Category Archives: Movie review

Movie review: Titane (2021)

17 Friday Dec 2021

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Since Julia Ducournau’s debut feature Raw was released back in 2016 and marked my favourite movie of the year, I’ve been keen to see what she would produce next. Titane has been critically lauded and Ducournau has picked up the Palme d’Or for her thought provoking and confrontational body horror film.

So while this has resonated with a certain audience tailored to a more highbrow concept, how does this relate to the general public?

It’s a film that buries itself deeply into the trauma of its narrative. From this the true horror of human conditioning is on screen and Ducournau never shies away from the impact that this has on not just the central character but also for those that associate with her.

Our lead protagonist Alexia, (played by Agathe Rousselle) has survived a horrific car accident as a child and was fitted with a titanium plate as part of her recovery. The physical surgery scar is often on display as a constant reminder of the burden that this episode has had on Alexia. The result of which leads her on an internal struggle that leads her towards a level of hypersexuality that often eventuate in violent ends. Agatha’s sexual awakening is one born out of depression, anxiety, and oppression that is heavily drawn through a feeling of shame about her own identity and the feelings that she is experiencing that cannot be contained. Instead these emotions spill outward and are often enacted on those she is having a sexual experience with.

After essentially going on a killing spree to mask this oversensualised feelings, she finds salvage in her own automobile, to come full circle with the instrument of her torment and is encapsulated through gratification. This however has its own ramifications as Alexia fall pregnant and appears to be secrete motor oil from her vagina and her bodily transformations suggests that she has fallen pregnant as a result of her automobile encounter. This forces Alexia to go into hiding by masking her own feminity.

The masculisation of her character is an act out of desperation. With no connection to society, Alexia becomes a lonely island who seeks refuge in the only place that will accept her new form, as Adrien, a boy who disappeared 10 years ago. Adrien’s father Vincent (Vincent Lindon) a man healing from his own trauma from losing his son, is only too willing to accept the mirage that has entered back into his fold, and a male dominated world of firefighting. As is often the way it is the broken who can heal one another. Trauma, however can never be masked and no matter how hard you try to mask it, if left untreated the effects will find a way of coming to the surface.

The prognosis:

Director Julia Ducournau has gone on record stating that this film is not a horror movie. And while this may be true in terms of what we consider the horror genre to contain, Titane carries some horrific elements of brandishing the scars that trauma can have.

The journey that Alexia takes is a brutal one that not only sheds light on what trauma can do to a person, but more importantly the extremes that a woman must endure in order to be accepted, in this case to the detriment of her own femininity. A theme that Julia Ducournau explores well and places Titane as one of my contenders for film of the year.

– Saul Muerte

Movie review: Death Valley (2021)

11 Saturday Dec 2021

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When two mercenaries head out for one last gig with the promise that it will set them up for life, they soon find out that it may cost them their lives

Death Valley is about as formulaic a movie as they come but it is slightly elevated due to the time and dedication to its lead characters, in spite of how two dimensional that come across, they’re still entertaining with their odd couple buddy routine

There’s Mr. Serious, play things by the book and the soldier who comes up with the plans, James Beckett (Jeremy Nibaber), plus he’s a family man 

And there’s the joker, cowboy who is struggling to reach maturity and always resorts to wise cracks, Marshall (Ethan Mitchell). Thankfully he’s a crack shot sniper who delivers when things come to the crunch.

Their latest mission sees the duo answering the call from a female scientist who holds secret information which if it falls into the wrong hands will spell certain doom for mankind.

Naturally when they reach the remote laboratory bunker, they discover that all is not what it seems and several things are stalking them in the underground warren.

The creatures hold a pretty cool design and provide enough fear to instill a sense of dread and the desire to complete their mission and find freedom. This is amped even moreso wit the threat of a militia who will stop at nothing to bring the science experiments to an end.

The prognosis:

Death Valley may be prone to predictability and could easily fall foul as a result, but what is presented is mildly entertaining and ticks along at a descent pace.

