Category Archives: Movie review

Movie review: My Best Friend’s Exorcism

03 Monday Oct 2022

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Grady Hendrix has made a name for himself in the teen horror novel genre and added his penmanship to recent features for Mohawk and Satanic Panic. His popular novel My Best Friend’s Exorcism has received a feature treatment and is currently available to stream on Amazon Prime.

Marked, rightfully as The Exorcist meets Heathers, MBFE utilises the nostalgic feels of the 80s through music, American high school issues, and the verbal language and cusses that wouldn’t see the light of day if set in current times. It’s excellently handled by director Damon Thomas, combined with the cinematography by Rob Givens who offer a film that looks retro whilst still resonating with a modern audience.

Part of its appeal comes from the friendship between Abby (Elsie Fisher – Texas Chainsaw Massacre (2022)) and Gretchen (Amiah Miller – Lights Out), a tighter than tight unity where they laugh at each others jokes, the love for Boy George, The Thorn Birds and ET, cookies and cream frozen yoghurt and all the small things that bind them are put to the test. 

Once the scene is set, addressing Abby’s awkwardness against Gretchen’s confidence in an angsty environment, where outsiders are treated with contempt; our lead protagonists venture into an abandoned summer house under the influence of LSD, get separated when Gretchen gets violated and consumed by a demonic presence. 

Now Abby must find her own confidence in the face of adversity and tackle the turmoil of high school trauma and address conflicts both inward and outward and rescue her best friend along the way. This all comes with a test on her own presence, where both friends must exorcise different kinds of demons to reach a well fought out conclusion.

The Prognosis:

The 80s nostalgic vibe with nods to the horror elements of the time deserve high praise and hook you into the narrative with relative ease. It’s not groundbreaking stuff but the fun elements outweigh any concerns here, My Best Friend’s Exorcism is an enjoyable teen horror that will appeal to a wide audience.

  • Saul Muerte

My Best Friend’s Exorcism is currently available to stream on Amazon Prime.

Movie review: Bodies, Bodies, Bodies (2022)

02 Sunday Oct 2022

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Halina Reijns’ follow up feature to her confrontational drama Instinct taps into the darker comedic vein and delivers a modern equivalent to the vacuous nature of Bret Easton Ellis’ Less Than Zero mixed with some serious slasher vibes. Like the 1980s novel, the screenplay to Bodies, Bodies, Bodies by Sarah DeLappe  flirts with the hollow void of the youth, searching for something to fill their lives through sex and drugs, but finding the emptiness still resides. Here the narrative sets the group of misguided adolescents buker down together in a mansion during a hurricane (itself a metaphor for the turmoil that surrounds them the outside world forcing them to look inside themselves) and play a murder game similar to wink murder, but with drastic consequences.

At first it all feels typical of a party where rules are inconsequential; the liquor flows and the lines of illicit consumption begins, plus the dalliance of emotions ripple beneath the surface as old friends play out familiar roles to settle in for the night. 

New to the group is Bee (Maria Bakalova), introduced by her girlfriend Sophie (Amandla Stenberg) and at first struggles to find the comfort spot amongst an already tight batch. What may seem a united camaraderie soon comes unstuck however when the secrets or quashed emotions rise to the surface and the true feelings bubble over amounting to a sea of carnage and mistrust. 

The shift in tone amounts when David (Peter Davidson), who lives in the mansion and is a childhood friend to Sophie is found dead with a slash to his throat caused by a kukri, All eyes turn on each other, starting with Greg (Lee Pace) the boyfriend to Alice (Rachel Sennott) and like Bee an outsider to the collective. Suspicions soo escalate further among them as old wounds are addressed and the body count rises. 

The Prognosis:

Bodies, Bodies, Bodies is another strong delivery from A24 Films, which delicately plays with a murder mystery in an incestuous minefield of youthful emotions. Rejin constantly questions the role that the Gen Z have in finding their place in the world. Where do loyalties lie? And what happens when trust is no longer apparent?

