lasting impression.

  • Saul Muerte

Movie review: Longlegs (2024)

20 Saturday Jul 2024

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There are some directors in the horror genre who make their mark with bold, fantastical statements. While their voices are initially impactful, by the third or fourth outing, their energy may begin to wane. However, Osgood Perkins, the director and writer of Longlegs, is playing the long game. Known for his meticulously slow pacing, strong leanings into paranormal and occult storytelling, and rich visual imagery, Perkins has been crafting a unique style that promises a lengthy and delightfully intriguing career.

His first two features, The Blackcoat’s Daughter and I Am The Pretty Thing That Lives in the House, were meticulously detailed, focusing on themes of isolation and desperation. His third feature, Gretel & Hansel, offered an offbeat twist on the classic fairytale with a focus on the feminine side of the story. While it may have strayed slightly from his usual tone, it still showcased incredible pacing and cinematography.

Longlegs may be his finest hour yet. It blends notable elements from thriller classics like Silence of the Lambs and David Fincher’s films, combined with the Lynchian vibe that permeates Perkins’ work. From its opening scenes, Longlegs sets a gripping pace and tone with a shocking opener and remarkable sound design that hooks you and never lets go.

Maika Monroe (It Follows) delivers a powerful performance as Lee Harker, an FBI agent with an uncanny knack for instinctively tuning into her environment. This trait quickly gets her noticed and involved in a curious investigation of a serial killer who leaves cryptic notes at his crime scenes. Harker’s birdlike mannerisms and quirky social awkwardness unfold as the inquiry unearths more than she anticipated, despite her possible psychic intuition.

And then there’s Nicolas Cage’s wondrous transformation as the titular Longlegs. The cinematography teases us with glimpses of his face, luring us deeper into the mythology that surrounds him.

The Prognosis:

Visually stunning and meticulously crafted, Perkins delivers yet another slow-burn feature that ensnares you. While the middle act may wane slightly, threatening to loosen its grip on the viewer, the final act pulls the trigger and leaves you reeling. Perkins’ style may not be for everyone, but Longlegs is the closest he has come to his best directorial stance. The journey he takes us on is always gripping, and the performances are phenomenally bright. May he continue to shine with the steady hand he has demonstrated so far.

  • Saul Muerte

Longlegs is currently screening at cinemas nationwide.

Movie review: Birdeater (2024)

19 Friday Jul 2024

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To liken this movie to Talk To Me, as I’ve noticed in certain publications, is like comparing apples with oranges. Talk To Me deserves the praise it received for the manner in which it delved into the pursuit of lost youth, grief and desperation with a particular bent that tapped into the popular zeitgeist. Birdeater is a far different entity and the comparisons purely rest on the creators all being from Australia. Now I’m going to champion the dark heart of the Australian horror genre but let’s not paint them with the same brush when accolades and praise should be placed where it deserves. Now does Birdeater deserve its own positive praise from the festival circuits, such as SXSW Austin, Melbourne International Film Festival and CinefestOz, plus receiving the Audience Award for Best Australian Narrative Feature at Sydney Film Festival? Happily, yes.

Directed by the duo of Jim Weir and Jack Clark, it attempts to place the toxic masculinity that resides beneath the surface of Australian society firmly under scrutiny as they slowly turn the screw with unsettling and shocking results.

I’ve lived in this land of this savage-yet-loveable land for over 20 years now and while the so-called motherland from which I originally hailed has its own fair share of troubles and tribulations, it struck me how the Australian nation had a deeply embedded masculine identity at its core and this is the vein that the filmmakers have tapped into, exposing the fevered flow that pulsates through us all, waiting to be exposed.

As the film opens we see what on face value appears to be the kindling of a romantic encounter between Louie (Mackenzie Fearnley) and Irene (Shabana Azeez), and various short scenes indicating a solidified bond, but as the time passes we see that the cracks are starting to show with Irene housebound, dependent on Louie’s partnership. But what is truly hindering her and how genuine is Louie’s heart? The feature allows us to unearth the truth over a  bucks night, where Louie strangely asks Irene to be a part of. Is this romantic or controlling?

Accompanying them are Louie’s two best mates, Dylan (Ben Hunter), the larrikin of the group but who also hides behind the facade of bravado and humour; and Charlie (Jack Bannister), a devout Christian with pent up sexual frustration, who also brings along his partner, Grace (Clementine Anderson). Grace’s role as far as the men are concerned, is to keep Irene company, but again the plans to control or dictate proceedings will fall sour before the night is through. Also, among the retreat is Murph (Alfie Gledhill) a somewhat isolated figure from the troupe, who blends in well with the male-orientated pursuits brandishing a false hope and a pre-arranged task to carry out. And lastly is Sam (Harley Wilson), a friend of Irenes and fuel to the fire of emotions as Louie questions their motives and faithfulness.

With the players set to play their identified roles, the night has just begun, and the real identities will spring forth to reveal darker and subdued emotional privilege simmering beneath the surface.

