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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

Lisa Frankenstein: A Misfit Monster of Missed Opportunities

03 Wednesday Jul 2024

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“Lisa Frankenstein” arrives with an intriguing premise and an abundance of potential, drawing inspiration from the vibrant 80s horror rom-com style. The film, directed by Zelda Williams and written by Diablo Cody, promises a quirky, entertaining ride but unfortunately falls short of its aspirations. Despite having all the right parts for a great film, they are stitched together in a way that doesn’t quite work, leaving the final product feeling disjointed and unsatisfying.

The concept behind “Lisa Frankenstein” is undeniably clever—a modern twist on the classic Frankenstein story with a teen romance spin. Set against an 80s backdrop, the film aims to blend horror and comedy with nostalgic charm. However, the execution falters. The narrative feels uneven, with tonal shifts that disrupt the flow of the story. The film struggles to balance its horror elements with comedic and romantic undertones, resulting in a confused and disjointed experience.

Diablo Cody, known for her sharp and witty writing style, brings her trademark quirkiness to the script. Her previous works, such as “Juno” and “Jennifer’s Body,” successfully combined humor with darker themes, creating memorable and engaging films. In “Lisa Frankenstein,” however, Cody’s writing doesn’t hit the right tone. The dialogue, while occasionally clever, often feels forced and out of place within the context of the film. The characters lack depth and consistency, making it difficult for the audience to connect with them or invest in their journeys.

Kathryn Newton, who has shown her acting chops in films like “Freaky” and “Abigail,” takes on the titular role of Lisa. Despite her talent and previous successes, Newton struggles to lift her character off the page. Lisa feels underdeveloped and one-dimensional, with motivations and actions that are often unclear or unconvincing. Newton’s performance, while earnest, is hindered by the weak material she has to work with, resulting in a character that fails to resonate with the audience.

“Lisa Frankenstein” had the potential to be a standout entry in the horror rom-com genre. With its unique premise and the involvement of talents like Diablo Cody and Kathryn Newton, the film should have been a delightful blend of humor, horror, and heart. Instead, it feels like a collection of mismatched parts—each element has merit, but together they don’t form a cohesive whole. The film’s uneven pacing, inconsistent tone, and lack of character development leave it feeling like a missed opportunity.

The Prognosis:

“Lisa Frankenstein” is a film that, despite its promising premise and talented team, ultimately fails to deliver. The disjointed narrative and uneven tone detract from the film’s potential, leaving it feeling incomplete and unsatisfying. Diablo Cody’s quirky writing style, usually a strength, doesn’t find its footing here, and Kathryn Newton’s performance is hampered by underdeveloped material. While “Lisa Frankenstein” has moments of charm and creativity, it ultimately falls short of its aspirations, resulting in a middling to low-grade film that struggles to find its identity.

  • Saul Muerte

Movie Review: A Quiet Place: Day One (2024)

01 Monday Jul 2024

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The latest installment in the “A Quiet Place” franchise takes an interesting yet noteworthy sidestep within the world created by John Krasinski and Michael Sarnoski. Where the first movie shook the apocalyptic landscape to the core through the gaze of a family in crisis, grief, and fractured unity, evoking deep emotional reactions from its audience (and marking one of the best horror features released in 2018 for this reviewer), its follow-up arguably fell short. It followed the family dynamic, then searched for refuge via the ambiguous Emmet (Cillian Murphy). As good as Murphy is, the franchise was missing a little depth and, in doing so, trod familiar ground—still softly, mind you.

Now, in its third installment, “A Quiet Place: Day One” turns the dial back to the initial astronomical event that would bring about the invasion of the blind extraterrestrial creatures, who, despite not having an official name, go by the moniker Death Angels.

This premise makes one sit up, ready to dive back into the franchise with the hopes that it would signal more from these terrifying creatures… and yet… and yet.