It’s a fun and enjoyable ride, which may not necessarily tread new territory in the realms of horror but don’t let that deter you.

  • Saul Muerte

Movie review: Raven’s Hollow (2022)

22 Thursday Sep 2022

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For the first 20 minutes Raven’s Hollow falls dangerously into made for tv territory, but not in a high standard way. Then it shifts into something that is something of note. Yes, the standard isn’t high and the CGI suffers a little, but beneath the surface is an interesting concept with solid performances to support this idea.

The fictionalised account of writer, poet Edgar Allan Poe’s military career as he leads a quartet of cadets through upstate New York when they encounter an isolated  community harbouring a  paganistic secret. These visions and events will eventually inspire his writing profession down the track. 

Poe (William Moseley – The Chronicles of Narnia) and the cadets are drawn to the strange titular town when they find a man that appears to have been sacrificed by some occult. Cue lots of witchery, cult-like behaviour, combined with a raven-like creature that appears to have a strong hold over the settlement.

Poe soon takes on an investigative role to uncover the truth about the mysterious happenings of Raven’s Hollow and in doing so, ignites the narrative a little, drawing the audience in. 

The array of townsfolk on display from the talents of Melanie Zanetti, David Hayman, and Kate Dickie add strength to the mix and along with it, an air of mystery that surrounds them. 

As the bodies start to pile up, so does the pressure to solve the case and end the curse.

The Prognosis:

The premise is enough of a hook for a movie which admittedly suffers under a shaky execution. This is more down to budget restraints though than poor production. The story holds true with enough twists and turns, supported by an able cast that bring about intrigue and supernatural elements to tie you to the story’s end.

  • Saul Muerte

Raven’s Hollow is currently streaming on Shudder.  

Movie review: Shapeless (2022)

22 Thursday Sep 2022

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Shapeless is a movie that strides to tackle an important and quintessential topic in society and tell that tale through a horror narrative. The subject is eating disorders and the physical and psychological impact it has on a person.

Our focus is through protagonist Ivy (Kelly Murtagh – Bingo Hell), a singer in the underground New Orleans scene. The pressures of keeping on track with her day job and juggling this with her passion starts to take its toll and Ivy starts to turn inward, focusing on her image and emotional attachment to achieving the ‘perfect’ lifestyle.

It’s clear that the topic is something that Director Samantha Aldana feels close to and pays due time and attention that it deserves. This tied in with Murtagh’s writing attributes equal ties in with the dedication that she has to showing her take on the theme.

The visuals provided by cinematographer Natalie Kingston (The Wolf of Snow Hollow) are also stunning and effective to project the ambience and tone throughout the film.
The issue is that there is a lot of marinating going on with little effect or substance to keep the audience hooked, and as a result, we’re left wilting as a result.

The Prognosis:

While this isn’t an out and out horror, the real life issue that plays centre stage is given due attention. Eating disorders are often left out of the popular conversation and thought of as taboo, so it is a testament to both Aldana and Murtagh to produce a film that takes this on and brings to the fore. What it lacks though is enough validity for it to have a grounding impact. Some more time and attention on this would have made a solid movie, instead it stills a little in mediocre-ville.

  • Saul Muerte

Shapeless is currently available on VOD (Google TV, Apple TV and Microsoft Store).

Movie review: Goodnight Mommy (2022)

15 Thursday Sep 2022

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Horror cinephiles would be deeply aware of the Austrian psychological trauma film released back in 2014 that made a significant impact on the genre. For those not in the know on why such a ripple was made, it’s hard to discuss without talking about the specific shift in narrative, that puts a completely different spin on our initial perception. It is this combined with the unsettling tension imbued throughout that resonates after viewing and lifts it out of the quagmire of predictability.

So in the throes of continuing remakes of European films that have struck a chord in the outer ridges of the popular mainstream, Goodnight Mommy gets its own turn in the limelight. 

