Category Archives: Movie review

Movie review: The Babysitter: Killer Queen

11 Friday Sep 2020

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It’s the sequel we never knew we wanted.

Back in 2017, Director McG (Charlie’s Angels) released The Babysitter with its distinctive 80s vibe, injecting a buttload of energy into a mediocre storyline with a pretty decent cast. Chief among them, was said babysitter, Bee played by Samara Weaving who has since gone on to killer success, notably last year’s Ready Or Not. Unfortunately her presence in the film is minimal and its noted as the film struggles to have the same kind of appeal that Weaving brought to the screen.

This time around the cult members have been resurrected including Bella Thorne returns as cheerleader Alison, Max (Robbie Amell) and John (Andrew Bachelor), given another chance to spill the blood of virginal Cole (Judah Lewis). 

Despite only two years passing since we last saw Cole, he’s certainly grown up now and attending high school, but still carries the social awkwardness and is heavily reliant on the medication that his parents insist that he takes. Unfortunately for Cole, his misfit demeanor is not the only thing that ails him. Having survived his ordeal as against the demonic cult, no one believes his tale, subject him further down the ranks of ridicule. The only person who believes him is his friend Melanie played once again by Emily Alyn Lind (Doctor Sleep) and thank God, as she is probably this film’s saving grace. Lind has grown in confidence on screen and it shows, commanding every scene that she is in.

Melanie persuades a downbeat Cole to join her and her friends for a weekend away at the lake, which at first he is reluctant to do, but when it appears that his parents are hellbent on sending him to a psychiatric school, he swiftly changes his mind.

Here the film takes a slight detour from its predecessor. Instead of being holed up at home, Cole has to pit his wits against the cult members, (who have had a few additions along the way) out in the open.

Speaking of comparisons, some of the problem that this sequel offers is that it continues to deliver the same notes from the first film only a little bit more amped up. Also, some of the characters just come across as annoying. Having said that, the film still ticks along at a steady pace and while it does so manages to entertain.

The Prognosis:

Like most sequels, this film never quite matches the energy that the first film laid out, but let’s face it, neither film was setting the bar high. 

What Killer Queen does deliver is pure popcorn. If you give in to its sins, and accept it for what it is, strangely, it comes across as a fun and enjoyable little flick.

  • Saul Muerte

Movie review: Becky

09 Wednesday Sep 2020

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For some, this movie will be hard to get past the casting of Kevin James as its lead villain, a man synonymous with lukewarm comedy, but given that fellow comedian, Simon Pegg had been initially touted the role for, one can start to see that the filmmakers never intended this film to be an out and out horror/thriller and would have their tongues firmly planted in the black comedy buccal. The fact that Community’s Joel McHale is also attached to the film only supports this notion further.

There are the subtle comparisons to Wes Craven’s Last House On The Left with its home invasion at the hands of some escaped convicts, but perhaps the better differentiation is that of Home Alone with the DIY skills wretched up to some gloriously gory and macabre moments.

The premise of the film rests solely on the darkly disturbing Becky, a character that relies on the strength of the performance from Lulu Wilson (Ouija: Origin of Evil, Annabelle: Creation, House On Haunted Hill), who’s calibre of movies alone should tell you that she’s no stranger to mayhem and dread. Wilson owns this film and appears to relish her turn as bratty, teenager with a broken heart, and flipping to ‘seriously don’t fuck with me’ menace. I’ll admit that I had my reservations, especially for a time when the film appeared balanced on her grief and pain from the loss of her mother. So easily it could have walked the path of predictability, but the killer switch comes from that ‘eye for an eye’ moment in the film when everything turns on its head and you believe her inner rage and turmoil as it is ejected to the surface. 

From there on in, you’re along for the ride and just want her anarchy to reign supreme.

