Category Archives: Movie review

Retrospective: Son of Dracula (1943)

02 Wednesday Dec 2020

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After a successful resurrection of their key horror monsters through the early monsters with The Invisible Man, Kharis aka The Mummy, Frankenstein’s Monster and the birth of the tragic Larry Talbot – The Wolfman, it would be inevitable that Universal would turn their attention to Count Dracula.
The trouble is the Count was destroyed in the climax of the 1931 movie by the hands of his foe Van Helsing.
In 1936 Universal stepped around this issue by introducing an offspring in the form of Dracula’s daughter, Countess Marya Zaleska, but with her demise also coming at the film’s conclusion. 

The answer would be presented by the Siodmak brothers Curt and Robert, who produce another heir in the mysterious Count Alucard. 

Part of the film’s appeal is choosing to set the story in New Orleans, not only because it brings the gothic tale Stateside, but as a location is itself rich in mysteries and folklore.

Set on a plantation owned by an elderly Colonel, where one of his two daughters, Katherine (Louise Allbritton) has a morbid fascination with the occult to the point where she has invited the afore-mentioned Alucard to stay with them.
When Alucard arrives (played by Universal’s A-Lister Lon Chaney Jr, which may have been a way to appease the star having been overlooked for the role of the phantom in The Phantom of the Opera, a role initially made famous by his father) it is soon apparent that he is of the ‘undead’ and after he pays a visit to the Colonel, the latter is found dead from a supposed heart attack.
The land and titles are left to the Colonel’s two daughters, but Katherine seems only interested in the estate “Dark Oaks” and not of the money which she happily relinquishes to her sister Claire (Evelyn Ankers).
Despite being betrothed to her long time boyfriend Frank, she supposedly jilts him for Alucard, who is not so cryptically revealed to be an ascendant of Count Dracula. Frank then in a fit of rage tries to shoot and kill Count Alucard, but the bullets simply pass through him and into Katherine, killing her instantly. The flip here though is that Katherine is already part of the ‘undead’ club having been transformed by Dracula and has claimed her wish for an immortal life.

Son of Dracula plays nicely with the mythology of Dracula and vampires, as we see numerous instances taking on the form of either the vampire bat or a cloud of mist providing him the ability to transform or travel at whim as long as he is granted an invitation of course.
Where the film adds its own flavour comes through the Katherine plot device which is revealed to be a plan to overthrow Dracula and entice Frank to join her in the afterlife.
This decision is a welcome inclusion to the franchise as it makes a more sinister approach to the central characters and this curious fascination that people have taken to the dark arts.
Possibly a logical step in the canon even if it does make Dracula secondary to the evil on screen and overshadowing his threat to a degree. 

  • Saul Muerte

Movie Review: Vampires vs The Bronx

01 Tuesday Dec 2020

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It’s been a while since a movie has tapped into the feels of 80s flicks such as Monster Squad or to a lesser degree The Lost Boys but with Osmany Rodriguez’s sophomore outing in the director’s chair of a feature length movie, Vampires vs The Bronx, we come damn close.

Much like how The Stranger Things was able to breathe fresh life into the SciFi horror genre with an adventure aimed at kids whilst appealing to adults alike, this film delivers a fun-filled ride with a thrilling edge to it.

It may not go too dark, but does enough to satiate the senses that you would hope for from a teen horror flick.

Set in a small part of the Bronx, young Miguel (Jaden Michael) has been trying to raise awareness that they are subject to gentrification, especially from the mysterious  Murnau properties (a great nod to FW Murnau who directed 1922’s Nosferatu).

Miguel and his two friends Bobby and Luis to save their local corner store by hosting a block party. It is here that Miguel witnesses the killing of a guy called Slim by the hands of a group of vampires and is hotly pursued.

From here on in Miguel must do all they can save the Bronx from these fanged invaders.

The Prognosis:

There are some great support roles from the adults in the movie, namely the always brilliant Sarah Gadon as Vivian, the equally sublime Shea Whigham as human servant Frank Polidori (again another great nod to the author of The Vampire),  Method Man as the Lord’s servant, Father Jackson, and Zoe Saldana as Becky.

But it’s the kids that own this movie and riff off each other with great energy and enthusiasm that peppers the story along.

