Category Archives: Movie review

Stopmotion”: A Haunting Journey into Grief and Imagination

27 Monday May 2024

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Streaming exclusively on Shudder and AMC+, Stopmotion premieres Friday, May 31st, offering viewers a chilling exploration of grief, creativity, and the tenuous divide between reality and imagination. Directed by Robert Morgan, this psychological thriller delivers a mesmerizing cinematic experience that lingers long after the credits roll.

At its heart, Stopmotion is a character study of Ella Blake, a talented stop-motion animator portrayed with captivating depth by Aisling Franciosi. Following the loss of her controlling mother, Ella grapples with inner demons while immersing herself in the creation of a dark and macabre puppet film. As her grip on reality begins to slip, the lines between her own life and the surreal world of her animation blur, leading to a terrifying battle for sanity.

Performance Brilliance: Aisling Franciosi Dazzles

Franciosi’s performance is nothing short of spellbinding. She effortlessly navigates the complexities of Ella’s character, portraying her vulnerability, anguish, and descent into madness with haunting authenticity. Supported by a talented cast including Tom York and Jaz Hutchins, Franciosi brings Ella’s journey to life in a way that is both mesmerizing and deeply unsettling.

Influences and Vision: Robert Morgan’s Artistic Tapestry

Director Robert Morgan draws inspiration from a diverse array of influences, including Francis Bacon, Edgar Allan Poe, Jan Svankmajer, the Quay Brothers, David Lynch, David Cronenberg, Joel Peter Witkin, and Hans Bellmer. These influences are evident throughout Stopmotion, from its surreal imagery reminiscent of Jan Svankmajer to its nightmarish themes reminiscent of David Lynch and David Cronenberg.

A Mind-Bending Odyssey

Stopmotion unfolds as a haunting exploration of the power of art to both heal and destroy. As Ella’s creations take on a life of their own, the film delves into themes of obsession, identity, and the dangers of unchecked imagination. Director Robert Morgan expertly builds tension throughout, keeping audiences on the edge of their seats as Ella’s world spirals further into darkness.

Visually stunning and atmospherically rich, Stopmotion is a testament to Morgan’s directorial prowess. From its meticulously crafted stop-motion sequences to its hauntingly beautiful cinematography, every frame of the film is infused with a sense of unease and foreboding.

The Prognosis:

A Haunting Masterpiece
Stopmotion is a must-watch for fans of psychological horror. With its haunting visuals, mesmerizing performances, and thought-provoking narrative, it stands as a testament to the power of cinema to captivate and disturb in equal measure.

  • Saul Muerte

Stopmotion will be streaming on Shudder from 31st May

“Sink or Swim: Night Swim Struggles to Stay Afloat in Murky Waters of Horror”

23 Thursday May 2024

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Night Swim fails to make a splash in the horror genre, sinking beneath the weight of its own ambitions. Director Bryce McGuire’s debut feature struggles to maintain momentum, ultimately drowning in a sea of clichés and narrative inconsistencies.

The film’s premise, though initially intriguing, quickly loses its grip, failing to deliver on its promise of supernatural terror. What begins as a potentially compelling exploration of family dynamics and sinister forces lurking in suburbia devolves into a muddled mess of predictable scares and convoluted mythology.

One of the film’s major shortcomings lies in its inability to fully explore its central concept. Despite hints of a chilling backstory involving sacrifices and demonic entities, Night Swim never delves deep enough to provide a satisfying payoff. Instead, it treads water, recycling tired tropes without adding meaningful depth.

While the performances by Wyatt Russell and Kerry Condon are serviceable, their characters feel underdeveloped and fail to engage the audience beyond serving as vessels for jump scares.

The pacing suffers from a lack of tension, with scenes dragging on without purpose, leaving viewers feeling adrift rather than immersed in the narrative.

Even the technical aspects of the film fall short. While the underwater sequences are competently shot, they lack the immersive quality needed to captivate audiences.