The premise of the film has Becky going away with her estranged Dad (McHale) to her old family lake house retreat, only to be welcomed by her Dad’s fiance, Kayla (Amanda Brugel – Jason X) and her son, Ty. Let’s just say that Becky isn’t a fan of the suggested idea of a blended family, but that’s the least of her troubles when escaped prisoner and Neo-Nazi (as if to make James’ role more intimidating), Dominick and his crew come knocking for some hidden trophy.
There are some great moments towards the beginning of the movie where the captured images portray Lulu’s life in juxtaposition to the life of an inmate, suggesting her imprisonment from the world around her. It is this wall that she has placed around her to protect her or isolate her from everything that will be torn down, bit only in the wake of some devastating ordeal.

It’s the anarchic moments that truly lift this film from revenge flick doldrums however, as directors Jonathan Milott and Cary Murnion amp up the special effects and bring home the gore, and with it unleashing Becky’s zealot for death and destruction, serving as an outlet for her inner rage. Peppered with Nima Fakhrara’s kicking score, these moments are a mix of camp and gross out horror, the pick of the bunch going to a certain outboard motor. 

The Prognosis:

Don’t necessarily judge the book from its cover.

Becky may appear to be your usual revenge home invasion flick but its pulse is beating pure mayhem and delight that will suit fans of gore.

Kevin James may not fit the bill as the film’s villain, but this is Lulu Wilson’s movie and she owns her titular role as the teenager on the brink of rage and turmoil.
When she is unleashed, there is no holding back.

  • Saul Muerte

Movie review: The New Mutants

06 Sunday Sep 2020

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For a time it felt like this movie wasn’t ever going to materialise, shapeshifting more times than Mystique.
When news spread that director Josh Boone was intending to create Mutant horror film, this surgeon’s interests were piqued. Even with its YA moniker attached proved no obstacle for my expectations at the thought of a dark world to be explored. So it was with much disappointment that constant barriers were thrust in its way including the transition under the Disney umbrella with fears that it would soften the scare factor, the interest started to wane.
Despite this, I was still intent on seeing the final product, so when it finally surfaced this week, I propelled it to the top of my list and while it fell short in some areas, the end result is far from tragic with Boone serving up a decent film.

The concept follows Dani Moonstar (Psyche) played by Blu Hunt, a young Cheyenne girl whose village is attacked by an unknown entity. She awakens in a hospital under the guidance of Dr. Reyes, the only adult visible in the entire film. Joining Dani in the unit are a batch of young mutant misfits that promise to be a more credible group with super powers than The Dream Warriors could muster.
Making up the motley crew is Magik, a Russian with the power of teleportation, among other things, who serves as the needle in Dani’s back for most of the film and could seriously com across as two-dimensional, but thankfully Anya Taylor-Joy (The VVitch) manages to sharpen some further  points to her character adding much needed dexterity. 
Charlie Heaton (Stranger Things) is equally enjoyable on screen as Cannonball, a tortured soul with the power of jet propulsion. There are times that Heaton’s brooding presence appears to tap into James Dean’s aura with his performance, stealing the audience’s gaze with some subtle movements, which at times makes you wish he had more screen time.
Henry Zaga’s (Teen Wolf)  portrayal of Sunspot feels a little under cooked for a super hero who’s ability is to channel solar power, and as such feels the weaker of the group. If anything it’s Maisie Williams’ (Game of Thrones) performance of Wolfsbane, a mutant with lycanthrope abilities that outshines her counterparts with a beautiful blend of strength and vulnerability. She’s such a joy to watch and continues to deliver characters with so many layers and blends them with her own special touch.

All of this serves well for the narrative that forces this mismatched group together for a common cause when another unknown  entity appears to be attacking their weaknesses. It’s one nagging point for me however, is that by placing Dani as our central protagonist and surrounding her with mystery, she has very little to do other than to serve as our narrator until her ability is able to be unleashed.

The Prognosis:

With all the promise of a horror film tied into the Marvel universe, The New Mutants suffers under the shroud of its YA genre and fails to deliver anything truly fearful.