It doesn’t offer anything new, but it does entertain. Well worth your time.

– Saul Muerte

Movie review: The Empty Man (2020)

28 Saturday Nov 2020

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Half an hour into this movie and I sincerely believe that I was watching the wrong film.

It’s billed as a supernatural horror thriller set in a Midwestern town in the States, where a group of teens start to disappear as a result of an urban legend known as The Empty Man.
The trailer set up plenty of promise, following a retired cop, James Lasombra (James Badge Dale – World War Z), who investigates these disappearances.
Tonally I was hoping that it would strive to meet the chilling intrigue developed in Clive Barker’s Candyman, but realistically it falls more in line with recent poor outings such as The Bye Bye Man or Slender Man. 

Writer / Director, David Prior, who is more known for directing documentaries takes a wild stab at a feature, and from this reviewer’s perspective, projects a similar structure, but unfortunately misses in a big way.
The exposition is too convoluted with twists and turns told in an incredibly laborious manner, that it simply turns the viewer off.
The curious choice to have such a lengthy introduction in order to lay the scene and the foundations of the The Empty Man legend, is unwarranted, especially as we have no connection with any of the characters bar the “infected”. And even then, it is a minimal moment reintroduced as a means to tie everything back together.

By this time, we are so lost in the meanderings of Prior’s apparent love of film noir, yet without any deep intrigue attached to the psyche of our protagonist.
The audience is cuffed by the ankles and dragged along the storyline without any care or attention to building on that relationship, as we are forced to feel every bump and bruise until its bitter conclusion.
I’d say hit the snooze button, but this proves hard viewing and you’re likely to wake up with a lot of jolts and “WTF?” moments and not in a good way.

The Prognosis:

With a whopping 2 hours and 17 minutes running time, you feel every twitch and strain of the central character’s dive down the urban legend rabbit hole. 

Only we’re armed with a toothpick, the ground is made of wurtzite boron nitride, and the plotline is so tangled in its own web, there’s no saving grace for our protagonist or the audience. 

  • Saul Muerte

Movie review: The Craft: Legacy

26 Thursday Nov 2020

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So it comes to pass that the Blumhouse team attempt to breathe new life and awaken the magic that stirred genre-movie fans of yester-year whilst rekindling a whole new generation into the fold.

It’s a move they’ve done on several occasions now and more often than not their trick has succeeded. Whether it’s a straight up sequel/reboot such as Halloween, The Invisible Man or a reinvention of comedy gold with Happy Death Day or Freaky. 

Among the successes there have been some misfires though. Notably the recent releases of Black Christmas and Fantasy Island. Despite this, Blumhouse continues to pull in the numbers and attract new blood into the folds of teen horror.
So it’s no surprise that they should turn their attention to mid-nineties movie The Craft, which similarly tapped into the pulse of the young generation at the time and formed a cult status in the process.
What’s more, the promise of a female coven of witches would similarly create further space into a story presented with a female gaze. The film itself, much like it’s namesake, would follow a teenage girl, in this case Lily (Cailee Spaeny) moving into a new school and feeling cast as an outsider only to form a friendship with three other misfits (Frankie, Tabby, and Lourdes) igniting their inner witchery, beginning with the power of telekinesis. As the rest of the film unfolds, it soon becomes apparent that they may have pushed things too far.
There is further promise too as the momentum builds around a domineering paternal figure, Adam (a welcome performance from David Duchovny) who lords over his three sons and Lily’s mother Helen (Michelle Monaghan).
So, it’s a shame that it falls short of this potential and fails to build on the shoulders of its predecessor. It could so easily lend itself to a tale of womanhood and an awakening of empowerment but instead the creative team feel content with a middle of the road narrative that is all sparkle and no shine.

There are some moments of glimmer in the performances, especially from Spaeny, who more than captivates in her lead role, but without that extra attention of plot and character development, The Craft: Legacy drifts away from the sphere of its audience’s attention.

The Prognosis:

A chance squandered to rejuvenate the tale of young witches coming into their own. We’re presented with a half-baked potion that never really lands with its delivery, coasting on the tailcoats of the original film and sadly lacking in any atmosphere or charm.

It’s only saving grace comes in the final scene with a wonderful nod to its predecessor, but by then, it’s all too little too late.