Just don’t be surprised by the cheap choice ending and the dialogue which can be ropey at times.

  • Saul Muerte

Death Valley is currently streaming on ShudderANZ.

Movie review: The Advent Calendar

11 Saturday Dec 2021

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Who doesn’t love a bit of festive horror?

And there’s plenty to like about this French horror thriller from director Patrick Ridremont.

Eugenie Derouand stars as Eva, a paraplegic who receives a mysterious box in the guise of the titular advent calendar from her friend Sophie (Honorine Magnier). As expected with ominous gifts with offers of treats that stretch from confectionary to real life rewards, there will be repercussions.  The question though is whether the benefits outweigh these hindrances? How much is one willing to salvage for a better chance at life? For Eva, this temptation proves too great, but how far is she willing to go?

There are three rules to follow.

Eat all the chocolate… Or die.

Do every task given… Or die.

And don’t dump the advent calendar… Or…you guessed it. You die.

The premise is pretty straight up and the performances are solid across the board, allowing the viewer to step into the narrative easily. We’re even presented with a nicely stylised creature who lurks from within the box and comes out when rules are broken or when sacrifices need to be made. This helps ramp up the tension suitably, hooking you further into the drama. And sure enough when things go sour, it does so that stays firmly in believability. A tough thing to do when you’re playing in the realms of fantasy.

The prognosis:

A solid feature with some nice moments that entertains despite some predictable moments.

It helps that the performances from the leads are strong to fuel the the loss of control as the drama unfolds.

  • Saul Muerte

The Advent Calendar is currently streaming on ShudderANZ

Movie review: The Strings

10 Friday Dec 2021

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On paper, this movie reads like the perfect recipe for a haunted house drama. We follow musician, Catherine (Teagan Johnston), who is looking to tap into musical musings as she delves into a creative spell to produce her latest album. In order to do so, she retreats to a secluded cottage in the middle of nowhere. While there the audience is promised that Catherine is going to be attacked by a mysterious dark presence. What we are presented with however are long drawn out sequences where Catherine tinkers with the ivories.

Some have argued that part of the film’s beauty is through the cinematography and the slow burn descent of Catherine’s journey into her creativity and the threat that isolation has on her soul. Equally though, one could debate that this journey ironically renders the journey, soulless.

It’s perhaps no surprise that the film is presented in such a way when you look at the type of artist that Teagan Johnston is. Johnston’s music is typically filled with a raw energy that is deliberately haunting in places, and this stripped down approach is evident also throughout the film which is essentially a showpiece for Johnston’s work and an insight into her creativity.

The problem is that this kind of film, with its high art concepts, struggles under the weight of its premise and there’s a difference between a slow burn and the smouldering ashes of a near dormant fire. It simply doesn’t connect with its audience and pushes them away rather than draws you in.

The Prognosis:

Possibly one for followers of Teagan Johnston’s music and creative expression.
For me though, it’s a massive misfire and one of the hardest movies that I’ve sat through this year.

Too slow and with nothing really to say other than to wallow in melancholy.

  • Saul Muerte

The Strings is currently screening on Shudder.

Movie review – Resident Evil: Welcome to Raccoon City

10 Friday Dec 2021

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Having recently delved back into the hive with Paul W. S. Anderson’s Resident Evil imaginings, a total of six films to date either in the director’s chair or serving as an Executive Producer, I began to wonder if the Milla Jovovich’s Alice character had potentially killed the film screen franchise. Don’t get me wrong, when the original feature was released back in 2002, I was hooked by both her and the film’s appeal. Time however has not been kind and the feature suffers a little with age, pushing it into watchable terrain, rather than a don’t miss out classic. It doesn’t help that the five films that would follow (which at first leant weight to the premise) has been dampened by the twists and turns, and creative license taken in order to keep the franchise alive. In their progress to elevate the franchise, the creative team had inadvertently… infected it… ahem…

So, rather than put a band aid over it, and march on regardless, the only choice left was to give it the dreaded reboot. But will this be for good or ill?

