Category Archives: Sydney Underground Film Festival

SUFF 2019 – Movie review: Girl on the Third Floor

12 Thursday Sep 2019

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CM Punk is on the precipice of leaving the wrestling ring and embarking on a career in horror movies, including the much-talked about remake of Cronenberg’s Rabid by the Soska Sisters.

First up though is Girl On The Third Floor, which sees Punk as a married man about to embark on a home D.I.Y. project of an old Victorian house in time for his pregnant wife to move in, but not all is as it seems within the house, including its token living component. Surprisingly, Punk was incredibly convincing in the lead role (Don Koch) who appears to be the dedicated, hard-working husband but slowly reveals that he is a guy used to getting his way in business and the bedroom, and is easily led astray by his many vices.
Punk is used to putting his body through the extreme measures in both his martial arts and wrestling years, and at times his facial expressions channel those of Bruce Campbell’s Ash as he is pitted against otherworldly sights.

When Don meets the mysterious neighbour Sarah, he succumbs to temptation, and ends up with more than he bargained for when he treats her as a one night stand. Just like his renovations, Don soon finds the walls tumbling around him and his life falling apart, revealing some disturbing sights, hidden within the house. 

Director Travis Stevens weaves a world that oozes slime, puss, and blood that seeps into the crevices and delicately shifts between mystical suspense and body horror that ticks along at a decent pace. The shifts in tone and narrative position are equally strong, as the audience continuously shifts their perception of the characters, none-more-so than Don’s wife Liz, who comes across as a little vapid and overbearing until she is given her moment to shine and present a more rounded, complex character facing a tough dilemma that thrusts her front and centre and taking charge of the situation.

The Diagnosis:

Stevens serves up a promising debut feature that questions our discernment of the characters at play, and challenges our preconceived ideas by lifting the lid on what we wish to remain buried. In doing so, he exposes our inner thoughts and desires and rips them apart so that there is nowhere to hide. Can we face those demons and is there strength in us to change our ways or be forever damned? 

  • Saul Muerte

Catch the screening of Girl on The Third Floor at the Sydney Underground Film Festival at the Factory Theatre, Marrickville.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 8.30PM (Cinema 1)

SUFF 2019 – Movie Review: Dreamland

11 Wednesday Sep 2019

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Every so often a film will come along that can be truly classified as unique and Bruce McDonald’s (Pontypool) latest feature can proudly sit in this category. Like a glass of smooth whiskey, Dreamland scintillates the senses and warms the cockles as it seeps into the bloodstream. As expected from its name, McDonald provides a narrative that draws you in deep and hypnotises you into a state of transcendence. 

At its heart, Dreamland is a hitman with a heart movie, but what makes it stand apart is how the storyline transfuses Eastern European mythology with a Far-East culture and spiritualism. This injected with a cool jazz music that would make Martin Scorsese swoon, we are carried through a journey where the audience can drift along with relative ease knowing that we are in the safe hands of a more than accomplished director.

It’s not just about style though, as the substance is grounded by some heavy-hitting performances from Henry Rollins, Juliette Lewis, and Stephen McHattie in his dual role of the afore-mentioned hitman, Johnny and jazz trumpeter The Maestro. McHattie is magnificent in his portrayal of both parts and adds weight to McDonald’s composition. 

When hitman Johnny learns of children being smuggled and sold off to a collective group, he endeavours to free them of their torment and quit the business ahead of high-profile wedding. There is trouble ahead, but more than Johnny possibly bargained for as the wedding guests are from a vampiric bloodline, with the groom resembling Count Orlok, who has a blackened heart set on making one of the kidnapped young girls his blushing bride.

The Diagnosis:

Dreamland is a simply glorious film that entices you into a beautiful world with a rich soul.
It is a mystical journey that sends the audience beyond the physical realm and transports you through a dark and disturbing land whilst surrounding you with an invisible ray of light to shepherd you to a sublime conclusion.

  • Saul Muerte

Catch the screening of Dreamland at the Sydney Underground Film Festival at the Factory Theatre, Marrickville.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 10.30PM (Cinema 1)
SATURDAY 14TH SEPTEMBER – 6.00PM (Cinema 2)

Movie review: Fingers

07 Saturday Sep 2019

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One of the reasons I love the Sydney Underground Film Festival so much, is that each year you can guarantee to view some of the most off-centre films from the industry.
No matter how hard you try they refuse to ‘fit-in’ to the mainstream, perfectly content to live among the strange, surreal, or bizarre.
This year, Fingers can proudly sit among this prestigious group of outcasts, described by SUFF as a ‘quirky and off-the-wall jam’.