The Prognosis:

The subject matter could easily have been overplayed, but both Weir and Clark offer a slow hand to strengthen their cause and allow the characters to sink into the mire. The revelations of the motives set by the players of the piece is masterful and with every ounce of dedication and respect by the acting troupe who portray them. The light is shone firmly on this toxic masculinity without much reprieve or solution, but once the gaze is cast, it’s hard to turn away from the core message. For that Birdeater is a topical and relevant piece that deserves your time and energy. It is another fine Australian feature that lifts above the noise and resonates with its wings, beating out a very clear and precise observation of Australia and its current culture.

  • Saul Muerte

Birdeater is currently screening at selective cinemas nationwide.

“The Devils Bath: A Haunting Exploration of Human Suffering and Societal Repression”

13 Saturday Jul 2024

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Veronika Franz and Severin Fiala, the Austrian filmmaking duo known for their unsettling psychological narratives, return with The Devils Bath. This film, much like their previous works Goodnight Mommy, The Field Guide to Evil, and The Lodge, delves deep into the human psyche, exploring themes of repression, oppression, and the dark underbelly of human nature. However, while The Devils Bath is a commendable effort, it falls short of the high bar set by their earlier works.

Set against the backdrop of rural Austria, The Devils Bath is inspired by Kathy Stuart’s research in Suicide by Proxy in Early Modern Germany: Crime, Sin and Salvation. The film focuses on the oppressive socio-cultural landscape, particularly highlighting issues of sex, gender, physical labor, and cultural constraints. Franz and Fiala’s return to their native roots is evident as they weave a narrative that is both a reflection and a critique of historical and contemporary societal norms.

The story follows Agnes (Anja Plaschg), a woman caught in the web of societal and self-imposed repression. Her portrayal of a character grappling with the heavy burden of expectations and the search for salvation is both poignant and harrowing. Plaschg’s performance is the film’s centerpiece, providing an honest and raw depiction of human suffering and resilience. Her portrayal is masterful, capturing the nuances of a woman on the edge, struggling to find her place in a world that seems determined to crush her spirit.

Franz and Fiala’s direction is, as always, meticulous and slow-burning. They build an atmosphere of dread and discomfort, using the rural landscape to amplify the sense of isolation and entrapment. The film’s pacing is deliberate, allowing the audience to fully immerse themselves in Agnes’s world and experience her despair and occasional moments of hope. However, this slow-paced approach may not resonate with all viewers. Some may find the film’s methodical unfolding and heavy subject matter overwhelming and difficult to engage with.

Thematically, The Devils Bath continues Franz and Fiala’s exploration of oppressive familial and societal structures, a recurring motif in their filmography. In Goodnight Mommy, they examined the fractured relationship between a mother and her sons; in The Lodge, the psychological torment within a new family dynamic; and in The Field Guide to Evil, the darker sides of folklore and tradition. The Devils Bath feels like a natural progression in their oeuvre, further exploring the ways in which individuals are shaped and often suffocated by their environments.

While The Devils Bath succeeds in many areas, it is not without its flaws. The film’s heavy reliance on thematic depth and slow pacing may alienate some viewers. The narrative, though rich in symbolism and subtext, occasionally feels weighed down by its own seriousness. There are moments when the film’s contemplative nature borders on self-indulgence, risking disengagement from its audience.

The Prognosis:

The Devils Bath is a compelling addition to Veronika Franz and Severin Fiala’s body of work. It is a film that demands patience and introspection, offering a stark and honest portrayal of human suffering and resilience. Agnes’s journey is both heartbreaking and inspiring, brought to life through Anja Plaschg’s exceptional performance. However, the film’s slow pace and heavy themes may not be to everyone’s taste, making it a divisive yet thought-provoking piece of cinema.

  • Saul Muerte

The Devil’s Bath is currently streaming on Shudder.

Maxxxine: A Stylish Nod to the 80s That Falls Short in Substance

12 Friday Jul 2024

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We’re fast approaching 20 years since director Ti West released his first feature film, The Roost. Since then, he has meticulously crafted his signature style behind the lens, primarily in the realm of horror. Notable among these features are The House of the Devil, The Innkeepers, and The Sacrament. However, arguably his latest venture with actress Mia Goth in what has become the X film series has garnered the most attention. The first of these, X, was a significant hit in 2022, with its unique spin on the slasher genre and notable nods to the 70s films that marked the industry, such as The Texas Chain Saw Massacre. Just when we thought our horror appetite was satiated, West delivered another serving with Pearl, which arced back to 1918 with the titular villain, again played by Goth, and was infused with the birth of Technicolor films.

So, with the announcement that a third installment was on the horizon and would be set in the heart of the 80s—the era of big hair, big action, and high levels of glorious entertainment—needless to say, I was eager to see the finale and had highlighted this as one of the most anticipated movies of the year.