Without Anderson at the creative helm, the Director’s chair is left vacant for someone to breathe new life into the survival action horror that coined the term. In many ways the successor, Johannes Roberts was the perfect choice having an uncanny knack of tapping into the nostalgic vein, especially with The Strangers: Prey At Night. At least when it comes to invoking the music and creating some wicked soundtracks along the way. Here is no exception as Roberts presents a film that satisfies that old feeling that was conjured up for those who lived the original experiences. Roberts is also a master at creating atmosphere, again witnessed in his 47 Meters Down film series.

The soundtrack from the game that Resident Evil is based upon hums nicely in the background to help scintillate those senses. Combined with the characters and the setting of Raccoon City that made the game such a household hit. These characters from their kernel structure is a welcome sight with Special Tactics And Rescue Service (S.T.A.R.S) playable characters Chris Redfield (Robbie Amell) and Jill Valentine (Hannah John-Kamen); double agent Albert Wesker (Tom Hopper); rookie Leon Kennedy (Avon Jogia); Claire Redfield (Kaya Scodelario), who serves as our main protagonist returning to Raccoon City to face olde demons and getting more than she bargained for; and a host of other cameos along the way including a sneaky one at the end so make sure you stick around for that. 

The Prognosis:

While it was cool to have these moments of yesteryear created on the big screen, with a notable stand out scene from rampaging zombies inside a darkened Spencer Mansion, lit up by gunfire… a nice touch. The problem though and behind the rose-tinted glasses is another case of style over substance. The characters are present, but there’s not enough development beneath the surface as they tick off their action sequences before moving onto the next one. And while there is the odd atmospheric moment, it doesn’t go much beyond the chords of Moonlight Sonata. 

It’s strangely odd that despite six installments, this reboot had to retread old ground to find its feet again, and in doing so becomes a bit of a misbeat. It entertains enough but falls short of making a significant mark. 

  • Saul Muerte

Movie review: Malignant (2021)

05 Friday Nov 2021

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Here’s the thing.

I’m a huge fan of James Wan’s previous work and in particular when he skews his lense with horror gaze.

There’s little wonder that he has so finely tuned his craft that franchises have been born from his visions, be it Saw; Insidious; or The Conjuring. I have no doubt that given the box office pull that Malignant received that there is a high chance that this too will go through similar motions.

There are a number of critics that have lapped up this latest outing from Wan, citing it as a bonkers masterpiece, but I personally struggle with this depiction, as my response to the film was one so jarring and disjointed that I felt constantly thrown out of the narrative, grappling to find something that I could connect with.

I guess that this detachment I felt was primarily the same reason that some people were praising the film. Wan and screenwriter Akela Cooper have fused a number of subgenres together to create a unique style in their storytelling. One of the most notable of these subgenres is giallo; an italian thriller and visually stunning movement that was spearheaded by Dario Argento, Mario Bava, and Lucio Fulci to name but a few.

I can’t fault the attempt in developing these styles to create what appears to be its own thing, and perhaps this is where the applause comes in, but scratch beneath the surface, the film suffers for having more style than substance. The narrative just doesn’t stick and the dialogue is incredibly ropey.

The concept itself reminded me of a hyper-realistic version of Stephen King’s The Dark Half with the whole conjoined twins thing, where the rejected disembodied twin’s dark energy resides from within, drawing forth all its negativity to enact revenge against those who conspired against him. 

In this instance, Maddison (Annabelle Wallis) is having nightmares of people being killed only to find that the next day that these dreams are reality. She is also on the verge of a breakdown, where she is slipping from the world and questioning everything that is going on around her. We slowly learn that there is more than meets the eye with her visions, and Maddison along with her sister, Sydney Lake (Maddison Hasson) try to uncover the truth behind it all, Their quest leads them to a crazed and unthinkable conclusion that may put both their lives at risk.
 

