The Faceless Man is an off-beat independent horror movie that is a boiling pot of subgenres with the Ozploitation era embedded firmly on its sleeve. Like any low-budget film it has its flaws but let’s focus on the positives first, because if anything this film has a lot of heart and is prepared to face one of life’s greatest fears head on.
For his debut feature, writer/director James Di Martino decided to tackle the subject of cancer as the faceless entity stalking its prey and pushing them to the edge of sanity. It’s a bold approach in a playing field that deserves a higher quality offering than what is on offer, but you can only work with the resources and materials you have at hand. Despite this, Di Martino still manages to eek out some spectacularly eerie moments peppered with some decent and dark humour along the way.
The tone of the film is deliciously macabre in places and these moments will resonate highly with any fan of the genre and even delivers great character actors in Roger Ward and Andy McPhee who do not disappoint in their respective roles.
The story centres on Emily (Sophie Thurling) as a cancer survivor in fear that she may fall sick once again who is driven by paranoia and a past that haunts her. So when presented with a weekend away with her friends, she sees it as a way to get away from her troubles, but fate has other plans in store.
The Prognosis:
Characteristically speaking, Di Martino provides a suitably quirky and unsettling movie which suffers a little from some performances and too many right turns in the plotline. What it does promise is a director with a vision, who with the right tools could produce some decent storylines in the future. Definitely a name to look out for.
Arguably, nobody has been able to inject fear into the world of haunted horror attractions since Tobe Hooper’s The Funhouse back in the 80s, but in a world where what is old is new again, it comes as no surprise that someone would look to breathe new life into this well trodden sub-genre, after all, who doesn’t like to see scary attractions ripped at the seams along with the unwitting victims who dare to venture beyond its walls?
We’ve seen some half decent efforts in recent years from the likes of Blood Fest and Hell Fest, but I think it’s pretty fair to say that the latest production from Eli Roth takes a damn good stab at twisting it into a bold new direction.
In the wake of extreme haunted houses such as McKamey Manor, where people voluntarily subject themselves to extreme bouts of torture, Haunt casts itself into a world where the fine line between pleasure and pain is well and truly in dark territory.
As you can expect from a Roth production, the kills are bloody with the gore level amped up to the max, which normally I find hard to bare, but in this instance I was along for the ride and if anything felt those moments not only cranked up the tension, but left you feeling unnerved in a satisfactory way.
The masked villains were also suitably camp and added to the heightened sense of agitation and wrath that is dealt out on the victims foolish enough to enter their domain and play their game. Herein lies the rub however, as the victims themselves are indeed foolish and fall prey to two-dimensional characterisation, so much so that we are beyond caring about what happens to them, which is a shame as Haunt was ripe for potential. Too much style and focus was paid to the villains and the set pieces, ala Saw that the writers neglected the one essential ingredient. You gotta add depth to the main characters, to build that connection with your audience, so that when the pendulum swings, we give a damn about whether or not they live or die.
By the time the conclusion starts to come into sight, the writing pushes into the ridiculous where certain characters appear to withstand death blows in order to avoid meeting their maker.
The Prognosis:
With a little bit more care and dedication to character depth and background, Haunt could have been a modern classic. Unfortunately, the film rests on imagery and admittedly some gnarly death scenes, but without the prime quality cut steak, you’re just left with gristle.
I gotta say that before I begin to cast my thoughts on the film, I am definitely not of the right demographic age-wise. The film is aimed primarily towards Gen Z and with that zest for life comes the rekindled imaginations of yester-year.
Much like Disturbia did for the Millenials, The Burbs for the X Generation, and Rear Window did for the Baby Boomer generation, we have a protagonist predominantly placed in his home where he witnesses foul play going on next door. In this instance, we follow Ben, “a defiant teenage boy” who has been sent to stay with his father during the summer. His parents are currently going through a divorce which lends some weight as to why Ben has started to go off the rails. During his stay, Ben slowly discovers that all is not as it seems in this marina town, and not only that but appears to be possessed by some weird demonic witch like creature from the woods that we later learn to discover is a cross between Black Annis and the Boo Hag.
There are some genuinely decent moments in here for the hardened soul and the creature fx are believable enough to blend into the landscape, but the fear itself is often all too “twee” and never stirs the heart.
