Category Archives: Movie review

Candyman (2021)

25 Wednesday Aug 2021

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It’s been with much anticipation that I’ve been waiting for a return trip to Cabrini-Green and one that doesn’t sour the original feature directed by Bernard Rose based on the Novella by Clive Barker was released back in 1992.  
Where Freddy Krueger haunted my dreams and ignited my love of horror, Candyman pushed me deeper into the genre and I’ve been… (ahem) hooked on it ever since.

Just check out our thoughts on the original movie below:

Surgeons of Horror podcast: Candyman (1992)

From the creative mindset of Jordan Peele (Get Out, Us), Win Rosenfeld (The Twilight Zone), and Director Nia DaCosta (Crossing The Line) we are presented with a ‘spiritual’ sequel.
It’s clear from the get-go that this film won’t exactly walk the same route as its predecessor with the inverted shots of skyscrapers shot from beneath, looking up to a foggy skyline, in juxtaposition to Bernard Rose’s helicopter shots over an expansive cityscape.
While this latest offering trips over a little in bringing our central characters into the mythology surrounding Daniel Robataille, which may disappoint devotees, but those that are familiar with Peele’s work (myself included among them) will soon succumb to this interpretation.
In effect, the key component that really makes the 2021 version a must-see movie, is that it takes the Barker/Rose vision one step further and gives ownership to the titular character to Black America and its history.
Where the story behind Robitaille, Helen Lyle, and Cabrini-Green is the stuff of legend, it is one of many that has embedded itself in America’s racial divide. With each passing generation, the scars have been etched over the years and with every Daniel Robataille, there’s a Sherman Fields. The physical and mental weight has taken its toll and is ripe for the Candyman to return and leave a path of bloody retribution.

Where DaCosta casts the narrative this time around we follow struggling artist Anthony McCoy (Yahya Abdul-Mateen II – Us, Aquaman), a name that may be familiar to some. In order to reawaken his artistic expression, McCoy discovers the true story behind Candyman and in doing so, rekindles the horrors that lurk just beneath the surface. Just as it seeps out of the woodwork of Cabrini-Green and out of the mirror, Candyman breathes new life and old fears into the neighbourhood whilst affecting the souls of those closest to his awakening.

The Diagnosis:

All the cast deserve high praise, standing alongside Abdul-Mateen II is Teyonah Parris as his partner, Brianna; Nathan Stewart-Jarrett as her brother, Troy; Colman Domingo (Fear the Walking Dead) as the keeper of the legend, William Burke; and Vanessa Williams reprising her role of Anne-Marie. 

It is the myth that really shines through here though and the artistic expression from a bold and creative team to take it in a direction that is not only a powerful commentary on the state of our times, but an important one.
It’s not perfect, but it’s as near as and earmarks a new chapter in the Candyman legend; one that may herald more stories to come.
Heaven knows the dark chapter of American history has a lot to explore and a perfect avenue for Candyman to continue to spread fear and devastation, if you dare to say his name and expose the truth.

  • Saul Muerte 

Movie review: Mosquito State (2021)

24 Tuesday Aug 2021

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I cannot stress enough that this film falls firmly into the ‘be patient’ basket.

I really struggled with the opening 30 minutes of the movie that seemingly dragged along at a snail’s pace. And it didn’t help that the dialogue is dripping with a specialised niche dialogue that smacks of wankdom, but this is exactly the intricacy of its lead that cements and provides a complex character. 

The cinematography is equally stylised and polished to encompass the lifestyle and setting that elevates the feel of the movie, but could easily be strained too far… That is until the storyline sets and takes effect.

It’s clear that Director Filip Jan Rymsza is drawn to the inner psychosis of humanity and here he infuses it into the biological makeup of mosquitos, and juxtaposes this imagery alongside that of honeybees. All of which is embedded in the murky depths of trading and the stride towards success. But what exactly defines success? This defines the moral of the film.

As mentioned, our lead character, Richard (Beau Knapp) is a quirky and lonely figure, driven by his compulsive obsession with financial data, analysing the movements in trading figures. In many ways the symbolism of his character reflects the tragic gothic figure Quasimodo from Victor Hugo’s The Hunchback of Notre Dame,  isolated in his tower, in this instance the apartment overlooking Central Park in New York.

His stride for perfection is what initially steers his love interest, Lena (Charlotte Vega – Wrong Turn, The Lodgers) away, but there is a hint of a connection that doesn’t deter Richard in his pursuit. 