We all have our phobias, and for Amanda, it’s fingers. So when she is confronted by a fellow worker who is missing one of his digits, she freaks out and spirals into a world that she is forced to endure and overcome her demons.

Fingers soon blurs the boundaries as we are presented with Dr. Scotty, a self-help psychologist, who aims to guide Amanda on her journey; Two masked hit-men; and a curious old dude played by Michael St. Michaels who some viewers may recognise from The Greasy Strangler.
Each of these characters come with their own curiosities that slowly seep to the surface and sheds light on all our of our oddities that we try to keep buried beneath the surface.
In doing so, the characters must own up to their “weaknesses’ and embrace them.
For without them, humanity will never grow and become trapped in their own personal hell.

The Diagnosis:

Whilst Fingers may not suit everyone’s tastes, those that relish the strange and quirky souls of human life, will find great satisfaction from this little gem.
If you can push beyond the first 20mins, you will find yourself absorbed into the narrative and willing to plunge into the dark and twisted mind of director, Juan Ortiz (Jennifer Help Us).
Particularly striking was Jeremy Gardner as the unhinged hit-man, Talky, who treads the fine-line of madness, mayhem, and vulnerability with effortless ease.

  • Saul Muerte

SUFF 2019 – Movie Review: Tone-Deaf

06 Friday Sep 2019

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It’s been 5 years since director Richard Bates Jr released Suburban Gothic, and his latest feature, Tone-Deaf harnesses a similar blend of wit and horror from its lead actors that has become closely associated with this auteur. Those that enjoyed Bates Jr’s approach to the celluloid form will appreciate the inclusion of this movie in this years’ Sydney Underground Film Festival. 

Tone-Deaf offers a topical insight into the gulf that divides the Baby Boomer generation and the Millennials. Robert Patrick is magnificent as disgruntled home-owner, Harvey with an axe to grind with the current generations’ attitude or neglect towards all that his generation has built or established.

On the other side of the divide is Olive, who is going through her own crisis after losing her job and splitting from her dead-beat boyfriend. At first Amanda Crew’s portrayal of the struggling Millennial comes across as sipid, and I found it hard to engage with her, but once she holes up at Harvey’s Airbnb, she soon starts to shed some of her harsh exterior and we soon warm to her. Which is a good thing too, because once Harvey goes nuts, we need to champion for someone in the narrative.

Speaking of Harvey, when we’re first introduced to him, I found it a little jarring too as we’re greeted to the first of many soliloquies as he addresses the audience, but at least it doesn’t go to Clint Eastwood Gran Turino grumbles. In fact, Patrick’s performance is more on the lighter-side of darkness as he delves into the melancholy, which allows us to warm to Harvey despite his obvious affliction.

The Diagnosis:

As the movie plays out, we’re treated to a see-saw of oppositions that continually ebbs and flows without the slightest hint about who will come out on top. The humour peppers along and provides reprieve from what could be construed as a bleak outlook but Bates Jr clearly has fun ridiculing the obvious disconnect between the generation gap.
Whilst the horror is slight, this home invasion thriller manages to entertain and delight through the ensuing conflict. 

  • Saul Muerte

Catch the screening of Tone-Deaf at the Sydney Underground Film Festival at the Factory Theatre, Marrickville.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 6.30PM (Cinema 3)
SATURDAY 14TH SEPTEMBER – 8.00PM (Cinema 2)

Movie review: Luz

09 Sunday Sep 2018

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Luz is a film that is ultimately about demonic possession, but it certainly isn’t your typical window into the occult.
It is not some simple, paired down student project shot on a low budget, instead director Tilman Singer offers a minimalistic style reminiscent of playwright Bertolt Brecht and is set in a handful of isolated interior locations.
This adds to the harrowing and strange feeling that is carried throughout the film, all the more haunting for the powerful performances on display. Nora’s odd twitchy movements and the intensity of police psychiatrist Dr Rossini simply add more fuel to the stifled ambience.
Everything is incredibly stylised and each movement no matter how small is charged with emotion or reason. If anything, the minimalism forces the actors to bare their souls on screen that is ironic as the story centres around a demon, hell-bent on taking the soul of our lead, Luz.

The starkness of the décor coming straight out of the heart of the 70s adds to this sense of isolation and bewilderment. This coupled with the awesome retro soundtrack by Simon Waskow thrusts the viewer into a world far removed from their own and into a world of despair.

As the demonic presence homes in on its prey, the more potent the drama becomes and the free fall into madness becomes ever more present.