It does however, serve a semi-decent psychological movie, tapping into the mindset of troubled youths imprisoned in a world where they must discover themselves in order to survive.  

  • Saul Muerte

Retrospective: The Ghost of Frankenstein (1942)

23 Sunday Aug 2020

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There’s a warm familiarity about Universal’s fourth Frankenstein instalment. Where other classic monster films have struggled to continue their respective story arcs, the Mary Shelley inspired creature horror manages to breathe new life into the story this far.

Serving as a companion piece to its predecessor, Son of Frankenstein,  the story follows the devious Ygor (Bela Lugosi reprising his role) who managed to survive alongside the creature and tries to exert his power once again.

Despite Karloff’s absence as the walking husk, Lon Chaney Jr steps into the big shoes and dons the bolts effectively. In particular the running theme with the creatures’ connection with a young village girl, Cloestine, a symbol of innocence and purity. In James Whale’s original Frankenstein, this is snuffed out, so the threat hangs in the air despite it coming from a genuine place of curiosity and the need to be like her.

Joining the main players is another strong ensemble with Cedric Hardwicke as Frankenstein’s descendant, Lionel Atwill as the misguided assistant Dr. Bohmer, Ralph Bellamy as the steadfast representative of the law Erik Ernst, and Evelyn Ankers as Elsa Frankenstein (whose name is a delightful nod to The Bride of Frankenstein’s Elsa Lancaster).

The drive in this film is a mixture of writing the wrongs and striving to better oneself. The creature longs to be accepted, Frankenstein sees the opportunity to clear his family name through a brain transplant using a suitable host: not a criminal mind, and Dr. Bohmer driven by the need to be recognised in his profession.

This is Lugosi’s show though and he relishes expanding on the character of Ygor wanting initially to strive away from his deformity but throughout the film transforming this gaze to one of power.

The screenplay written by W. Scott Darling weaves in some weaves in some typical tropes that is instantly recognisable from the franchise such as the lynch mob wielding torches that bookends the film and even places the shocking theme of gassing into the mix, a subject that would have had strong reactions at the time. This combined with the direction of Erie C. Kenton delivers another strong entry into the franchise and Universal Horror.

  • Saul Muerte

Movie review: Relic (2020)

16 Sunday Aug 2020

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There’s good reason that Relic has been closely associated with The Babadook, not just because it’s Australian genesis but also as it manages to expose one of humanities greatest fears from the perspective of a directorial feature debut.
Where The Babadook shone a light on grief, and how it can it can take hold of our sanity, Relic puts our response to dementia under scrutiny.

Natalie Erika James proves that she can handle the strong subject matter head on and guide highly esteemed actors Robyn Nevin (Edna) and Emily Mortimer (Kay) in a mother / daughter relationship that is already estranged but the chasm of time  exposes this further through Edna’s deteriorating condition.

Muddying the waters is this strange notion that all is not as it seems at the family abode, with a dark presence lurking in the shadows.
Rounding out the trio and providing a third  generation into the mix is granddaughter Sam (Bella Heathcote – cutting an impressive performance alongside her costars) who equally has distanced from her mother but holds a strong connection to her grandmother, willing to put a life which holds little meaning on hold to try and aid Edna’s needs, so that she doesn’t get sent to an elderly home.
Part of this films appeal definitely comes from the way the three relatives interact with one another, in some cases trust are brought to light, in others harbours away and kept from the audience as such family stories often do, but the depth of their emotional hardship is etched on the faces of the characters.
Again, a testament to the talent involved but also the strength of the script written by James and her cowriter Cristian White.
The film lures you into the mystery as Kay and Sam are called to Edna’s house when they hear of her disappearance.
It’s the crisis point that unites each relative together as they try to understand the unknown while finding themselves along the way. In order to do so however, they must face the demon head on and either vanquish or embrace it.