Despite this, the performances and characters are engaging enough for you to care about Ben’s plight with some decent twists in the mix, that on face value surprise and delight, but on closer inspection, doesn’t necessarily add up. Sometimes the MacGuffin is enough to change or suspend disbelief that you forgive its faults, but here they jar and the smoke and mirrors are left in plain sight, shattering any vague illusion that the director was hoping to achieve.
The Prognosis
Another sugar coated saccharine sweet horror film that lives in the shadows of exceptional movies without offering an ounce of originality.
If you like fluffy, light hearted horror, then by all means give this a whirl, but from this writer’s perspective, The Wretched struggles to lift itself above a mediocre horror… just.
Saul Muerte
Wretched is screening now until 18 July in Foxtel Store
In selected Cinemas 25 June onwards – Cinema List below
VICTORIA & TASMANIA June 25 Nova Carlton, VIC June 25 Wallis Mildura, VIC June 25 Peninsula Cinemas Rosebud, VIC June 25 Horsham Centre Cinema, VIC June 25 Ararat Cinema, VIC June 25 Metro Cinemas Bernie, TAS
NEW SOUTH WALES July 2 Griffith Cinemas July 2 Bathurst Metro Cinemas July 2 Metro Cinemas Lake Haven July 9 Laurieton Plaza Cinemas July 9 Saraton Theatre Grafton
QUEENSLAND & NORTHERN TERRITORY June 25 Alice Springs Cinema, NT June 25 Cineplex Hawthorne, QLD June 25 Cineplex Redbank, QLD June 25 Cineplex South Bank, QLD June 25 Cineplex Victoria Point, QLD July 16, Malanda Cinemas, QLD
SOUTH AUSTRALIA June 25 Wallis Mitchem, SA June 25 Wallis Mt Barker, SA June 25 Wallis Noarlunga, SA June 25 Wallis Piccadilly, SA June 25 Esperance Cinema, WA
It’s taken a little while for this Blumhouse Productions feature to reach Australian shores but it finally gets the straight to Home entertainment treatment, but don’t let that deter you. At its beating heart is a cold, psychological drama that delves into the lengths and breadths of what a family will do to stick together no matter what the cost.
The surprise here comes with Seann William Scott’s performance of Evan Cole, a psychopath lurking as a school councillor. Scott is so removed from the “Stiffmeister” personna that we have become accustomed to through the American Pie franchise, as he produces a deeply disturbing personality, devoid of emotion except love and anger. Evan’s killer instinct is awakened shortly after the birth of his new-born son and to satiate his blood lust, he seeks vengeance for the troubled kids that come to see him to discuss their trauma. Slowly, he combines a kill list of rapists, and abusers, tracks them down and kills them. Think Dexter, but without the quirky feels.
Some of the stripped down emotions make it hard to believe the relationship that Evan has with his wife, Lauren (Mariela Garriga) and at times this can feel rigid and disconnected, leaving us to question how they got together in the first place. Despite this, their loyalty to one another is what is on the table, as Evan’s curious night time habits start to impact on their lives. Even more so, when a curious detective enters the scene suspecting foul play when some of the read bodies are uncovered.
At first Lauren puts Evan’s behaviour down to becoming a new parent, but soon feels isolated from her husband. It’s here that Lauren starts to rely on Evan’s mother (Dale Dickey – True Blood) who moves in to offer some nurturing support. This comes across as a typical mother-in-law relationship scenario that starts off as stifled but soon becomes a much-needed companionship, but there’s something not altogether right with her. Can she really be trusted and how solid are the foundations in this family? Can love truly conquer all obstacles?
The Prognosis:
There are some great dramatic moments and conflict, both externally and internally that fuels the tension and creates the division between all the relationships involved that puts everything to the test.
This dramatic thriller doesn’t necessarily push new boundaries, but its a solid little flick that will do enough to entertain and surprise you with a highly convincing turn from Sean William Scott to unnerve you to the film’s conclusion.
If you’re familiar with Australian cinema, you’d be aware of the Ozploitation movement that peaked in the late 70s and 80s, and that director Quentin Tarantino projected these movies back into the limelight in the early 2000s by declaring his love for the subgenre.