The Prognosis:

Night Swim proves to be a forgettable addition to the horror genre. Despite moments of genuine tension, it ultimately fails to leave a lasting impression, leaving viewers longing for a more engaging and coherent experience.

  • Saul Muerte

“Surviving the Night: The Strangers Return in a Relentless Battle for Survival – A Review of The Strangers: Chapter 1”

21 Tuesday May 2024

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The Strangers: Chapter 1, the latest installment in the iconic horror franchise, attempts to resurrect the chilling atmosphere of the original while introducing fresh faces and a new narrative arc. Directed by Renny Harlin and penned by Alan R. Cohen and Alan Freedland, this film marks the beginning of an ambitious standalone trilogy, set within the same universe as its predecessor.

The plot follows Maya (Madelaine Petsch) and Ryan (Froy Gutierrez), a couple on a road trip celebrating their five-year anniversary. Their journey takes a sinister turn when they encounter three masked strangers in a small town. Stranded in an Airbnb for the night, they find themselves hunted by these psychopaths, leading to a nightmarish fight for survival.

While The Strangers: Chapter 1 boasts the iconic look of its villains and promises of a revitalized franchise, it struggles to break free from the formulaic constraints of its predecessors. The plot feels like familiar territory, relying on well-worn horror tropes without offering much in terms of innovation. However, the film’s tense atmosphere and relentless pacing keep viewers on the edge of their seats, even if the narrative feels somewhat predictable.

The performances by Petsch and Gutierrez anchor the film, portraying a couple caught in a terrifying ordeal with believable fear and desperation. The supporting cast, including Gabriel Basso and Ema Horvath, adds depth to the ensemble, although their characters feel underdeveloped amidst the chaos.

Visually, the film delivers a gritty and claustrophobic experience, effectively capturing the sense of dread and isolation permeating the narrative. Harlin’s direction keeps the tension high, utilizing tight spaces and ominous lighting to heighten the suspense.

Despite its shortcomings, The Strangers: Chapter 1 serves as a decent entry in the franchise, setting the stage for future installments. With promises of more to come, it remains to be seen if the subsequent chapters will offer a fresh take on the familiar premise or succumb to the pitfalls of repetition.

The Prognosis:

The Strangers: Chapter 1 may not reinvent the horror genre, but it offers enough thrills and chills to satisfy fans of the series while leaving room for improvement in its sequels.

  • Saul Muerte

Nightwatch Demons are Forever: A Quirky Spin on Supernatural Thrills

15 Wednesday May 2024

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Opening Act: A Flashback to Nightwatch

Thirty years ago, Nightwatch captivated audiences with its bone-chilling narrative, courtesy of director Ole Bornedal. Now, with Nightwatch Demons are Forever, Bornedal returns to helm a sequel that pays homage to its predecessor while injecting fresh blood into the franchise.

The Coster-Waldau Effect: Nicolaj’s Reign Continues

Enter Nicolaj Coster-Waldau, the enigmatic leading man who once again takes center stage in this supernatural saga. Since his days as Jaime Lannister in Game of Thrones, Coster-Waldau has transcended mere stardom, evolving into an icon of intensity and intrigue. In Nightwatch Demons are Forever, he proves his mettle once again, delivering a performance that’s as captivating as it is complex.

A Cast of Characters: Rising Stars and Seasoned Veterans

Alongside Coster-Waldau, Nightwatch Demons are Forever boasts a stellar ensemble cast that elevates the film to new heights. From the mesmerizing presence of newcomer Fanny Leander Bornedal to the seasoned expertise of veteran actors like Sonja Richter and Ulf Pilgaard, each member of the ensemble brings their own unique flair to the screen.

A Slow-Burning Spectacle

From its opening frames, Nightwatch Demons are Forever taking a slow-boiler approach, gradually simmering as it dials up the tension. Director Ole Bornedal masterfully crafts a narrative that keeps viewers on the edge of their seats, balancing moments of eerie tranquility with pulse-pounding suspense.