The Prognosis:

At its heart, Relic is a story of love and hope. When these are challenged, we’re left with hardships and invisible barriers preventing any chance of rehabilitation.
Dementia is such a harrowing experience for all involved and using horror as its genre of choice, James weaves together a story that delivers the turmoil not captured since Sarah Polley’s Away From Her.

  • Saul Muerte

Retrospective: The Mad Doctor of Market Street (1942)

16 Sunday Aug 2020

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By 1942 Lionel Atwill had firmly established himself as a veteran of the silver screen and rightfully deserves top-billing in this horror / thriller from Universal Pictures.
He hits every note of the titular character in his stride with relative ease, both dialling up the mania and subtly downplaying the more reserved moments whilst still coming across as sinister in his mannerisms.
The narrative quickly shifts from science experiment gone awry when Atwill’s Dr. Benson inadvertently kills his subject when trying to resurrect the dead.
Think Flatliners but on a minimum scale.

Now a fugitive on the run, he goes in hiding on a ship to New Zealand. Unfortunately a police detective had also boarded the ship on a hunch that Benson is among its passengers.
This results in Benson resorting to drastic measures and pushing said detective overboard.
The drama doesn’t end there however, as somehow a fire erupts on the ship causing the passengers to abandon ship and our key players (including Benson) washing up on a remote island.
Once on the island the film starts to show its age, depicting the islanders as savages and easily manipulated by Benson’s medical knowledge when he resurrects one of the villagers from a supposed death (in reality, a stroke) with a potion (adrenaline). It’s a she because this depiction does jar when viewed with a modern lens and shifts the gaze away from the terror that is trying to be depicted.

It is then down to the survivors (all of whom are pretty formulaic) to try and outwit and expose Benson his true malicious  interests without putting their own lives on jeopardy.

The script does suffer from falling into predictable terrain and it could have amped up Benson’s maniacal moments to make his presence more terrifying, but hats off to director Joseph H Lewis for crafting together a fairly decent effort from a very low budget.
With a running time that’s just over the hour mark, The Mad Doctor of Market Street still amazed to entertain.

  • Saul Muerte

Movie review: Uncle Peckerhead

12 Wednesday Aug 2020

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Director Matthew John Lawrence’s vision of fusing his love of horror movies and punk rock is presented in Uncle Peckerhead, the story of deadbeat musicians willing to drop everything and pursue their own dream of musical recognition.
Said punk act, Duh! consist of band leader and bassist, Judy (Chet Siegel) who ironically is incredibly neurotic and unwilling to lose control of herself, a juxtaposition against the anarchic veins that form the punk movement.
Here it serves well as Judy’s character strives to free herself of her inhibitions and letting go of her self-made constraints.

Accompanying her in the band is deadpan doomsayer drummer, Mel (Ruby McColliister), and socially awkward guitarist and frontman. Max (Jeff Riddle). 

As the trio prepare to hit the road in order to gain enough festival experience to perform at their hometown, they hit a stumbling block in having their van towed away by the repo men.

Just when it appears that they are down on their luck, they have a chance encounter with Peckerhead (David H. Littleton), a seemingly sweet and friendly guy, all too willing to assist them with the use of his own van on the condition that he comes along. 

What could go wrong?
The fact that Peckhead happens to transform into a blood-sucking demon at the stroke of midnight, may cause some mishap along the way.

Lawrence does his best to tap into the kind of movie that you would watch with mates over a beer and some pizza, riffing on some cool, bloody, and gore-tastic vibes and in many ways he satiates the needs of the salivating horror enthusiasts, but there is something a little off key and jarring in its presentation.

When it works, the energy of the group are positively buzzing and the effects and gore on screen are suitably macabre with a hint of dark humour, a testament to the comedic talent involved.
The problem is on the down beats, the sizzle is lost and it falls flat, so the audience can feel like there’s a dead weight being dragged along to the film’s conclusion, which is painful in a non-pleasurable way.