Embedded right in this timeframe that projected a mix of sexploitation, bikers, horror and action upfront and in your face comes the 1983 feature Hostage based on the true story of Christine Maresch, who is forced to endure a life of crime under the dominant hand of her husband Walter – a man that embodies narcissism.
Watching this film now, it lends itself easily to the #metoo movement as Christine is subjected to rape and torture in a land foreign to her own when she follows her husband and daughter to Germany in order to make an honest go in life.
When we first meet Christine, she’s a happy-go-lucky, larger than life character, who is working at the circus, where she feels free and in her element. Here she meets the dark and mysterious Walter and falls for his rugged yet caring nature, only to discover that he holds a sadistic side with pursuits in Neo-Nazi activities. This itself can feel a little obvious by today’s standards, but the brutality of his treatment is still hard to bear and we long for Christine to find a way out of her turmoil, which goes steadily from bad to worse.
The hardest hitting moment comes when she ends up in Istanbul and receives a tumultuous confrontation with some unsavoury characters at a petrol station. The scene is edgy, sharp, and filled with vitriol that was synonymous with the Ozploitation scene, but its Walters ill treatment of Christine that is the most uncomfortable to watch and is more relevant today than ever.
The film is peppered with some upbeat sounds from composer Davood A. Tabrizi, who manages to tweak every ounce of action and thrills into his score, casting the film forwards with some much needed pace at times.
The Prognosis:
Hostage is a film that is indicative of its time but despite its place and setting has enough fuel and fire to ignite a still unsettling scenario that resonates with the viewer. Its character is the major selling point and its two leads in Kerry Mack and Ralph Schicha do enough to engage the audience beyond the ‘based on a real story’ setting.
One for the Ozploitation enthusiasts but I highly recommend this to anyone with and interest in Australian cinema.
H.P Lovecraft’s influence is fundamental to modern horror, it can be seen most strongly in the DNA of countless Stephen King stories, John Carpenter’s Apocalypse Trilogy (The Thing, Prince of Darkness & In the Mouth of Madness), Event Horizon, the video game Bloodbourne and the Alien series, its influence is often met with varying success but direct adaptations have been few and far between. For years there has been talk of a Guillermo Del Toro helmed At the Mouth of Madness that seemed to ultimately stall thanks to Ridley Scott’s Prometheus stealing it’s philosophical fire. Stuart Gordon was probably the most successful, or at least prolific adaptor of H.P’s work with Re-Animator, From Beyond and Dagon, all adaptations of Lovecraft short stories (Dagon being an amalgam), but these all held a considerable helping of cheese, camp and tongue in cheek that, for the most part, enshrined their cult status (how appropriate). Recently though there must be something contaminating the well water because within the last 6 months we had 3 films massively inspired by the H.P Lovecraft; Underwater, The Lighthouse, and the most faithful of the 3, Color Out of Space.
We start at the edge of a river, west of the fictional rural town of Arkham, Massachusetts, as the young Lavinia Gardner (Madeleine Arthur) performs a ritual of healing. Here she meets Ward (Elliot Knight), a surveyor taking water readings. In the original story Ward was our nameless narrator but in this tale he has far more involvement with the story developing a bit of an attraction to the aspiring young witch. Six months ago Lavinia’s father Nathan (Nicholas Cage) moved his family to this country house so that his wife Theresa (Joely Richardson) could recover from her mastectomy. Rounding out the family is Brother’s Benny and the young Jack (Brendan Meyer & Julian Hilliard respectively). The whole Gardner family have been struggling with the adjustment, Nathan has been trying his hand as a tomato farmer and raiser of alpacas, Theresa is struggling with her financial consolation business thanks to the shitty internet connection, Benny has been smoking weed with the local hermit Ezra (Tommy Chong) and Jack is self-isolating taking solace in the family dog. The change in their lives is dwarfed entirely when a meteorite crashes in their front yard one night with a flash of light and colour never seen before on this earth. What follows is a slow descent into insanity as the cosmic colour spreads transforming the landscape and life around it and warping the minds of the Gardner family.