As the plot unfolds, layers of mystery are peeled away, revealing a world where the line between the natural and supernatural is blurred beyond recognition. It’s a testament to Bornedal’s skill as a storyteller that even the most seemingly mundane moments are imbued with an underlying sense of dread.

The Prognosis:

In a genre often plagued by clichés and jump scares, Nightwatch Demons are Forever shines as a beacon of originality and innovation. With its quirky characters, offbeat humor, and slow-burning tension, it’s a film that lingers in the mind long after the credits roll. Prepare to be whisked away on a devilishly delightful journey into the heart of the supernatural!

  • Saul Muerte

Nightwatch: Demons are Forever will be streaming on Shudder from May 17th.

Movie Review: Mad Heidi (2023)

04 Saturday May 2024

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Mad by name, mad by nature. This film is off the dial crazy and we’re all the better for it. From the crazed masterminds and self-confessed film buffs hellbent on wanting to create the first ever Swiss exploitation movie. With no money they put forward one heck of a kickstarter campaign and like-minded individuals were hooked, wanting to see the feature brought to life.

Directors Johannes Hartmann, Sandro Klopfstein wanted to take a warped dystopian future take on the classic children’s novel Heidi by Johanna Spyri. Heidi (Alice Lucy) is all grown up and quite intent on spending her innocent-yet-sexually adventurous life with Goat Peter (Kel Matsena) the local goatherd who has a little sideline in an illegal cheese trade. Unfortunately, Switzerland is under tyrannical ruling by President Meili (Casper Van Dien) who is magnificently off-kilter in his pursuit for global domination and uniting the world with the ultimate Swiss cheese. This is bad news for the lactose intolerant as they are rounded up and eradicated through cheesification techniques and when Goat Peter’s trade is discovered, he is brutally murdered and Heidi’s world spins into turmoil. In order to right it once more, she must train up and be a kick-ass warrior and bring back the heart to the Motherland once more.

The Prognosis:

This is a swiss cheese on toast movie that wears its hyperbolic tendencies firmly on its sleeves. Hartmann and Klopfstein craft a meticulously over the top jibe at all the stereotypes of their homeland from chocolate, pocket knives, watches and of course cheese and unapologetically shoves these cliches down your throat until you burst. 

Mad Heidi is so gloriously eccentric and unique that it is a welcome shift outside of the main cinematic beats, that it tempts you in and delivers all the gore, larger-than-life characters, absurdity and madcap mayhem to keep you entertained. 

  • Saul Muerte

Mad Heidi  is streaming on Shudder from 6 May.

Movie review: Skeletons In The Closet (2024)

29 Monday Apr 2024

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When you see Terrence Howard, Cuba Gooding Jr, and Udo Kier on the credits listmon a film and you’d be forgiven for presuming that it would be a half decent entry, but Skeletons In The Closet is like the visual equivalent of hitting the snooze button on an old analogue clock. 

As the incredibly slow pace to the movie drags you desperately into its fold, we’re presented with a mother, Valentina (Valery M. Ortiz) and her husband, Mark (Howard) watch their lives fall apart, as if they were the combined metaphor of Job, continuously having their faith tested. Instead though, they are harbouring an evil presence that is sucking out the energy of their lives and inflicting a damning curse upon them. This starts with Mark losing his job after believing that he was actually up for a promotion, to their daughter Jenny (Appy Pratt) being diagnosed with terminal cancer. If that wasn’t bad enough Mark engages with a local crook based on ill advice from his brother (Gooding Jr). This inevitably leads to them putting the squeeze on the family and Mark’s logical leap to seek council from Madam Fortuna (Sally Kirkland), who just kicks the can down the road when she sees only disaster in the future. In steps the specialist Luc (Kier), who is even more mysterious and the potential threat or menace to what has been plaguing them for so long. All the while Valentina has been seeing visions of a pale woman dressed in white, haunting her every move.

Eventually we get to learn that one of them has a skeleton in their closet and must rid themselves of their curse with drastic consequences.

The Prognosis:

This is a slow and laborious possession that feels like we are shuffling off this mortal coil with the aid of a zimmer frame. 