The short running time of 70 mins only compliments the movie more, keeping the story in a tight and succinct timeframe packing enough depth to the plot line whilst keeping the audience gripped.


The Diagnosis:

Singer manages to balance the highs and lows in a harmony of beautifully constructed cinematography and movement.
The performances are strong across the board and all the components tie together in an interesting and unique approach to demonic possession.

– Saul Muerte

Catch the screening of Luz at the Sydney Underground Film Festival.

Screening times and tickets available below:

SATURDAY 15TH SEPTEMBER – 12PM NOON
SATURDAY TICKET

Movie review: Trauma

05 Wednesday Sep 2018

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Who do they call upon when other ‘Surgeons’ fear to tread? but yours truly, “Howling Mad Moon” Maguire. The assignment presented to me has been described as “the most shocking, brutal and extreme horror film in recent times”, and with a title like Trauma you can only expect some kind of residual scarring after witnessing the events that unfold through its narrative.

This film sure ain’t for the faint-hearted and sets the tone straight away by ramming it straight down your throat in such a confronting way that its not surprising that it has been likened to A Serbian Film in its nature and depiction of humanity at its worst. There’s rape, torture, and incest all within the first scene that leaves you feeling sick to the stomach and grimacing at the prospect of where Chilean director Lucio A Rojas will take his audience next.

Where he does take you almost teases the audience into a false-sense of security to juxtapose the intro, as we see an incredibly intimate scene between two women, breaking the cardinal rule of any horror film, so our hopes of their survival are in doubt, if Rojas were to play by those rules.

But what is survival? It’s as if the meaning of that word is irrelevant in this world in upheaval through the turmoil of General Pinochet’s rule in Chile.
The question should be more about ‘What does it takes to exist?’ as Rojas shines a spotlight on the plight of the country of his birth at a time when the world just turned its head. (This echoed by one of the police officials in the storyline) Rojas does everything he can to deny you this right, by forcing you to watch.
The pain is highlighted further as we journey alongside four female characters in search of a weekend getaway and slowly getting to know each of them through some wonderful character development, only to be crushed by the realisation that their world is about to clash with the dark and twisted underbelly that resides in their haven.

The Diagnosis:

You have to have a strong stomach for this one and the opening scene may turn viewers away. That’s not to mention the harrowing ordeal that takes place throughout the films narrative. If you can brace yourself, prepare to be educated in a time that the world wanted to ignore and forget by a director who has a firm grasp on what that reality means to him and those of his country.

The most shocking thing is that this is just a whisper of time that we bear witness to. There are other stories are left untold are the ones that leave you haunted and scarred by the unknown. Trauma lives up to its name and then some.

– ‘Howling Mad Moon’ Maguire

Catch the screening of Trauma at the Sydney Underground Film Festival.

Screening times and tickets available below:

FRIDAY 14TH SEPTEMBER – 10.30PM
FRIDAY TICKET

Movie review: Christmas Blood

03 Monday Sep 2018

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Personally I find the Norwegian title (Yuleblod) creates more of an impact than its English transcription, but everything else about this film translates superbly for the wider audience, and is a great addition to the Sydney Underground Film Festival.

Director Reinert Kiil (great name for a horror director by the way) is no stranger to the genre, cutting his art with a distinctive Nordic vibe throughout his credits thus far.
The premise of this movie has a killer Santa on the loose, murdering his victims with his trusty pickaxe during the festive season every year. For those who might be turned off by this premise, or are still recovering from the scars that Silent Night, Deadly Night produced in the 80’s, fear not. Kiil delivers a fun, psychological, slasher movie that doesn’t shy away from its nostalgic roots whilst still delivering the sucker punch that fans of the subgenre will love.

Part of Christmas Blood’s lure is in the way it plays its straight and by setting the scene in his childhood town of NordKapp, Kiil is able to draw on what he knows for the setting of Santa’s most recent rampage.

All the hallmarks are there, Killer soundtrack with metal riffs and the psychotic Santa even has his own theme for when he bears down on his next victim, which Kiil does through the use of POV to both direct and on occasion misdirect the audience.

There’s also the stranded females in an isolated location, waiting to be picked off one by one, and Kiil does a great job in making us questions who if anyone will survive. And let’s not forget the hard-boiled alcoholic detective who has been through this before and is destined to try and bring down Santa once and for all, accompanied by the brash, new upstart detective who is hoping to leave his mark in hunting down the notorious serial killer.
And there are plenty of gruesome kills to satiate fans of the slasher genre.