This is Director Richard Stanley’s feature length return to our screens since the disastrous ‘Island of Dr. Moreau’ which was filled with all of the meddling and power struggles that this film feels utterly devoid of. Stanley’s vision is what we are seeing. Now this is a relatively low budget indie flick ($12 Million budget) sometimes you can feel it but for the most part I think they make this film feel so much bigger. It is a really gorgeous looking film with a mostly excellent use of CGI, particularly when it’s used to create the near alien landscape that this quaint little farmhouse transforms into, sharpening colours and extending the mutations surrounding them. Fans of gooey body horror will be pleased with a lot of the practical effects used here as well, one particular change in the family is deeply disturbing and honestly heartbreaking. You can certainly feel the influence of other films of its ilk (The Mist, From Beyond, The Thing) but it has a strong enough identity and a visual flair that the homages never feel like all this film has to offer. It is a deeply creepy film as the characters are separated yet so close to each other, lost in the fog their minds have become, where time has lost meaning and they just don’t notice how wrong things have become. The Composer, Colin Stetson, has created a truly beautiful score that compliments the growing mutation and helps make the titular colour, a pinkish purple, feel more than a colour, more than a sound.
Pacing wise Color Out of Space may lag a little in the second act but that eerie feeling never goes away. Don’t get me wrong, this isn’t a wholly serious film and a big part of that is thanks to Nicholas Cage. Now the Nic Cage we get in the first half of the film is a dorky and daggy Dad, feeling relatively restrained compared to his recent output but once the alien insanity starts to spread Cage turns up the dial with gusto. I would say there’s almost a little bit of Jack Nicholson in the Shining, where the character already feels a little unhinged when we first meet him so when the jump happens it doesn’t feel like that big a change, having said that though he is still a lot of fun and there are many ridiculous lines he spouts off that you couldn’t even comprehend another more self-serious actor taking a stab at. The rest of the cast are really complimentary, bringing to life this struggling family beset by a greater force. This is Joely Richardson’s second eldritch horror outing after the late 90’s Event Horizon, and as Theresa she brings the balance that makes her and Nathan’s relationship feel a lot more believable, struggling to spark their intimacy after her operation. And the trio of kids, who really take the main stage after Mom and Dad drive off for medical help, give really good performances developing a believable sibling dynamic that carries most of this film.
The Prognosis
For the most part I really enjoyed this film, it’s a kaleidoscopic quagmire of madness with a brilliant score, fun performances and excellent goo. It might not fully land it’s ending which for me is a hard blow to recover from, reducing it from my favourite Cosmic Horror film to just one of the better ones and like most of the Lovecraft adaptations of the past this will not be for everyone but it’s a hell of a ride if you’ll brave the eldritch horrors of the Color Out of Space.
Oscar Jack
Color Out of Space is available to view via Video On Demand from Wed, 6th May
On face value, one could easily dismiss this film as a cheap and crass view of the criminal underworld that speaks to those trapped in an anal retentive phase, but if tou were to look up the defintion of someone that fits that description, you’ll discover that it is a scientific stage of psychosexual development and can originate in something as simple as orderliness and the need for all things fitting in its right place.
Butt Boy may have started out as a joke concept, but director, writer and actor, Tyler Cornack and his creative team soon developed a deeply thrilling and dark ride into the recesses of our human mind at its infancy.
Central to this rectal fascination is bored IT Engineer Chip, who is stuck in a dead-end marriage with no sexual drive, that is until he has a routine prostate exam that ignites his sexuality and sends him on a journey of self exploration into dark territory. The twist in this tale is that it soon develops into a crafty and quirky cat and mouse game, as police detective, Russell Fox, is hired to uncover the disappearance of a child at Chip’s place of work. Fox is ruthless and will stop at nothing to get his man, even if it means going where no one dares to go. His theory is wild, but he may have good reason to suspect the mild-mannered Chip has been harbouring everything where the sun doesn’t shine. Only problem is that he has no proof, he’s a reformed alcoholic, and his sponsor just so happens to be Chip.
The key to Butt Boy’s success as a story is that it heralds tw excellent leads in Tylers’ Cormack and Rice, but above it all is that the whole thing is played straight. Think of the time that De Niro went head to head with Pacino in Heat in the way that two icons go head to head in a game of wits but set in the bowels of depravity. Each character is fighting to exist and seeking some sense of satisfaction and prove something of themselves and this tightly gripped drama with explosive consequences.
The Prognosis:
Make sure you don’t turn the other cheek when you encounter this feature. Embrace the film for what it is. A smart, entertaining drama that is bold enough to tackle some of humanity’s fantasies rear on, that doesn’t hold back until its thrilling conclusion.