As the feature begins, we’re presented with the ailing Samira (Lupita Nyong’o – “Us“), who is terminally ill with cancer, living in a hospice on the outskirts of New York with her service cat, Frodo. What I love about this notion is that we’re presented with a character who faces death daily, never knowing when her last breath will be, even poetically counting down her prediction in a prose she keeps in her notebook. When Samira travels to New York with her fellow hospice patients to see a marionette show, she comes face-to-face with an evil that has most of the human race running for their lives. Samira, however, only has one thought on her mind: to have pizza in Harlem, where her memories of listening to her father play the piano reside. This kernel drive epitomizes Samira’s character, knowing her time is near, she isn’t fearful of the end but wants to meet her maker on her own terms. It’s a performance that ebbs and flows through every ounce of energy as Samira struggles to hold onto the strength to see her through to the end—a performance that Nyong’o excels in, captivating the audience with every subtle change in her expressions throughout the movie.

Thrown into the mix is a lost English law student, Eric (Joseph Quinn – “Stranger Things“), who, like the audience, is drawn to the headstrong Samira for salvation amidst the anarchy that rains down around them. To Quinn’s credit, he delivers a credible performance to balance against Nyong’o’s and, at certain parts, provides the heart and empathy when Samira needs it most. But it is the strength of Samira’s will that supports their journey, often providing the rod to Eric’s back, juxtaposing her own declining health.

All this about performance, but what about those pesky Death Angels, I hear you cry… I mean whisper. Unfortunately, they almost become secondary to the narrative, and when they do appear, it is more of a swarm than a slow creeping dread. While this has an effect of its own, it never quite measures up to its predecessors. This could be forgiven to a degree, as I mentioned Nyong’o is phenomenal in this, but by relying too much on the humanity of the piece, the narrative suffers under the weight of the slow middle act.

The Prognosis:

While writer/director Michael Sarnovski does his best to add another chapter to the universe, and it’s clear to see where the film draws inspiration from “Children of Men” with its visual style, the slow pace tends to stretch a little thin and grows tedious. The film is owned by Lupita Nyong’o, though, who is able to captivate and engage with every interaction, drawing you in and keeping you hooked to her performance, wishing for the road to survival to be fruitful.

  • Saul Muerte

“The Emu War: A Hilariously Crass Battle That Delivers Laughs and Groans in Equal Measure”

18 Tuesday Jun 2024

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The Emu War, the latest offering from the prolific Australian comedy outfit Hot Dad Productions, is an unhinged take on the infamous Great Emu War of 1932. Following sold-out screenings at Monster Fest 2023, where the film clinched the coveted Golden Monster Award, the movie is set to hit national event screenings from June 21-23, 2023. Despite its purposefully crass nature and over-the-top tone, “The Emu War” offers a mixed bag of entertainment that may leave some audiences divided.

The film, a feature adaptation of a web series, leans heavily into its absurd premise: a rag-tag platoon of soldiers engaging in a brutal and bloody battle against Australia’s deadliest flightless birds. The narrative follows Major Meredith, haunted by the kidnapping of his son by the emus, as he leads his platoon behind enemy lines to confront the Queen Emu. This ludicrous storyline sets the stage for a barrage of jokes, sight gags, and comedic set pieces designed to elicit laughs through sheer audacity.

Starring some of Australia’s finest comedians, including Damian Callinan, Lisa Fineberg, Aaron Gocs, Dane Simpson, and Ben Russell, the film is packed with performances that range from genuinely funny to painfully over-the-top. While the ensemble cast brings undeniable energy and enthusiasm to their roles, the relentless pursuit of humour often comes at the expense of narrative coherence and character development.

Hot Dad Productions’ trademark style is evident throughout the film, with its crass humour and wild antics front and centre. However, this very quality may also be its downfall. The film’s crude jokes and grotesque humour, while initially amusing, quickly become repetitive and tiresome. Audiences expecting a more nuanced or satirical take on the historical event may find themselves disappointed by the film’s unwavering commitment to lowbrow comedy.

Moreover, the film’s production values, while commendable for a project of this scale, occasionally falter under the weight of its ambitions. Some action sequences and special effects feel amateurish, detracting from the overall viewing experience. The film’s pacing is also uneven, with moments of frenetic activity interspersed with slower, less engaging scenes that fail to maintain momentum.

Despite these shortcomings, The Emu War is not without its merits. The film’s willingness to embrace its ridiculous premise wholeheartedly is admirable, and there are moments of genuine hilarity scattered throughout. For fans of offbeat, irreverent humour, the film delivers exactly what it promises: an over-the-top, laugh-out-loud adventure that doesn’t take itself too seriously.