Charged with carrying out this vision is Director Matt Sobel who also has the luxury of Naomi Watts as his lead. Apparently this is her 9th film which is a remake. I’ll have to cross check that one though as I can only think of The Ring off the tip of my head.

What I can say about Goodnight Mommy though is that the film centres on two twins, Elias and Lucas (Cameron and Nicholas Crovettii) who return back to their mothers care. At this stage it is not known why they have been absent but there’s enough uncertainty there to instil a sense of doubt about their mother and one the audience harbours along with them. It doesn’t help that their mother is predominantly masked due to recovering from surgery. A haunting image that evokes fear, tantalising playing with our emotional responses to the situation as it unfolds.  The mystery and mounting tension escalates to the point of desperation to seek the truth about what happened but Elias and Lucas’ pursuit will come at a price. 

The Prognosis:

It treads a similar line to the original but utilises all of its strengths to provide a decent psychological flick. Naomi Watts is particularly solid, playing a convoluted mother with juxtaposing positions, swinging between neglectful and cold, with loving and protective.

The dalliance of drifting towards the unknown and being fearful of the truth is pitched well from beginning to end, delivering a well paced story, playing with perspectives from all sides.

  • Saul Muerte

Goodnight Mommy is currently streaming on Amazon Prime.

Movie review Saloum (2022)

11 Sunday Sep 2022

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Hats off to Shudder in building a platform that showcases the global lens of the horror genre. With The Sadness; On The 3rd Day; Good Madam; and Moloch all depicting a wide variety of voices to vent their individual plights. The latest offering on the Exclusive and Original platform , Saloum sets the scene predominantly in the East African countries of Senegal, Sierra Leone, and Guinea Bissau. 

The story itself centres on a trio of legendary mercenaries known as the Bangui Hyenas – Chaka, Rafa, and Midnight. The symbolism of the number three holds strong throughout human history, bringing harmony, wisdom and understanding together. United the Bangui Hyenas present a strong front, and must lay low after extracting a drug lord out of the country. It is the breaking of the three that presents their greatest plight however, when it is revealed that Chaka harbours a secret of his own, that may or may not bring them to ruin. One that ties in with the mysticism that surrounds their choice of sanctuary; and will unleash an entity that will consume all in its path.

The Prognosis:

There is a lot to get your head around in this flick from Director Jean Luc Herbuot, as he switches up genres with the same pace that he enacts his vision. The frenetic energy combined with the beautiful landscape shots lie in contrast to the dark residual energy that lies beneath the surface; one that fuels the East African history and sees the mercenaries carrying the mental and physical scars that their land has ingrained in them through the past, present and possible future, 

The weight is certainly felt, but not to the detriment of the narrative. With strong performances from all the cast, Saloum both lulls you into a sense of calm whilst ripping you up through its core as the turmoil is unshackled, so that the healing can begin.

  • Saul Muerte

Saloum is currently screening on Shudder ANZ.

Movie review: The Retaliators (2022)

08 Thursday Sep 2022

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In The Retaliators, Directors Samuel Gonzalez Jr, Michael Lombardi (who also stars), and Bridget Smith paint a world consumed with hatred, where all the characters are intoxified by fear, rage, and an array of negative emotions.
Its one bastion of hope comes in the form of the local pastor (Lombardi), a man who is continuously put to the test throughout the film to push his character to the limits of his saintly demeanour.
His world already squashed in this unforgiving landscape, living as a single parent, raising two daughters and hanging onto lifes thin line, becomes further frayed when his eldest daughter, Sarah (Katie Kelly) is brutally killed by one of humanity’s epitome of sin, Ram Kady (Joseph Gatt).