Butt Boy should be celebrated for its originality and bold approach to the crime drama genre, marking it as one of my favourite films of the year.
Saul Muerte
Butt Boy is available to view via Video On Demandfrom Wed, 6th May
In 2004 a TV series hit our screens called Lost. Soon after that Heroes. They heralded a new era of a different kind of storytelling.
One with no consequences. To elaborate – if you look at a story as an equation of cause & effect, then traditionally the challenge of making a story tight, or just good, was that one flowed into the other creatively WHILST maintaining a strong internal logic.
Bruce Willis is dead at the end of Sixth Sense (effect) and suddenly EVERYTHING he has done (only ever interacting with the kid, always wearing the same clothes, never opening doors) makes sense because (cause) when he got shot at the beginning of the film, he actually died.
(Sorry – spoiler if you haven’t seen it yet. In which case – REALLY!??)
Anyway – along comes Lost and Heroes and suddenly we were hit with a thought. What if we didn’t focus on the left side of this equation (the cause) but only on the right (the effect)?
Suddenly dramatic options seemed to gain a new dimension as shows steeped in sci-fi weirdness had a texture to it that sucked in audiences not normally charmed by its usual bells and whistles.
Suddenly high concept narratives had good dramatic writing. They didn’t focus on the WHY, but on the WHAT. What does this “why” do to our characters?
It’s consequence free writing. Don’t worry if the set-up makes sense, just set it up, and then get on with it.
A tropical island with polar bears, a terrifying smog monster, and an underground hatch? How can they all be connected? WHO CARES! The important thing is, does it draw you in? In fact, the more impossible and weirder you make the set-up, the more interesting the dramatic possibilities, yeah…?
Another way of looking at is Monty Python and their unique approach to comedy. Being professional writers, their frustration when constructing a good sketch was the bow. The end. The punchline. Because coming up with an idea that’s funny? That’s one thing. Making it work? That’s another. But ENDING it satisfactorily? You’d be surprised how hard that can be. Especially if you have to churn out a number of scripts to the demanding schedule of a TV series.
Terry Gilliam was their solution. By simply linking every skit with a surreal fevered animated piece of art, they realised they didn’t have to write a punchline! And it worked. It was genius.
But it WAS a solution.
Is writing drama bereft of accountability the same thing?
Vivarium – Latin for “place of life” – is a sci fi horror (of sorts) harking back to the best traditions of The Twilight Zone.
It follows a young couple Gemma (Imogen Poots) and Tom (Jesse Eisenberg) living in the UK, and like a lot of happy twosomes wanting to take it to the next level, they wish to buy a house together.
So they find a random real estate agent (Jonathan Aris – AKA Anderson from Sherlock) who is creepy AF. Upon their first meeting he convinces them to follow him (by car) to a brand new development called Yonder.
All the houses there are finished and fully furbished. They are also identical, the clouds up above do not move, and there is not a single living soul (or indeed thing) for what seems like miles & miles.
Half way through the tour of a house (#9) the agent ghosts them, and somewhat bemused by what has turned out to be a very odd day, Gemma and Tom hop in their vehicle and proceed to leave.
Or, rather, they try….
In classic Twilight Zonian fashion, every block on the estate is identical and the further they drive away from #9, the more they find themselves winding back up in front of it.
And the strangeness kicks off from there. But if you want to know in what sort of ways – just check out the trailer attached to this article.
The premise is pretty much there.
And from there on in it’s a matter of finding out – what kind of story is this? Will it explain the (wonderfully stylish and definitely intriguing) set up our 2 lead characters are in? Or will it be writing without consequence?
And if it is – will the subsequent dramatic interplay between Poots and Eisenberg (2 powerhouse young actors who have worked together before on 2 other occasions – feel free to imdb it) be enough to pull you through?
Diagnosis:
Imdb says one thing. Rotten Tomatoes says another. And that’s the place of life.
Antony Yee
That’s the guy from Zombieland!
Sara Yee
Vivarium is NOW available to view via Video On Demand
As sons, we always have unfinished business with our fathers. So I thought, ‘What would happen if that unfinished business came looking for us?