The Prognosis:

If it’s cheap beer, decent food, and a bloody enjoyable ride you’re after, then Uncle Peckerhead has your back. 

If you want a bit more of a fine-dining experience in your horror serving, then this ain’t your kind of movie.

Best to keep on the good side of Peckerhead, let the good times roll, find your rhythm and let loose.

  • Saul Muerte

Movie Review: Black Water: Abyss

08 Saturday Aug 2020

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Self-confessed old-style thriller fan, Andrew Traucki has carved out a career telling stories of survival on screen since his debut feature, Black Water released in 2007.
He’s no stranger to the harsh environments that humanity must endure with his follow up features, The Reef, and Jungle, so it comes as no surprise that when offered the chance to revisit the subject that launched his directing pilgrimage.

Billed as a sequel to his croc attack movie, upon review Black Water: Abyss serves more of an anthological piece as none of its original stars nor its cranky chompster return to continue the storyline.
Instead we are introduced to a quintet of extreme sport enthusiasts (Jessica McNamee – The Meg, Luke Mitchell, Amali Golden, Benjamin Hoetjes, and Anthony J.Sharpe), who go in search of their latest thrill, some wilfully, others begrudgingly as they find an unexplored cave system, which just so happens to have a snappy predator lurking in the watery caves. 

Traucki shows his experience behind the camera, pairing back the action to allow the suspense to rise to the surface and draw out the group’s plight which takes them through the bold, ignorant, panic-stricken, heartache.
On show are two couples on the verge of destruction as the film serves as a metaphor for the physical weathering of their relationships.
If they are to survive this ordeal, what will become of them at the end of it all.
Is there life worth salvaging or are they better off as croc fodder?

The prognosis:

The cast showcase their acting chops grounding their situation in reality, moulded by a talented director. 

Try not to judge the film from its opening 15 minutes or so with admittedly a bit of a shaky script.
It takes a while for the mechanisms to take a hold, but once it has its grip it takes you on a death roll towards its conclusion that leaves you asking just exactly how they will escape, if at all.

It may not be ground-breaking and doesn’t quite match its predecessor in raw appeal, but it’s an enjoyable flick that again uses real crocs in real situations to amp up the thrills.

  • Saul Muerte

Movie review: Deerskin

06 Thursday Aug 2020

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I distinctly remember when Deerskin was doing the festival circuits and that I felt strangely intrigued by its subject but equally there wasn’t enough there to draw me in, which just goes to say that old phrase… 

Never judge a book by it’s cover. 

Or at least don’t judge a film by its synopsis… 

Yes, this film oozes independent movie making and the stereotypical associations that come with it when it comes to ‘quirkiness’, but there’s more going on beneath the surface of the weird and wonderful.

Part of my initial rebuke came down to a couple of things: My misunderstanding of the context, which on face value tells the story of a man going through a midlife crisis, blowing his entire fortune to fulfil his obsession for a deerskin jacket, resorting to criminal misgivings in order to attain his dream.

Whilst here at Surgeons of Horror, we dedicate our love to horror films, this isn’t your typical out and out horror. This is psychologically disturbing using its oddity and humour as a mask to the human psyche. We’re witnessing a descent into madness and delusion in pursuit of one man’s dream. A pursuit that leads him to shed his skin to regain an identity in order to feel, to emote and connect to something. It just so happens that this connection to the world comes in the form of a deerskin jacket.

The second misjudgement I casted was towards the films’ director, Quentin Dupiuex aka Mr Oizo! Remember that guy? Brought this hit to the late 90s…

Yeah that dude!
Plus he was responsible for creating a film about a homicidal tyre in pursuit of a woman, called Rubber. Yeah, you read that right.
So you can forgive me for casting assumptions on his craft, when in actuality, when you scrutinise his credits, there’s a strong theme that resonates through his work. The subject of obsession and the organic, physiology and biology of humanity. That desire or in some cases, killer instinct that compels us to pursue the impossible. 