  • Saul Muerte

Movie review: We Summon The Darkness

23 Monday Nov 2020

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Whilst some reviewers have dismissed this film as your average middle of the road affair, there’s more than meets the eye from the vision of director Marc Meyers (My Friend Dahmer) and I’m not just talking about the casting of Alexandria Daddario (Texas Chainsaw 3D) as one of the films’ leads. 

The reason I feel that this film deserves more praise and not be shafted into the mist of other On Demand titles, is down to screenwriter Alan Trezza’s clever subversion of the expected and the turning of some stereotypical plot points. This combined with witty scenes and dialogue along with a strong cast to carry out the beats with aplomb. 

The film follows three best friends, Alexis (Daddario), Val (Maddie Hasson – Twisted), and Beverly (Amy Forsyth – Hell Fest) who undertake a road trip to a heavy metal concert where they encounter three struggling musicians, Mark (Keean Johnson – Nashville), Kovacs (Logan Miller – Escape Room), and Ivan (Austin Swift), and appear to form an affinity for one another. And yet when it comes to We Summon The Darkness, you should not rely on its appearances, for no one is as they seem.
When the trio of girls invite the three musicians back to Alexis’ fathers mansion, things take a sinister turn and the first of many revelations occur. 

Joining the cast as they battle a potential satanic ritual in the making, is pastor John Henry Butler played by Johnny Knoxville, and chews through every scene he’s in with absolute confidence and swagger.
It’s a joy to see Knoxville on screen again and soaking in his magnanimous character. 

In fact, the energy of this film is part of its appeal, as each character engages the audience and with every shift and turn they make, draws you in further to the narrative and encourages you to follow to its conclusion.

The Prognosis:

For it’s 90 minute running time, Director Marc Meyers, serves up an enjoyable film in We Summon The Darkness that surprises as well as delights.
The cast propels the storyline further with captivating characters and while it doesn’t break new ground, the film does provide an entertaining narrative and is definitely worth checking out if you find yourself searching for a decent night in.

  • Saul Muerte

Movie review: His House (2020)

18 Wednesday Nov 2020

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Is it possible that director Remi Weekes has just generated the most impactful horror film of 2020? And what’s more a debut feature film that has launched on streaming platform, Netflix.

With a refugee storyline front and centre, depicting a couple who have barely survived escaping from war-torn Sudan to settle in England. as they carry their scars in the decisions they make in order to fight for their freedom.
These choice moments wear them down both physically and mentally which is then projected into the walls of their new abode.
Are these ghosts of their past, a demonic presence, or maybe something far more sinister lurkin from the depths?

I’m a sucker for films that spend the time to create depth in their characters and here Weekes has carefully crafted a storyline with meticulous research and infusing his leads with a predicament based on real life situations to grind as much reality onto the screen, amplifying their turmoil further.
It’s this attention to detail that is even crafted through the production design and cinematography that cements the story and the sheer harrowing ordeal to the very core of humanity.
We continue to question our choices and the decisions we make through life and sometimes these fleeting moments are what haunt us the most, and we must choose to face up to them or continue to burden them upon our backs. It is these minute details and the dedication to the ground work in film making which casts Weekes with a promising career ahead of him. 

Weekes is quick to attest the success of His House to his lead performers, Sope Dirisu (Humans) as Bol and Wunmi Musaku (Lovecraft Country) as his wife, Rial.
Both of whom are beyond amazing with their performances and clearly emote every ounce of the weight that their characters embody, but I would argue that this is a result of what happens when a director allows their actors the space to breathe life into their roles and develop the profundity of their misery.
We the audience are all the better for it and shoulder the burden of every twist and turn along the way, which makes a certain reveal all the more gut-wrenching when it comes along.

The Prognosis:

For a first time running a feature length film, Weekes belies his film-making status, leading the audience to believe that he is a veteran of his craft.

The story is dark, disturbing and ultimately human.

His characters are a showcase in depth, fuelled with the emotion that his fantastic leads, Musaku and Dirisu embody in order to tell a tale that is rich and ultimately rewarding.

His House is an amazing film and has left a significant mark on this reviewers’ soul.