The mosquitos too are part of this imagery that surrounds Richard’s psychological collapse and the infestation that has taken hold of both the apartment and his state of mind. The contagion soon takes hold of Richard and us (the viewer) embedding into the psyche and dictating his every action and one that is represented in his own disfigurement as he becomes a walking human feeding/breeding ground for the parasite.

It is this incubation that can ensnare you and for me lifts the film into a loftier response. Once Richard starts to fall from the successful heights embedded in his own ambition, he not only gains in confidence, breaking out of his shell, but subjects himself deeper into isolation and on to a journey that only some can follow.

The Diagnosis:

This movie is highly intelligent and beautifully shot. It’s the kind of film that gets under your skin.

It takes a while for it to take effect but once it does it pulls you in and infects you.

There are many elements at play with each layer revealing the dark truth behind the powers and money of the world.

Mosquito State has successfully infested my mind, a mark for me is always an important ingredient in filmmaking.

I’m still letting it resonate as I write this but I find at this stage I’ve fallen for its charm and lulled by the hypnotic score.

  • Saul Muerte

Mosquito State streams on Shudder from Thursday, August 26th.

Movie review: Nightmares (1980)

17 Tuesday Aug 2021

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Nightmares is one of the pioneer movies from the Ozploitation scene, released in 1980 by director John D. Lamond who had set out to make the most gratuitous movie that he could.
The auteur of the genre would openly admit that it’s by far from being the perfect film and had room to be better.
Provided with the opportunity to make a low-budget, quick feature was in his grasp and the weaknesses are clearly on show here, but this is also part of its appeal.
A gritty, voyeuristic journey from the mind of a deeply psychologically scarred antagonist, a product of her environment, where it is little wonder that she would become unhinged. 

As a young girl, Cathy (Jenny Neumann) tries to prevent her mother from copulating in promiscuous behaviour with a strange man, but a car accident results in her mother’s fatality and her father is more intent on blaming her for the outcome than on the reasons behind his wife’s infidelity.

The story is possibly one of the weaker components without much drive for Cathy to enact her episodic killing sprees which centre on an acting troupe for a theatre production that she is one of the cast members of called Comedy of Blood. Among her fellow cast members is a certain Gary Sweet (Police Rescue) in his feature debut and possible love interest. It’s not all doom and gloom however as there are whispers of promise from screenwriter Colin Eggleston, who had notably directed another Australian classic two years earlier with Long Weekend.

The film trudges along to its own drum, and despite the misbeats, the kills are relentless and exposes humanity at its most vulnerable, and with the full frontal deaths doesn’t shy away from brutality.
It also throws in some interesting characters ripe for the kill into the mix, which you just hope will meet their due comeuppance, a hook that keeps you engaged to the end.

The Diagnosis:

The literal meaning of the words in this piece is unimportant… the beauty and the drama is contained within the drama and the opposite nature of the juxtaposition of the words . That and the comedy of death.

George D’alberg

The words of the theatre director in the movie sums Nightmares up nicely.

It’s the thin line between comedy and horror that blends in a gratuitous way, cementing the film firmly in the Ozploitation scene.

It’s either your thing or not, but for me, a solid night’s entertainment, especially if you take it for what it is, and not scrutinise too deeply.

Nightmares is currently available as a Blu-ray release as part of Umbrella Entertainment’s Ozploitation Classics collection.

  • Saul Muerte

Movie Review: Jakob’s Wife (2021)

16 Monday Aug 2021

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For his sophomore outing in the director’s chair, Travis Stevens (Girl on the Third Floor) he serves a refreshing take of the vampire tale through the lens of a middle-aged couple who have lost their zest for life. Anne (Barbara Crampton – Re-Animator), the titular character has been playing the role of the dutiful pastor’s wife in a small rural town for the past thirty years, bottling up her emotions and constantly under the shadow of male oppression. This is exactly how the nosferatu preys on this weakness, hunger for new victims or brides to bring into her fold.

Pastor Jakob (Larrey Fessenden – The House of the Devil) is equally lost in his world. Set in his ways and with no real vocation, he has succumbed to the rituals that his position has provided to him. 

When tempted by an old flame, Anne falls into seduction and it awakens a dormant part of her life. This too coincides with the arrival of the Master (Bonnie Aarons – The Nun) and soon she begins to pick apart the remnants of the town. 

Anne reaches a crucial crossroads in her life… choose her existing life, give-in to the darkness, or find a way through turmoil and create a new path of her own.