There’s one thing to establish character, but another to make us care about the character enough by going deeper into their psychological make up. It’s as though the creatives chose to do neither here and be content on going, here look at their hardship… isn’t it bad? I wonder what is the root cause of this evil?

Unfortunately, the film is pretty woeful, and the care factor is zero for this incredibly below par snoozefest.

  • Saul Muerte

Skeletons In The Closet is streaming on Shudder from 3 May.

Movie Review: Crocodile Swarm (2024)

28 Sunday Apr 2024

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Crocodiles are sometimes known for what is sometimes called collective hunting, swimming in numbers when circling large prey. In some cases they can rip their quarry apart while one of their basks holds the victim down.

With all this in mind, you can see why the notion of crocodiles moving en masse to hunt down and kill a group of humans. This is the premise posed by Director Tyler-James (The Loch Ness Horror; Deadly Waters; Monsternado) who is no stranger to low budget creature features. When a group of cave divers break into unknown terrain they encounter a nest of these reptiles, who are a little disgruntled about being disturbed and go on a killing spree. It is when Sam (Ella Starbuck) learns of her sister’s disappearance that she then forms a group of friends to go in search of the deadly caving system in the hopes of bringing her sister back home alive.

All of this may sound good on paper, but when you learn that the creative team behind this is feature are the team behind Winnie The Pooh: Blood and Honey and the whole upcoming Poohniverse franchise, with Scott Chambers (one of its stars who also appeared in Hammer Films latest Doctor Jekyll). On writing duties, you can imagine the kind of movie you’re in for. 

It would be one thing if there was any merit to the narrative on display, but the acting is ropeable, and they chew through the weak dialogue without ever blinking once. Then there’s the effects which are so fake looking that it goes beyond throwing you out of the picture, you’re propelled back into your room or chosen place of viewing slamming back into the wall behind you. There was even one point in the vision on show that was so laughable when digitised crocs rips apart a mannequin. 

The Prognosis:

To sum up, the most painful part of Crocodile Swarm was enduring the film and sitting through to the end for the sake of writing up this review. I’m pretty laid back when it comes to being forgiving when it comes to low budget features, always looking for the silver lining and wanting to praise where creativity is trying to flourish, but it’s hard to look for one here when it just comes across as lazy. 

  • Saul Muerte

Crocodile Swarm is available on Home Entertainment from May through Eagle Entertainment.

  • Saul Muerte

1960s Horror Retrospective: Jigoku (1960)

27 Saturday Apr 2024

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Across the pond, Japan was also delivering on the genre scene in what would be known as their Golden Age of cinema. Part of the foundations of this era were the big 6 production houses of which Shintoho were significant in the make up. Unfortunately Jigoku would be the last to be released by the company having filed bankruptcy not long after it hit cinemas. Despite this, Shintoho would go out with a bang, producing one of the most compelling films from the country and one that went against the grain of popular cinema at the time to go on to be a cult film in its own right. 

With its graphic depiction of hell Jigoku would follow a couple Shirō and Yukiko appear to have it all going for them until one tortuous night when Shirō gets a lift home with his friend Tamura when tragedy strikes. Tamura knocks down and kills a yakuza gang leader, Kyōichi. This incident was witnessed by Kyōichi’s mother and from here on out, the tragedy unfolds with macabre consequences, including the death of Yukiko and the vengeance of the yakuza gang still looking out for justice. And all this is before Shirō goes on a Dante’s Inferno style journey into limbo, fighting for his very soul among the damned and trying to steer him and his family towards enlightenment.

Perhaps it was because they had their backs up against the wall but with extras all pulling their weight to build the sets and complete the last picture for Shintoho, Jigoku was able to weave all these components together to tell a fractured tale of heartache, loss and the fight for purity. It’s the visual imagery that stands it apart from the crowd, with a narrative that leans into the heart and soul of spirituality among the darkness to expose the sinners of hell and make way for grace to shine through. For this, Jigoku deserves its place alongside the other classic films released in the 60s. 