Part of Deerskin’s appeal is through its unpredictable, spontaneous nature. In this instance, Georges, our obsessed man on the brink, (Jean Dujardin – The Artist, in another compelling performance) as he shifts and turns with a touch of improvisation, living in the moment and responding to whatever life throws his way. He is in the NOW, damn the consequences.
Some scenes are shocking, some macabre, but there’s always the hint of dark humour that comes out of the maniacal and when things are deliberately off kilter.

The deeper he goes on his quest for fulfilment, the murkier and thwarted his life becomes, and the more loose and carefree he gets with his actions.
One identity that he attached himself to is that of a director of a film, which one can instinctively connect to that of a voyeur, but instead of looking outward, he casts himself as the subject matter. Ably assisting him in creating his vision, is a bartender, Denise (Adèle Haenel- Portrait of a Lady on Fire) with an interest in becoming an editor, who leaps at the opportunity when presented to her to be a part of Georges’ movie.
For Georges, there is only one drive. One passion. Deerskin. 

The Prognosis:

Like any pursuit, our journey can lead to destruction and ruin.
Dupiuex manages to craft a curious descent into the lengths that one man will go to in order to pursue his dream.

It is truly an original, strengthened by solid, realistic performances.
Deeply compelling, with a subject that lures you in and keeps you captivated, through its idiosyncratic mindset.

  • Saul Muerte

DEERSKIN

In Cinemas Now

Movie review: Blood Vessel

02 Sunday Aug 2020

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The film opens with what feels like a notable nod to Alfred Hitchcock’s Lifeboat as we are greeted with a group of survivors floating in a life raft, having escaped from their torpedoed hospital ship. They have no food, no water, and are close to giving up when a small thread of hope arrives in the shape of a German U-Boat, but what lies aboard is a descent into hell where the battle of survival has just begun.

Like Lifeboat, the group are at odds with one another and suspicious of some among them including Russian POW, Alexander (Alex Cooke), who happens to be a crack shot with a rifle and probably the most natural survivalist of the crew. Also casting a dubious past to his character is the token Brit, the weedy Gerard Faraday. Leading the charge is Nathan Sinclair (Nathan Philips) who captivates the viewer with his magnanimous presence and die hard attitude, but when they are faced with an unknown evil presence onboard the ship, they must learn to put aside their differences and look to unite if they are ever going to make it through “this bloody war”.

It is Alyssa Sutherland (Vikings), that the audience really gets behind however as the heart of the crew and it helps that she is a ‘medic” who has a pained past with a desire to heal everyone. She really captures the attention which is a testament to her on screen appeal and her weight as an actor, pulling you into the storyline and connecting with her character.

This is also a huge accomplishment of Justin Dix’s cinematic gaze for his sophomore outing in the director’s chair. Dix manages to craft a highly engaging storyline, that is essentially vampires on a boat, using his incredible skill set with visual and creature effects to boost the appeal above and beyond the usual fanfare.
The screenplay which is also overseen by Dix and his co-writer, Jordan Prosser, weave together enough ups and downs and moments of turmoil for the crew, as they fight against the odds. A massive plus is that we’re presented with characters that are incredibly believable, and with whom you want to see survive, when you know in your heart simply ain’t gonna happen, and in doing so casts you at odds as you also secretly want their demise to come.

The Prognosis:

Hands down, Director Justin Dix has crafted a highly engaging, action-packed thrill ride with characters that you care for.

Combined with some decent effects and a creative storyline, Dix has in my humble opinion put himself and his production company Wicked of Oz firmly on the map.
A must see film that will definitely entertain.

  • Saul Muerte

Available on DVD at JB Hi Fi and Sanity
and Video on Demand through iTunes/Google /Fetch/Foxtel Store/Umbrella Entertainment from August 5th.