The Diagnosis:

At its heart, Malignant is heralded by a visionary director in James Wan, who continues to push the boundaries of filmmaking. And here he presents a palette of genres in the offering.

The result however is a curious mix that never fully resonates on screen; a case of where the heart and mind doesn’t necessarily communicate with each other.

There are glimmers of brilliance, but too often this is overshadowed by the visual flair which is laid on thickly, It comes down to a question of taste, and for me, for once Wan’s latest outing was too hard to swallow.

– Saul Muerte

Movie review: Halloween Kills (2021)

03 Wednesday Nov 2021

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It seems an age ago when David Gordon Green and Danny McBride did the impossible and reignited a struggling franchise, bringing a much more brutal Michael Myers to the screen in Halloween. 

The main question posed to the creative team here though is, could they repeat the success of its predecessor?

To answer this, I draw on the Surgeons 6 rules to making a good sequel.

1. ​​Identify the ideas, themes & executional elements that make the first film great.  Or at least good.  Or at least worthy of being sequelised.

Part of its appeal alongside the sheer force of The Shape carving his way through Haddonfield once again, juxtaposed by the fragility and strength of Laurie Strode, magnificently portrayed by Jamie Lee Curtis, was how the film played to the damaging effects that trauma has on humanity, and how some condition themselves to the impact that this has had on their lives.

Where Halloween 2018 leaned into early stages of trauma through the eyes of the Strode family, who are in complete denial, numbed to the exposure that Laurie’s turmoil has taken, or through the taking on the pain and guilt of surviving such an ordeal, the latest outing needs to take this to the next level, Anger and Bargaining. The only problem with these emotions is that there isn’t a lot on the dial to play with. Each character that embodies these emotions invariably meet their grisly end as a result. Not that this completely squashes the narrative however, as the re-introduced character of Tommy Doyle (Anthony Michael Hall) who leads a vigilante group on a mission to end evil and kill Myers for good. It certainly shines a light on the consequences that a mob mentality can have when confronting trauma. Brute force against brute force will always lead to ruin where there are no winners.

It’s biggest strength is in its central antagonist, Michael, who never holds back, continuing the theme from the 2018 feature. As it should be. He is and will always be the draw card to the franchise, and I’m glad to say that he never disappoints, arguably his portrayal here is one of the finest in the franchise.

It’s other strength from 2018, is with Jamie Lee Curtis.. Every moment she is on screen, you are willing for her to bring the same exhaustive performance. However, she is subjected to a more minor role, still an important one, as between her and the wounded Deputy Frank Hawkins (Will Patton) provide hope through acceptance, through what will be the final step in moving through a traumatic event.


2. Pay homage and do not violate/ignore said ideas and themes and elements                                                  

Here, Green still pays homage to the franchise as a whole, using elements that have played key roles or images that have been instilled from previous films, such as Halloween III: Season of the Witch, with the skeleton, pumpkin, and the witch. The creative team have proven before that they are lovers of the franchise and here is no exception to that rule. So, for this, they continue to immerse the viewer and expand on that sense of nostalgia without causing damage at all.

3. Introduce new/expanded themes, ideas and elements that will NATURALLY ALIGN to your first ideas, themes & elements.
As mentioned, the new elements introduced in this movie expand on the themes of trauma, most notably anger. This feels like a natural cause of action following the 2018 feature. The second part of this trajectory is through bargaining, a trait that is mostly seen through Karen (Judy Greer), in many ways the heart of the movie, pleading with her mother Laurie to listen to reason, desperately trying to save the life of the prison inmate, wrongly identified as Michael. This only makes her actions bittersweet in the face of the movie’s climax, a step that needed to be taken in order for the survivors, whoever they may be, to heal.

4. DO NOT rehash the first film and just give people “more of the same”.

This is where the movie starts to fall down a little.
While it tries to push the story arc along, it fails to resonate a beat and quicken the pulse at all. It is happy to play with the same kind of energy, but in doing so falls flat and starts to feel like it is a filler movie between Halloween and what will ultimately be Halloween Ends.It struggles to shift outside of this and doesn’t deliver as a result.