In many ways, Jakob’s Wife defies the stereotype of middle-aged life where Stevens presents the world as a slow-paced, dull exposition, but as soon as the first kill happens, this world and our expectations get suddenly thrust onto its head. With every kill that follows, there is no holding back and the blood pours forth to the extreme. This choice in direction is what keeps us engaged and coupled with his two leads in Crampton and Fassenden, we’re provided with some depth to the extreme circumstances with some dry humour to make sure we stay tuned in.

The Diagnosis:

It’s a painfully slow start and I thought that it was going to drag, but it then suddenly unleashes with a lot of fury.

While it struggles to keep the momentum going, Jakobs’ Wife inflicts enough torment to satisfy and keep you engaged with a peppering of decent humour to boot.

  • Saul Muerte

Jakob’s Wife streams on Shudder from Thursday, August 19th.

Movie review: Teddy (2021)

11 Wednesday Aug 2021

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There is something that I find instantly appealing about French films and the way it both challenges and delivers in-depth personality.
There are times that it misses the mark, sure… but there is genuinely a unique appeal to the country’s artistic lens.
This is why you shouldn’t be deterred by this quirky take on an age-old tale set in the heart of a rural French town.
While it certainly isn’t an out and out scare fest, there is something reminiscent about the film that taps into Guy Endore’s The Werewolf of Paris. 

The writing/directing partnership of the Boukherma brothers Ludovic and Zoran inject some decent humour into this coming of age tale, centred around no-hoper Teddy (Anthony Bajon), the town’s laughing stock.
Teddy may have resigned himself to making ends meet at the local massage parlour, but he has grand plans to save up and build a home for him and his girlfriend Rebecca (Christine Gautier).
These plans turn sour though when Teddy is attacked by a wolf that has been roaming the woods and then the stuff of lycanthropy come to the fore, starting with the amped up sexual appetite, and leading into the bizarre such as hair growth on his tongue and protruding from his eyeball.

As much as he tries to hide these strange bodily changes, it soon overcomes him and right at a time when Rebecca appears to be losing interest in him.
The one person who seems to understand his plight and warns about the dangers of the monster lurking within, is his foster parent, Pepin (Ludovic Torrent) an admittedly slow-thinking man.

What the Boukherma brothers do remarkably well is own the grit and realism of both the setting and the characters including the actors who portray them.
Particular applause has to go to Bajon’s portrayal of the titular character, perfectly capturing the heartache and desperation.
When you’re already down, there’s no place to go but deeper and embrace the animal within.

The Diagnosis:

Yes there are flaws.
But some of those blemishes are part of Teddy’s attraction and at times the film borders on genius.
It’s a bold approach to a mythological tale and while it doesn’t necessarily scare, it does provide a quirky, and sympathetic slant that will satisfy those into curiosity.



– Saul Muerte

Teddy is currently streaming on Shudder ANZ

Movie review: Bleed With Me (2021)

10 Tuesday Aug 2021

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On face value this slow burn of a movie from Director Amelia Moses feature length debut can feel like it’s happy to flow along without much pace or kick to its narrative. But as it shambles its way pulling you into a false sense of lull, it gradually reveals more to its outward exterior with a few jolts out of the comfort blue.

Our protagonist Rowan (Lee Marshall) appears to be a lost and vulnerable soul, who welcomes the friendship and support from Emily (Lauren Beatty – Jigsaw) and her partner, Brendan (Aris Tiros – Slaxx), but like the movie itself, none of these characters should be judged by appearance and harbour secrets that run deep. 

We join the trio at the start of a winter retreat in a log cabin far from any other human contact. As the story unfolds and the wine continues to pour, the emotional instability begins to show.
Rowan and Emily are drawn to one another with whispers of a traumatic past connecting them through some harboured common understanding of the pain that they have both had to endure. Rowan clearly doubts her sanity however and begins to suspect that her Florence Nightingale saviour, Emily may actually be drugging her. Is this another sign of her losing her way, or is there something more sinister at play? Rowan continues to doubt all about her, but is trapped between trusting her judgement and allowing herself to fall at the mercy of the one person who is giving her the love and attention that she so craves. It’s an intimate and finely balanced episode that gently rests between serenity and despair. 

Moses manages to craft a lot of ambience and emotion from the remote setting and the minimal cast, that despite some flaws in substance, there is enough flair and intrigue involved to warrant intrigue into her next directorial venture, which looks to reunite her with Beatty once again in Bloodthirsty. 

The Diagnosis:

A little slow but a nice balance of psychological interplay between two women suffering from traumatic episodes in their lives.

Director Amelia Moses crafts an intricate tale that constantly questions the real state of affairs and what are ripples of past suffering.