  • Saul Muerte

Movie review: Freaky (2020)

12 Thursday Nov 2020

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Once again director Christopher Landon proves his mark in the realm of teen slasher horror. Whilst Happy Death Day had its faults, Landon struck a vibe with the new generation of horror fans by taking a classic comedy film ala Groundhog Day and adding a slasher twist. The success proved such a success in collaboration with Blumhouse, a production company that have excelled in recent years tapping into the horror genre with great success, that would go on to produce an equally profitable sequel. Proving that the formula works to reinvent family-friendly comedies of yester-year, Landon hits his stride with the twist on body swap sub-genre and the Freaky Friday film, this time around seeing teen protagonist Millie Kessler (Kathryn Newton – Supernatural) switching bodies with a serial killer, The Blissfield Butcher (a surprisingly good Vince Vaughn). 

Landon’s language on screen has also come into his own as he projects great energy with his admittedly one-dimensional characters, (if there is one criticism to be held, it’s definitely here) but it’s the way Landon plays with these characters within his realm with the number one aim to have fun with it. I can not stress how much Freaky owns the comedy element, knocking around familiar concepts in the genre with some cracking nods along the way, notably Halloween and Friday the 13th franchises respectively and sure fire proof that Landon knows his craft.

What surprised me about this film was how the ‘camp’ elements played in favour of its narrative, which so easily could have bent in the wrong direction, tipping into painful territory, but manages to keep that balance in check. This also allows for some decent heartfelt moments especially for Vaughn to chew his teeth into and adding some nice beats in the more quiet moments in the film. 

There are also some cracking gore moments to keep the horror enthusiasts thirst for on-screen blood satiated. It may not go dark enough to some, but to do so would be detrimental to the humour component that Landon was striving for. 

The Prognosis:

This is a fun, enjoyable ride that does exactly what it says on the tin.

Landon excels in this environment, playing with the genre concepts with glee and producing a cracker movie filled with great energy and plenty of gore whilst keeping his finger on the pulse.

  • Saul Muerte

Movie review: Alone (2020)

31 Saturday Oct 2020

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Based on the Swedish thriller Försvunnen released in 2011; a film that was decent enough but lost in the inertia of the Nordic Noir phenomenon.

Here director John Hyams (Z Nation) attempts to add an American touch to the psychopathic stalker road trip movie in which he pushes his two lead performers to draw on all facets of his emotions.

Jules Wilcox (Teen Wolf, Bloodline) who plays Jessica, a woman who we learn has tragically lost her husband who took his own life. Pained by the memories of what transpired, Jessica packs up her belongings and leaves in her car and a rented hangar to start a new life. Only travelling alone across the Pacific Northwest she encounters a lone predator (Marc Menchaca – Ozark, Homeland) and from here on in we’re treated to a cat and mouse hunt that starts off as a nod to Steven Spielberg’s Duel and then shifts into a escape from imprisonment and a fight for survival in the midst of the vast, temperate rainforest. 

Alone does struggle at times to shift through the gears between each plight that Jessica has to endure and the initial encounter with her stalker is a little lacking. If I’m completely honest, there’s no real indication of what lures our antagonist into Jessica’s path, but once ensnared the lack of motive is all the more sinister as the film draws on. 

When the film hits its stride, the terror and turmoil is positively cruising and delightfully amps up the tension with equal measure. And we’ve nor even mentioned the delight in seeing Anthony Heald (The Silence of the Lambs) on screen. Always a pleasure to see.
In addition, I’d like to applaud the sound department who play delicately with one of cinema’s greatest senses to add to the ambience and fuel the fire of our growing trepidations.

The prognosis:

This film requires patience. It may have a slow and faltering start, but once the motor starts running, the tension heightens and we steered through a grueling and entertaining fight for survival that leads to a strong and effective conclusion.

  • Saul Muerte

Available to rent now via FOXTEL & FETCH
*Also screening at Ritz Cinemas, Randwick (NSW) & 5 Star Cinemas New Farm (Qld) from October 29

Movie Review: Camp Twilight

31 Saturday Oct 2020

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Felissa Rose came to fame in the cult classic, Sleepaway Camp and in some horror genre circles is considered an icon, which she humbly shakes off this term of endearment, but is quick to recognise how much the 80s slasher has impacted her life.

Now fans of Rose will be pleased to know that she is to star in a new feature film, Camp Twilight streaming on digital platforms from November. 