5. DO NOT-NOT rehash the first film by giving more of the same…. BUT “BIGGER”.

It could be argued here too that they’ve tried to go bigger, and who could blame them, and in part Michael falls into this category. I would counter this though by saying in the very action of attempting to go bigger, they lose sight of the integral components, and the raw energy captured before. It feels a little flat in its execution and disconnects from the viewer.

6. Be a good enough stand-alone film by itself.

And for its final hurdle in our 6 rules for a great sequel, Halloween Kills stumbles.
It fails to be viewed as a stand alone movie as it relies too greatly on its predecessors. It is these movies that allow the feature to stand tall, but take away these crutches, there isn’t a lot left on show.

The Diagnosis:

So, where does that leave things with Halloween Kills?
Well, it manages to execute 3 out of 6 rules successfully, which falls in line with my gut reaction.
I marked it as a little over average and falls short of the previous movie.

Yes, it’s a filler and it might feel more satisfying once Halloween Ends completes that cycle.
Until then, we’re left with a vaguely entertaining movie that tries to satisfy the core fans, some of whom will be content, but others will note the lack of impact that came in 2018.

  • Saul Muerte

Movie review: Dead & Beautiful

01 Monday Nov 2021

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Director David Verbeek leans heavily into the latter part of the film’s title. Strewn with stunning images throughout the Rotterdam cityscape as its backdrop in most places, whilst tantalising with the ‘Dead’ component.

Five rich socialites have gravitated to one another out of their boredom and unfulfilment of life’s medicrity and strive to spice up the dull elements with a shared mixture of experiences that challenge their vices and pushing them to the edge in order to feel something and awaken their dormant souls.

One night out quintet of rich kids descend upon a group of people who practice an ancient ritual that centres on the dark arts and a sacrifice. The group black out and wake to find a corpse and each bear a set of fangs. Instantly they are subjected to the notion that they have been turned into creatures of the night, forced to carry out vampiric means to satiate the growing thirst for blood.

The film flicks and flutters through their stifled emotions as the group becomes restless and unable to comprehend or handle this new way of life. With no guide rope to aid them in these new experiences, they are left flailing into the wind, reaching out for anything that may ground them.

Verbeek successfully captures the strengths and weaknesses of the characters  as they both fall into each other’s embrace or thrust them apart with their responses or actions, amplifying their paranoia or loss of control. All of which slowly builds to a conclusion that leaves you questioning the blurred lines of reality.

The Diagnosis:

Beautifully shot and complex characters intertwine through a deliberately slow narrative giving room to build up the central characters.

It’s a film that plays with manipulation and human conditioning at its core, where nothing is as it seems.

Like the key players, the audience is subjected to a fixed point of view that unravels and is picked apart to the point where you not only feel the trauma of the group, but just when you think you have it figured out, takes you in a completely different direction.

– Saul Muerte

Dead & Beautiful is streaming on Shudder from Thursday 4th November

Movie review: The Medium (2021)

19 Tuesday Oct 2021

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Once more the Asian horror scene rocks the foundations of the genre, this time hailing from a Thai/South Korea production of The Medium and garnering critical acclaim on homegrown shores. Now it has the opportunity to awaken the soul for a ‘western’ audience with the streaming platform Shudder.

The Medium could easily be misjudged however, due its preambling of the story, presented as a dramatised documentary in the vein of a found footage film. The film is shot by a team of documentarians drawn to a north eastern town in Thailand to film a local medium, Nim (​​Sawanee Utoomma) who channels the spiritual deity of Bayan. Bayan has been possessing females in Nim’s family for generations. Interestingly though, (and this is a potentially clue to how the film will end) is that the intended possessed was supposed to be Nim’s sister, Noi, who turned her back on this tradition in favour of Christianity. The rest that follows could be heralded as the fears transpired by spiritual damnation or confused devotion to a conflicted cause. Either option is doomed to a corrupt and foul conclusion.