As the trailer teases, what would you do when posed with the option to spend one minute with your daughters’ killer? How far across the line of transgression would you be willing to take yourself in the name of vengeance? And how will this affect your own character or sense of morale, when you do choose to take this path? Our pastor is presented with just this kind of opportunity by brow-beaten and world-weary detective Jed (Marc Menchaca) and with it a wake of carnage and mayhem ensues.

The Prognosis:

Despite its vengeful premise, The Retaliators is a pot-boiler of a movie, allowing time for our protagonist to go through the wringer of emotions, building up his character in a tormented world before unleashing his full fury at this demented place. Quite rightfully, this allows the audience to seep into the purification of the setting and forces us to identify with the protagonist’s plight before embellishing in the justification of his actions. The turmoil is angst-ridden and repeatedly questions the merits of a good man, one who is without sin, when choosing to cast the first sinful stone in the name of revenge. Is the ‘Eye for an eye’ token grounds for vindication when the world is filled with sin and the deprecation of sinners?

This is a great conundrum to set the tone of the film, and when the fury is unleashed, the audience (who in no doubt have come to witness the carnage) are gifted with their own cathartic release. It helps that the soundtrack is seriously kick ass, fueling all these emotions in a bottleneck of rock from the genre’s key players.

  • Saul Muerte

The Retaliators is screening in cinemas nationally on the 14th and 16th September 2022 with a streaming release from the 21st October 2022.

Movie review: The Invitation (2022)

07 Wednesday Sep 2022

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The lure of Dracula entices moviegoers to the cineplex once more with this latest adaptation of Bram Stoker’s tale. This time the setting has a modern approach with the idea that the notorious nosferatu has been living all this time and set up his abode in new Carfax Abbey.
The wheels that turn in order to pull us into the narrative are a little slow and cumbersome, placing our focus on orphan,  Evie Jackson (Nathalie Emmanuel) who resides in New York, struggling to make ends meet in the catering business, when she receives the result of a DNA test through a new software programme. This leads to a connection with an estranged cousin and his family who live in England, and the promise of another life with wealth and romance to entice her further into their world. So Evie and her streetwise ways land her in prominent society into the path of Walter De Ville (Thomas Doherty), the charismatic lord of the manor. Behind the visage though is something more sinister with old world rules at play.

Australian director, Jessica M. Thompson does well to craft this new vision of an age-old Gothic tale for her sophomore feature length outing, but it has to be said that the writing is clumsy and falls prey to cliches all too often. There are bold attempts at providing this fresh spin, but in doing so, there are choices made that leave one groaning in response. Perhaps I am showing my age, but The Invitation succumbs to modern trappings, where some of the details and depth are glossed over for the sake of image, but this comes at the destruction of the story’s essence. As such, one is more likely to fall into a sense of lull as we are guided through each of the steps towards the film’s climax.

The ending even feels a little mismatched too, as if trying to force a potential franchise out of this. The way it is handled makes no sense whatsoever. If it were not for Emmanuel’s performance, who is once again showing that she is a force to reckon with on screen and more than deserves the lead status here, this film would be positively dormant with no hope of resurrection throughout. 

The Prognosis:

The Invitation is a bold attempt at reinventing an old tale for a modern audience. Its delivery however leaves you wanting, missing the mark on numerous occasions. Nathalie Emmmanuel shines in an otherwise lacklustre narrative that rests too easily on its laurels, failing to drive the direction into a riveting new place.

  • Saul Muerte

Movie review: Who Invited Them (2022)

30 Tuesday Aug 2022

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Having watched Shudder’s latest exclusive and original feature, Who Invited Them, I was immediately struck with how much I dig Ryan Hansen as a performer. Here he plays Adam, one half of a couple who have recently bought well into an influential neighbourhood. Now wanting to show off this asset, Adam and Margo (Melissa Tang) throw a housewarming party to celebrate with friends and who they consider to be the social elite from their contacts. 

Beneath this affable exterior however is a more sinister and unsettling characteristic that they both share, and it is this that writer, director Duncan Birmingham, along with the mysterious “neighbours” Sasha (Perry Mattfeld) and Tom (Timothy Granaderos) wish to expose.