Much like the film that propelled her into the limelight, this latest feature sees a group of teenagers sent to a summer camp where someone lurks in wait to kill them one by one.

Said teenagers are a sextet of delinquents that are told by their teacher and principal that they must attend or fear failing school, little knowing that a greater fear awaits them.

While Camp Twilight is low budget, (this is both its challenge and its charm) its flaws slowly ebb away and allow its personality to shine through.
This is enhanced by some of the recognisable genre actors that support the key players along the way, from Dave Sheridan (Scary Movie) as one of the bumbling rangers, to Linnea Quigley (Return of the Living Dead), Vernon Wells (Commando) and Camille Keaton (I Spit on Your Grave).

Let’s not forget Rose, who steals the show as the slightly eccentric school teacher, Jessica Bloom, who at times feels like Rose is channeling Aunt Martha from Sleepaway Camp, her character’s name supposedly a nod to Joe Bob Briggs. 

This is not to say that the teens in question don’t hold their own on screen when it matters, but let’s face it.
We’re just keen to see them meet their comeuppance, which plays out as a whodunnit, genuinely keeping the audience guessing as to who is behind the murders at the park with a notorious history.

The Prognosis: 

Camp Twilight doesn’t shy away from its flaws but embraces them and in doing so let’s the audience enjoy the ride.
One that is clearly being carried out by its cast members and takes you on a fun journey to a slightly convoluted conclusion.

  • Saul Muerte

Felissa Rose interview

Felissa Rose as Jessica Bloom in Camp Twilight
https://player.whooshkaa.com/episode?id=751650

Movie Review: Spree

15 Thursday Oct 2020

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Spree is one of those rare treats that will surprise you.
Admittedly I went into watching this film with low expectations and unfairly dismissing it for yet another commentary on the negative impact of social media.

What was presented however can be closely associated with both Taxi Driver and American Psycho as its inspiration. The former is that Eugene Kotlyarenko plays similar beats to the Martin Scorsese classic, and the later for its satirical take on the human psyche. 

Where Kotlyarenko injects his own gaze into the public spectrum is through his offbeat humour and attention to detail in presenting a gonzo-infused view of social influencers on platforms such as YouTube, Instagram, and TikTok. Both director and his lead, Joe Keery (Stranger Things) researched these areas to encapsulate the personality that his character Kurt Kunkle portrays.
Profiled as 23 year old in search of infamy through his social platform who will stop at nothing to reach notoriety, Keery demonstrates a believably unhinged individual, a testament to his acting abilities and the level of attention taken into bringing his character to life. 

Fueled by this desire, Kurt rigs up his car with cameras and signs up for a rideshare app called Spree, where he then ventures out in his shortcut to the warped American Dream by picking up would-be victims. At first, we encourage his maniac exploits as the victims of choice are suitable ugly characters that arguably warrant their fate, but the more disturbed Kurt becomes in attaining his goal, the more chaotic and wild his antics become.
Kotlyarenko’s storyline choices are further cemented with the introduction of fellow social climber, comedian Jessie Adams played by a magnificent Sasheer Zamata (Saturday Night Live) juxtaposing Kurt’s own ascent with a seemingly genuine rise of her own. When Jessie comes across Kurt’s radar, his jealousy boils over and she becomes his new target and in doing so, furnishes the film with a riveting climax.

The film also boasts strong support roles in David Arquette (Scream franchise) as deadbeat dad Kris, Kyle Mooney, Mischa Barton, and John DeLuca. Where it does fall short is that initial trigger point that sends Kurt over the edge, plus it lags in the middle act as it struggles to build up momentum and hold the audience’s interests through the leads indecisive phase in his social lesson. 

The Prognosis:

In the words of gonzo journalism creator, Hunter S. Thompson, “Buy The Ticket, Take The Ride”.

It’s a modern take into the current state of The American Dream through the eyes of a wannabe social influencer on a murderous rampage.
There is much to delight in this gut-wrenching flight of fancy, highlighting just how deranged modern society has become.

  • Saul Muerte

Spree is currently screening at select cinemas and available on PVOD with Foxtel and Fetch until November 11.

It will also be released on digital: iTunes, Youtube Movies, Fetch, Microsoft Store, Google Play from November 25.