The Prognosis:

“The Emu War” is a bold and brash comedic endeavour that will likely polarise audiences. Its crass nature and relentless pursuit of humour make it a wild ride, but one that may not be to everyone’s taste. While it succeeds in creating moments of laughter and absurdity, the film’s overall execution leaves much to be desired. Whether this adventurous romp becomes a cult favourite or a forgotten footnote will depend largely on the audience’s appetite for its brand of humour.

  • Saul Muerte

THE EMU WAR will be screening nationally across 21- 23 June, with cast and crew in attendance at all Melbourne screenings, before its release on video on demand platforms on July 8.

Movie Review: The Exorcism: Russell Crowe Shines in a Film Lost in its Own Shadows

12 Wednesday Jun 2024

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The Exorcism presents an intriguing meta-concept: a movie within a movie, where the lines between performance and reality blur dangerously. Despite its promising premise and strong performances, the film struggles with tonal inconsistencies that ultimately undermine its potential.

Russell Crowe stars as Anthony Miller, a troubled actor trying to revive his waning career by taking on the role of a priest in a supernatural horror film about an exorcism. Crowe delivers a compelling performance, capturing Miller’s desperation and vulnerability as unsettling events unfold on and off the set. His portrayal of a man teetering on the edge of sanity is both intense and haunting, anchoring the film even when its narrative wavers.

The film’s director, Adam Goldberg, aims for authenticity, pushing Miller to confront past traumas. Goldberg’s character subjects Miller to humiliating treatment, believing this method will enhance the actor’s performance. This approach accelerates Miller’s decline, blurring the boundaries between his role and reality. Goldberg’s portrayal of a director obsessed with his craft adds a layer of unsettling realism to the film, highlighting the often-destructive nature of artistic pursuit.

Ryan Simpkins shines as Anthony’s estranged daughter, who becomes increasingly concerned for her father’s wellbeing. Her interactions with David Hyde Pierce’s character, the film’s priest advisor, provide some of the film’s most poignant moments. Pierce brings a quiet dignity to his role, offering a stark contrast to the chaos surrounding the production.

The origins of The Exorcism are deeply personal for director Joshua John Miller. Drawing from his childhood experiences and his father Jason Miller’s role in The Exorcist, Joshua infuses the film with a sense of inherited dread. The lore of cursed films, combined with his father’s haunting tales, provides a rich backdrop for the story. Unfortunately, this intriguing foundation is not enough to sustain the film’s uneven execution.

One of the major issues with The Exorcism is its struggle to find the right tone. The film oscillates between psychological horror and supernatural thriller, but it fails to fully commit to either genre. This indecision results in a lack of cohesive energy, making it difficult for the audience to stay engaged. Moments that should be terrifying are often undercut by awkward transitions or misplaced humor, diminishing the overall impact.

Additionally, while the film attempts to explore deep themes such as addiction, trauma, and the nature of performance, these elements are not sufficiently developed. The narrative often feels disjointed, with important plot points and character motivations left unexplored. As a result, the emotional weight of Anthony’s journey is diluted, and the story’s potential remains unfulfilled.

The cinematography and production design, while competent, do not compensate for the film’s narrative shortcomings. The atmosphere is suitably eerie, and there are some visually striking scenes, particularly those set within the film’s fictional exorcism. However, these moments are sporadic and fail to create a sustained sense of dread.

In conclusion, The Exorcism is a film with a strong concept and commendable performances, particularly from Russell Crowe and Ryan Simpkins. However, it falters in its execution, unable to maintain a consistent tone or fully develop its intriguing themes. While it offers glimpses of what could have been a gripping psychological horror, it ultimately falls short, leaving viewers with a sense of missed opportunity.

The Prognosis:

The Exorcism is a testament to the power of strong performances, but it also serves as a reminder that even the best actors cannot save a film from poor execution. Joshua John Miller’s personal connection to the material adds depth, but the film’s tonal inconsistencies and narrative flaws prevent it from reaching its full potential.

  • Saul Muerte