The film struggles to connect with its audience at first as the screenplay draws out a slow burn through observing Nim’s niece Mink, who starts to show signs of curious behaviour and the hallmarks of multiple personalities. This does not worry Nim however, who initially believes that these traits are the signs that Bayan is about to transfer his soul from her into Mink. Such a promise compels the film crew to start following Mink with some shockingly curious actions from Mink, leading them and the villagers to believe that all is not as it may seem. The more they try to contain her though, the more wild and crazed her actions become to the threat of those closest to her.

The creative team of Director Banjong Pisanthanakun and screenwriter Na Hong-jin finely craft a film that builds in atmosphere and tension, managing to keep it on the right side of dramatic flair without seeping into ridiculousness.

The conclusion is driven with such pace that for those who watch will question who will survive the ordeal when faced with an unknown entity hellbent on destroying them all.

The Diagnosis:

There is plenty to fire the coils of curiosity, but it is a slow ignition to get the heat truly sizzling, and as such takes a while to pull the audience into its simmering turmoil. The advice here is to let yourself soak into the narrative and you’ll be rewarded with a rambunctious and bloody end.

  • Saul Muerte

The Medium is currently streaming on Shudder

Movie review: V/H/S/94

12 Tuesday Oct 2021

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Continuing the found footage short features each directed by a different visionary, sewn together for the VHS movie franchise comes a further instalment entitled V/H/S/94. Much like its predecessors, the audience are presented with a collection of stories framed by an overarching narrative that takes us from one tale to the next.
Charged with encasing these stories is Jennifer Reader’s Holy Hell, a kind of purgatory set in a warehouse filled with various rooms containing television sets displaying static, and cultists who appear to have their eyes gouged out. It sets the tone of the film with a SWAT team going from room to room in search of answers to what took place in this world of anarchy.

From here we are taken to Storm Drain by Chloe Okuno, which follows news reporter Holly Marciano and her cameraman in pursuit of a story through the mysterious ‘ratman’ lurking in the sewers. Is he real or simply a fabricated story by the homeless community living in the depths of the tunnels. Already we start to see commonality with the prologue, with the pursuit of the unknown and the dangers that lurk within as the protagonists venture beyond their means. In this instance Holly stumbles into a story that will change her and perhaps the world forever.

The next story, The Empty Wake is potentially my favourite and with little wonder as it is helmed by Simon Barrett, who was involved in previous VHS instalments and some of the mumblegore feathers such as You’re Next and The Guest. It’s a simple but effective story with Halley assigned to oversee a wake at a funeral home, where the corpse may or may not actually be completely dead. To raise the tensions, a thunderstorm hits, plunging Hailey into darkness. Filled with humour and fear, a fine balancing act is played out effectively.

Another VHS contributor, Timo Tjahjanto delivers the next short feature with The Subject, which is also equally as efficacious. It’s a warped and twisted version of the Frankenstein-like subject of creating humanity but with the fusion of technology. This is thrust front and centre as we bear witness to a disembodied human head attached with robotic spider legs. The creator of this abomination is Dr James Suhendra, hellbent on carrying through his vision. When at first it appears he is successful with Subject 99, the gods have other plans, and humans are in turn subjected to their own destruction.

The last short, Terror directed by Ryan Prows is one that follows a militia, who are invested in ridding America of evil. Their extremist views them to enact torture on a man whose blood holds some curious symptoms where it can explode in sunlight. They begin to run tests, but fuelled by booze and absent-mindedness, the group bite off more than they can chew, and must then fend themselves against an evil they may not be able to contain.

The final scenes bring us back to the epilogue with Holy Hell, where the true masterminds behind the collection of macabre videotapes is revealed. 

The Diagnosis:

Each story that is presented is weighted in individualistic style, connected by a common theme. Some are admittedly delivered more effectively than others, but each are united with enough substance to ensnare the audience and to show humanity at its darkest hour.

  • Saul Muerte

V/H/S/94 is currently streaming on Shudder