Bleed With Me is currently streaming on Shudder ANZ.

  • Saul Muerte

Movie review: Old (2021)

23 Friday Jul 2021

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Of all the contemporary directors, M. Night Shyamalan has to be one of the most criticised. He’s credits have been a melting pot of hits and misses throughout his career that it’s hard to determine which one you’ll get with every feature that he helms. His highs and lows have been well documented, but there is always something that keeps drawing audiences to his movies, keen to get a taste of that little bit of magic when he strikes gold.

The rise, fall, and stumbling rise of M. Night Shyamalan

So, where does that leave Shyamalan’s latest venture?

If anything, it typefies a conglomeration of his canon of work, with a striking premise that tackles the eternal fear, ‘What happens when we grow old?’ And when the ebb of time shifts into fifth gear with any hope of slowing it down completely wrenched away.

When a family takes a holiday to an island retreat, that on the surface appears idyllic, but lurking beneath is something strange and sinister. In fact, that’s the overarching message that Shymalayan appears to be the tune that he is playing, as all the characters have something hidden, awaiting to unfold throughout its narrative, be it physical or mental.

As expected with Shyamalan’s works, the sting in the tail comes with its own set of curiosities when said family spend a few hours on a secluded beach, only to discover something is causing them to age at rapid rate and with no sense of how they can escape.

Another common theme at play here is the notion that there are powers that are behind the scenes with an ulterior motive, orchestrating the strange events that the family is subjected to.  This in itself may go against the director’s favour, who clearly has a deep interest in this subject, but some may consider this old territory and therefore not willing to go there with the storyteller.
Shyamalan also casts himself in the mix as a voyeur and one of the afore-mentioned people who are pulling the strings. This could easily become trite and fall into The Lady In The Water territory, but he manages to curb himself from plunging too deep into these depths. 

What is on display are some nicely etched out characters ably performed by a brilliant cast of actors, from the patriarchal Guy (Gael Garcia Bernal), and the matriarchal Prisca (Vicky Crieps). There is also an array of actors who portray the children as they age through the years, skipping through pre-adolescence, adolescence, and into adulthood, of which Thomasin Mackenzie and Alex Wolff hold the lion’s share of the screen time.
Nods should also go to Rufus Sewell who plays the unhinged threat on the shores, and ably dances with a narcissistic personality. And also Nikki Amuka-Bird, who gets her time to shine as a spiritual woman, who also struggles with epilepsy.

It is possibly due to these performances that hide the sometimes dodgy dialogue being delivered, but there are also some choice visual techniques that are at hand which deliberately shift the audience’s gaze into uncomfortable terrain. This choice is a bold one, and I personally felt it added weight to the story, but some may find this off putting.

And when the final reveal comes together, the naysayers will continue to hold their ground refusing to sway from their opinion.

The Diagnosis:

There are those that will feel disappointed in the choices that Shyamalan makes here, and to a degree he falls easily into old territory which falls all too familiar.

The subject of choice though is one that brings the fear out of all of us, growing old and losing our wits, our beauty, and our senses.

Shyamalan may divide audiences, but I feel that he continues to be bold in the decisions he makes, never shying away from the heart of his material and without doubt, pushing them into an imaginative and creative world.
In doing so, he will continue to hit or miss.

With Old he somehow falls somewhere in between the two, as if stranding his ideas on the very beach that makes up the setting of this film. 

The question is can he continue to find new ways to weave his craft, testing his measure, and keep the intrigue of those that follow him.

  • Saul Muerte
More:

The Unbreakable series movie review by Myles Davies

Movie review: An Unquiet Grave (2021)

27 Sunday Jun 2021

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If I could cast a single element of praise towards Terence Key’s directorial feature debut An Unquiet Grave, it would be for the bold attempt to have two actors carry the entire 1hr and 12 min running time. The problem is that despite what is admittedly fairly short for a feature, it still stretches the premise too thinly to warrant your complete attention.

The premise itself feels like something drawn out of Pet Sematary, where a man Jamie (Jacob A. Ware) hatches a plan to bring his wife back from the dead with the help of her twin sister Ava (Christine Nyland, who also co-wrote the screenplay with Key). Using some dark magic macguffin which relies on a ritualistic act taking place at the site of the death, Jamie drives Ava to the location in order to carry out said deed. What he fails to mention is that a blood sacrifice is in order.

From here on in the movie drags its light plot to a bitter end using a few tricks of the trade in scares and thrills until the restless grave can find peace once more for its occupant. Both Nyland and Ware do incredibly well to lift the film using every ounce of acting prowess and for this the film can be thankful for their on screen presence but there’s not much else on show here.