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

Psycho

The Brides of Dracula

House of Usher

1960s Horror Retrospective: House of Usher (1960)

27 Saturday Apr 2024

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Up until now, American International Pictures had been overseeing black and white features shot on a low budget. House of Usher would prove a vital turning point for the film production company, marking it as the first that would be shot in colour. It would also be the first in seven collaborations between director Roger Corman and the enigmatic Vincent Price based on American Gothic writer and poet Edgar Allan Poe’s work. Although it strains a little from this well-known piece, one which modern audiences would be familiar with through Mike Flanagan’s love song to the artist, it is well crafted and stylised to have generated a worthy audience at the box office.

When Philip Winthrop embarks on a visit to the titular house in order to see his fiance Madeline Usher (Myrna Fahey) is greeted by her brother, Roderick (Price) instead. Roderick is hellbent on encouraging Philip to leave for fear that the usher curse that has been placed on the family and its household should further bring ruin to the couple. Philip does not take on this warning and instead aims to steal Madeline from the house. This plan falls awry though when Madeline slips into a catatonic state, and her fiance resigns with a heavy heart that his betrothed has died. Roderick meanwhile ebbs further into a state of madness, believing the curse to have struck again and entombing Madeline in the family crypt. This act is enough to send poor Madeline into hysteria, and thus the two siblings are joined in their own pandemonium.

Madness and its frailty is certainly exposed here as the core theme to the film and Vincent Price’s amplified performance is never more on song than here. From a bumper year in 1959, turning out in horror classics such as House on Haunted Hill; The Tingler; and The Bat, Price would cement his name in the dark genre and take great strides in the sixties and early seventies. This is very much his movie, ably supported by the visual chemistry of set design, gore and the quality of special effects for its time.

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

Psycho

The Brides of Dracula

Movie review: The Jack In The Box Rises (2024)

26 Friday Apr 2024

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I have to admit to having a soft spot for this franchise in spite of its obvious misgivings.

Director Lawrence Fowler has spent considerable time working on the mythology surrounding the demonic possessed Jack-In-The-Box. In my recent review of The Jester, I spoke of pretenders to the silent killer crown, stating that no one so far has entered the arena with the same cut-throat appeal to match Art the Clown (Terrifier 3 can’t come soon enough in my eyes). While I still stand by this statement, I neglected to mention The Jack.

That’s not to say that it should be mentioned in the same breath as Art, as far as gore, or shock is concerned. The creature design still is a strong when and ably performed by Nicholas Anscombe (who played Doctor Clarke in The Jack in the Box: Awakening and can also be seen in Crocodile Swarm this month), replacing James Swanton who is starting to craft an impressive credit list appearing in Stopmotion; Lot 249 as The Mummy; and The First Omen.

This time around The Jack is resurrected once more to claim another six victims. The setting change here is within an exclusive girls boarding school, and with an overly elaborate set up, we finally follow Raven (Iasabella Colby Browne) having established that she is working for a cruel underground agency that are holding her father captive. Her only hope to save him is to do their bidding and retrieve the antique jack in the box from the afore-mentioned boarding school. Once arrived, we’re introduced to the would be victims, as they are slowly picked off one by one.

The hook here and one that places this feature marginally better than the previous sequel, is the choice to do a whodunit in the mix. We’re left to guess who is the wielder of the box and therefore protected against The Jack as he shuffles his way through the corridors to enact his next sacrifice. It is this component that keeps you connected but ultimately we’re still treading water in a franchise that could be so much better.

The Prognosis:

While I really want to see this succeed as The Jack once again takes victims from Britain’s privileged members, it still suffers under a poor script to ignite this premise.

Director Lawrence Fowler can’t keep resting on the one note that he serves up in his movies and if he does look to life beyond this trilogy, will need to up the ante in the gore stakes and breathe new life into his scriptwriting.

The competition is hot out there and there are filmmakers that have done better and smarter things on the same kind of budget.

  • Saul Muerte

The Jack In The Box Rises is available on Home Entertainment from May through Eagle Entertainment.