Upon watching Maxxxine, the final installment in Ti West’s trilogy, it’s evident that while the film possesses a lot of style and pays notable homage to the films of the 80s, it unfortunately falls short in substance. The era’s aesthetic is captured impeccably, from the vibrant neon lights to the pulsating synth-heavy soundtrack. The attention to detail in recreating the 80s is commendable, with West and his team clearly putting a lot of effort into making the film feel authentic to the time period.

Mia Goth once again delivers a strong performance, embodying the titular character with a raw intensity that has become a hallmark of the series. Her portrayal of Maxxxine is layered and compelling, and she brings a magnetic presence to the screen that is hard to ignore. The supporting cast also does a commendable job, with each actor fitting seamlessly into the world West has created.

However, where Maxxxine stumbles is in its narrative depth and impact. The plot feels somewhat thin, lacking the same level of intrigue and tension that made X and Pearl so engaging. While the film is packed with stylistic nods to the 80s and bursts of nostalgia, it doesn’t quite manage to weave these elements into a story that resonates on a deeper level. The themes explored in the previous films seem to be diluted here, and the emotional stakes never quite reach the heights that fans might have hoped for.

Additionally, the film’s climax, while visually impressive, doesn’t deliver the satisfying conclusion that the trilogy deserved. It feels restrained, not going as big or bold as one might expect for the final chapter of such an ambitious series. There are moments of brilliance scattered throughout, but they are often overshadowed by a sense of missed potential and unfulfilled promises.

The Prognosis:

Maxxxine‘s vibrant depiction of the 80s serves as a colorful facade, masking the deeper issues at hand—a fitting metaphor for the film itself, which dazzles with style but lacks the impactful substance beneath the surface.

  • Saul Muerte

1960s Retrospective: Matango (1963)

11 Thursday Jul 2024

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“Matango,” directed by Ishirō Honda and released in 1963, stands as a hauntingly unique entry in the annals of Japanese horror cinema. Known primarily for his work on kaiju films such as “Godzilla” (1954) and “Mothra” (1961), Honda steps away from giant monsters to deliver a psychological horror masterpiece that delves into the darker aspects of human nature. “Matango” explores themes of metamorphosis and bodily assault, with an underlying anti-drug message that resonates deeply within its unsettling narrative.

Ishirō Honda’s name is synonymous with the kaiju genre, but “Matango” showcases his versatility and ability to craft an atmosphere of dread without relying on colossal creatures. Honda masterfully builds tension and paranoia, using the isolated island setting to amplify the characters’ descent into madness. His direction emphasizes the psychological torment of the stranded group, making the horror personal and intimate. The film’s slow, methodical pacing allows the terror to seep in gradually, creating an ever-present sense of unease that lingers long after the credits roll.

While Honda’s kaiju films focus on the external threat of giant monsters, “Matango” shifts the horror inward, examining the fragility of the human psyche and the grotesque transformations that occur when civilization crumbles. The film follows a group of affluent friends who become shipwrecked on a mysterious island, only to discover that the island’s fungi have a horrifying side effect: those who consume them slowly transform into monstrous, humanoid mushrooms. This chilling premise diverges from the grand spectacle of kaiju destruction, instead presenting a more insidious and personal form of horror.

“Matango” carries a potent anti-drug message, conveyed through the insidious allure of the titular mushrooms. The desperate characters, succumbing to starvation and hopelessness, turn to the mushrooms despite the warnings and the visible consequences. Their addiction leads to physical and psychological transformation, mirroring the destructive path of substance abuse. Honda’s portrayal of this metamorphosis serves as a stark warning about the dangers of addiction, using the horror genre to deliver a socially relevant message.

At its core, “Matango” is a film about metamorphosis and the violation of the human body. The transformation from human to mushroom creature is depicted with unsettling realism, emphasizing the loss of humanity and the degradation of the self. The characters’ gradual change into grotesque forms serves as a powerful metaphor for the dehumanizing effects of addiction and the breakdown of societal norms. The film’s imagery is haunting and visceral, with the fungal infection representing an assault on the body that strips away individuality and humanity.

Honda’s use of practical effects and makeup to depict the transformation process is both imaginative and disturbing, contributing to the film’s enduring impact. The scenes of metamorphosis are not just physical changes but also psychological breakdowns, highlighting the horror of losing one’s identity and becoming something other.

The Prognosis:

“Matango” remains a standout film in Ishirō Honda’s illustrious career, demonstrating his ability to evoke terror without the use of giant monsters. The film’s exploration of metamorphosis, addiction, and the assault on the human body offers a profound and disturbing narrative that transcends its genre roots. Honda’s direction, combined with a compelling anti-drug message and themes of bodily transformation, ensures that “Matango” is a haunting, thought-provoking experience that continues to resonate with audiences. It is a testament to Honda’s versatility as a filmmaker and a chilling reminder of the horrors that lie within the human condition.

  • Saul Muerte