The Diagnosis:

It was always a tough task to add depth to a shallow conceptual grave but there is enough substance here to keep you engaged… just. 

Both actors chew on as much of the dialogue to keep up the momentum and there are also some choice decisions from director Keys to make his mark for hopefully more budget to expand on his and Nyland’s writing and directing future.

  • Saul Muerte

Movie review: Saint Maud (2020)

20 Sunday Jun 2021

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It’s a crying shame that Saint Maud has only just now been released to a wider audience through home entertainment here in Australia. Having been released in the UK back in 2019, and then picked up by A24 films, a company known for its ‘highbrow horror’ releases, such as The Lighthouse, Midsommar, and The Hole In The Ground. It easily sits in good company with these movies with themes of faith, madness, and salvation at its helm. 

The narrative focuses on the burden that we carry through our lives when dealt with a traumatic episode. In this instance, we follow a nurse, Katie (Morfydd Clark – Crawl) who fails to save the life of a patient despite attempting CPR. So affected by this ordeal, Katie takes leave of her role in public health to invent a whole new identity in private care, and adopts the personna, Maud.

The story itself soon picks up with Maud assigned with the care of Amanda Kohl (Jennifer Ehle) a former dancer and choreographer who has succumbed to lymphoma. Believing that Amanda has been enveloped in sin, Maud then takes it upon herself to heal her through her faith and connection with God. So devoted is Maud to her beliefs that she begins to experience physical reactions that she believes is a testament to her unfounded devotion to the Lord. The beauty of the film is that it doesn’t question the faith itself but the extreme actions that manifest in an unstable mind when reduced to the base forms that life can subject us to. When we have nothing to fall upon other than our beliefs, then what can materialise out of faith can be an ill-fated journey through a twisted form of salvation. In Maud’s case, her salvation comes through not only cleansing her own soul, but by saving the soul of the atheist and sin-ridden Amanda, pushing these thoughts to its conclusion through pain, struggles, and ultimately redemption.

Charged with bringing this tale to fruition is writer, director Rose Glass, who’s debut feature is a mature and psychological venture into the heart of humankind, constantly questioning our role in the world and what drives us, or steers us towards our fate.

The Diagnosis:

Both Clark and Ehle produce powerhouse performances that twist and turn through a beautiful mix of power and vulnerability. They are beyond exceptional in their perceptions of both Katie/Maud and Amanda respectively and help solidify and ground the fantastical in reality, so that by the film’s resolution, the horror that unfolds with a deep and unsettling feeling that resonates long after the closing credits.

Glass proves that she is a talent to watch in the future who is able to tackle some dark, psychological subjects with the confidence of a veteran in her field.
Saint Maud is quite possibly one of my favourite movies in recent years.

  • Saul Muerte

Movie review: The Superdeep

19 Saturday Jun 2021

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Don’t be deterred by this Russian flick and it’s admittedly slow start to build up its central protagonist, Russian epidemiologist Anya Federova (Milena Radulovic) from smart but failed scientist out to prove herself into full on action guru.

Inspired by the real location of the Kola Superdeep Borehole, (one of Russia’s experiments to bore to the Earth’s core, which at its deepest reaches 12, 262 meters down), Anya gets the opportunity to redeem herself when a supposed viral outbreak has occurred in a Secret underground research facility.

Set in 1984 Russia, The Superdeep evokes the stark and oppressive nature that woke out of The Cold War era.

As soon as Anya arrives with a squad of soldiers to find out what has happened at the facility and is charged with retrieved with finding some samples of the unknown disease which appears to be infecting all who work at the facility.

They are greeted by Dr. Grigoriev, the head researcher at the facility but it soon becomes apparent that he has an ulterior motive and refuses to allow them access to to the lowest level of the facility, trapping them on one of the other levels.

It then becomes a race against time to prevent the spread of the infection from reaching the surface and potentially wiping out all of humanity in the process.

The Diagnosis:

There are some nice little elements at play here, especially with the virus that is threatening the characters. It’s essentially a fungal type of entity that infests it’s hosts and shows signs of high functioning intelligence.

The idea behind this is a worthy one and keeps the audience entertained along with some decent effects to ground the film and support the believability of the film

Where it does fall down however is in some of the dialogue and action points that slip into predictability all too often.

It is still entertaining however and Radulovic’s performance and portrayal of Anya is strong enough to keep you invested til the end.

-Saul Muerte