Category Archives: Movie review

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: Bad Girl Boogey (2023)

Movie Review: T-Blockers (2024)

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

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

Posted by in Movie review, Sydney Underground Film Festival

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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.

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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