Ant Timpson – Director
These words surmise the kernel of Ant Timpson’s vision and directorial debut feature, Come To Daddy and its this beating heart that drives the narrative forward and compels you further into what is essentially a dark and twisted comedy.
Visually and choreographically, this is a simply glorious film, with a beautifully hypnotic and enchanting score by Karl Stevens, that infuses old school 70s espionage thrillers with an eerie, unearthly bass-fuelled playfulness that is the perfect accompaniment to the narrative.
Come To Daddy encloses some of our greatest fears and trepidations by tapping into a family divided by place and time, but connected by blood and loyalty and this becomes tested by opening up Pandora’s Box to be faced with uncertainty and morbid curiosity. What lies beneath the surface may be better left untouched, and for those that probe and tweak a little further, can herald some unpleasant surprises. Timpson had a clear vision in mind for his feature, drawing from a personal account with the passing of his own father as his inspiration. This is evident throughout the film and gives the storyline the much-needed gravitas to direct the audience through the wild and strange happenings that occur and explores the relationship of father and son.
When Norval (Elijah Wood), a ‘privileged man-child’ receives a letter from his estranged father of thirty years to come and visit him. Seeing this as a chance to rekindle their relationship, Norval is surprised to find that his father may not be who he had envisioned. And what’s more, carries some baggage that he may not necessarily wish to inherit.
There’s something quite remarkable about off-kilter, independent films that despite appearances play a tune that is so perfectly in sync with its equilibrium and defies expectations and in this case, Timpson belies his novice attempt at a feature and you’d be forgiven for thinking that he was a veteran in his craft. The notes and beats are flawless as Norval’s trials and tribulations play out on screen to the delight of its audience. Despite its macabre storyline, Come To Daddy peppers along with much amusement as it playfully dances with our hearts in the most dire of situations and keeps us guessing about the fate of Norval.
Wood is fantastic as the lead and is chameleonic in that way that he brings life to the character with his curious eccentricity, both physically and mentally, showing the flaws and humanity, which is both refreshing and ultimately rewarding as we follow Norval’s journey. Wood’s performance is even more elevated by his support players, who are a real treat to watch, from Stephen McHattie’s suitably unbalanced Gordon, to the always fantastic Michael Smiley as Jethro, and Martin Donovan’s all-round solid delivery of Brian, make this an ensemble cast that would make most directors proud to be involved with.
The Prognosis:
So many ingredients that combine to make this a gem of a movie. It’s not something I can pigeonhole, if I’m honest. Is it a quirky, yet intriguing independent feature? Yes Does it produce some high quality visual treats in harmony with scintillating audio stimulation? Yes Does it tickle the darkest humour of the human psyche? Yes Does it prove Ant Timpson to be a master of his craft with an array of stellar talent? Yes. So, what are you waiting for? Head over to Umbrella Entertainment and treat yourself to a superbly entertaining movie, that will not disappoint.
Saul Muerte
Come To Daddy is NOW available to view via Video On Demand
The Invisible Man brought the fear of the unknown to the forefront.
Playing harmoniously with the horror classic first seen on the big screen back in 1933, The Invisible Man involves many untapped elements of what scares everyone. Forget “there is someone walking behind you”, or that sound that suggests someone is next to you, what if they were right in front of you. It’s haunting enough to make you watch your every step but to couple that with an obsessed, abusive ex who is known for his manipulative gaslighting and violent rage, this quickly becomes a great narrative, if only the trailer didn’t reveal everything! AGAIN! I saw an awful cut of the new James Bond movie on television one night, and it looked bland and awful but then saw another trailer for it in the cinema and it looked like it has a great, engaging story. I was already halfway through the plot in my head, waiting for the movie to catch up, and it did just over halfway through the film.
Fantastic performances by the cast who all lead a stoic role in aid to the plot. I like the way films aren’t shying away from the kind of traumatic scares like in the recent Doctor Sleep and in this film, which were obviously showing off what the visual effects department could pull off.
The Prognosis:
I feel like this is one that can be enjoyed by all, there is an ambiguity that lends to the possibility of multiple outlooks regarding events and perspective, coupled with the intriguing use of technology and optics.
It was great to see the NSW funding in the credits
It’s a great movie to watch on a first date! Just try and avoid the trailer before you see it but yeah definitely one for date night.
Surgeons of Horror 