Once the party has settled, Sasha and Tom hang back and slowly work together to find the cracks and flaws in Ryan and Margo’s world to break them. At first, they tease and play with their would-be victims, like predators toying with their prey. Soon, they begin to dial up the trauma and crank up the tension between them all.

The Prognosis:

It’s fairly slow-paced, but Birmingham’s exposure of society under the lens of a wealth facade is delicately tweaked out to a macabre and destructive end.

Where it mars a little, it’s in some of the forced performances that at times don’t ring true (Hansen excluded) and this jars the flow of the dialogue in places. There are some nice comical moments in the mix of the lurid lamentations. It leans heavily into the unbelievable by the films’ end which some may embrace and others will turn away from.

  • Saul Muerte

Who Invited Them? is steaming on Shudder from Thurs 1st Aug.

Movie review: Crimes of the Future (2022)

27 Saturday Aug 2022

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For a director considered one of a kind, and creating a unique vision for film with the birth of venereal horror, it seems interesting that David Cronenberg should return to the horror genre having been absent from the scene for 23 years. And yet, his latest entry, Crimes of the Future, (which shares the same title as his 1970 feature, but there the similarity ends) bears all the hallmarks of these earlier films in his canon of work combined with his more recent and psychological ventures. Where Cronenberg built his name through the physical and sensual characteristics of humanity, his other fascination in the metaphysical realm and human psyche has risen to the fore. 

There are familiar themes at play here with the advancements of humanity through biotechnology in this instance, but still the harbouring of infectious disease to remind us of our own frailty. The twist though is that infectious disease has been eradicated and humankind has been left with pushing the boundaries of morality without the risk of harm that can come about through surgical measures. These actions are now considered an art form; Cronenberg’s playground, a balance of art and physical horror with an intellectual bent, firmly in the mix. Confrontation is always at the heart of Cronenberg’s features, his curiosity to look at the way we shift and squirm a prime scrutiny of his work. In the opening scenes Crimes of the Future forces us into the realms of discomfort when a mother smothers her child with a pillow because she believes him to be inhuman.

In the film’s journey, we primarily follow Saul Tenser (Viggo Mortensen), who has an accelerated evolution syndrome, where he can develop new internal organs. This leads him to perform live surgical procedures carried out by his partner Caprice (Lea Seydoux). Much like Max Renn in Videodrome, Tenser is driven by his pursuit of truth and this exploration spirals deeper into a loss of control and a fatal resolution.

Tenser weaves his way through an investigation that sees him employed by a governmental agency to infiltrate a group of radicals. This sees him rub shoulders with the National Organ Registry where Timlin (Kristen Stewart) and Wippet (Don McKellar) work. Timlin is immediately enamoured by Tenser and is sexually drawn to him. 

There’s also Lang (Scott Speedman) who is the father of the afore-mentioned boy killed by his mother. Lang’s story is also a tragic one, driven to investigate his son’s condition that allowed him to consume plastics with no detriment to the human body. 

All these avenues intertwine into one complete examination of the human soul, immersed in a world where the physical is no longer a barrier. With no obstacles in place, what does it mean to be human? A question that continues to guide Cronenberg’s pursuit.

The Prognosis:

Mortality is and always be the vessel of David Cronenberg’s interests, be it through venereal horror, metaphysical horror, or sensual and intellectual obsessions. His latest vehicle is a culmination of them all, and through his uniqueness Cronenberg manages to project potentially his most complete image of himself, but in doing so, some of that identity gets lost in this portrayal. Without the edges; Without the pointy edges of quirkiness; David Cronenberg, much like his own lead characters, Max Renn; Seth Brundle; Beverly and Elliot Mantle, become lost in his pursuits and finds his own personality engulfed into obscurity.  Yet I still find myself drawn by his vision.

  • Saul Muerte