The diagnosis:

Kiil takes the viewer where others have dared to tread but rarely succeeded and offers a decent stab at the slasher horror genre with some yuletide flavour. Expect a fun-ride, great kills, and a Santa who is completely off his sleigh.

  • Saul Muerte

Catch the screening of Christmas Blood at the Sydney Underground Film Festival.

Screening times and tickets available below:

SATURDAY 15TH SEPTEMBER – 11PM
SATURDAY TICKET

Movie review: Tokyo Vampire Hotel

29 Wednesday Aug 2018

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Now in its sixth year the Sydney Underground Film Festival has firmly laid claim to the weird and wonderful world of movies on the festival circuit. In doing so it has provided Australian audiences with access to a unique, colourful and bizarre celluloid landscape that wouldn’t ordinarily see the light of day.

Thank God they do, because films like Tokyo Vampire Hotel fits the criteria perfectly, offering a diverse and delightful skew on the tried genre of vampirism, which is so refreshing to see.

Japanese director Sion Sono provides a theatrical cut to his 9 part miniseries for the festival, with a rich and striking pallet that sometimes feels like it is dripping off the screen.

The characters are instantly iconic and ooze charisma, from the magnanimous Yamada to the sword-wielding K, the latter cutting a familiar figure in Japanese folk mythology and on occasion triggers images of Lady Snowblood to the mind’s eye.

K’s character complements the old and new world of vampire legend, hailing from the Dracula dynasty and charged with locating and protecting soon-to-be 22 year old Manami from rival vampire clan, the Corvins.
Manami becomes the core focus for the warring families as they vie for her pure blood and become victors once and for all.

It’s obvious that this film originated in broken down segments with the pace and energy peppering the narrative at a cracking pace, and constantly pushing the viewer onto the next scenario. The soundtrack also helps to fire the action along thanks to math-rock act Tricot’s catchy upbeat anthems. To Sono’s credit he does this seamlessly and with each instance he up’s the ante and trebles the crazy much to the delight of this reviewer.

The result has us see some beautiful images and strange scenarios from total annihilation by a sugary sweet assassin, armed with crazy dialogue and an endless supply of ammo and arsenal to take out an entire café; to massive gunfights and explosions on the streets of Tokyo; and full-on gore, mayhem, and bloody carnage, as vampires and mortals rip each other to shreds.
It’s a glorious sight to behold and leaves you wanting more from the world that Sono has created on-screen.

The Diagnosis:
Tokyo Vampire Hotel has cult viewing written all over it and deserves a global audience. Go see the theatrical cut while you can.

– Saul Muerte

Catch the screening of Tokyo Vampire Hotel at the Sydney Underground Film Festival.

Screening times and tickets available below:

FRIDAY 14TH SEPTEMBER – 10.30PM
FRIDAY TICKET

Movie review: Mandy

28 Tuesday Aug 2018

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Okay. There are some people who will watch this movie and instinctively think that it’s a pile of artistic wank within the first few minutes, but for those who stick it out through the admittedly slow pace will find themselves lured into a fantastical journey, that leaves you entranced by the sheer bloody beauty that is depicted on screen.

Italian director Panos Cosmatos’ sophomore outing is an attack on the senses that is delivered in a trance-like state, enamoring you by its beauty of rich colours and kaleidoscopic fluidity. This false-sense of sedateness is doubled further with the deep dialogue between kindred couple Red Miller (Nic Cage) and Mandy Bloom (Andrea Riseborough) which lends itself to the hippy-life that they lead in the remote northern wilderness.

Enter cult leader Jeremiah Sand awesomely portrayed by Linus Roache, oscillating between delusional insanity and vulnerability sublimely. From a chance encounter with Mandy, Jeremiah like the audience is intoxicated and feels compelled to delve further into her mystery, so he brings his entourage of devotees and sadistic fucks to rip apart this idyllic sanctuary and claim Mandy for his own. The problem is that perfection doesn’t exist and when Mandy doesn’t meet his expectations, Jeremiah wants to tear it up and destroy everything. By severing open the guts of peace and bliss, Jeremiah unwittingly sours the land of milk and honey and from that moment on, the turmoil and angst that has been contained, pours forth in a devastating form that has no means of slowing down until the balance is restored once more.

The depredation is the trigger for Red to resort to his base instincts and exact pure bloody hell and revenge on Mandy’s tormentors. This dark and twisted journey that Red undertakes is filled with pure anarchy and hatred that it feels only an actor like Cage can portray. The beauty of his performance though isn’t from his stereotypical over-the-top exuberance but in the stifled and restrained approach that he plays his role, which is a testament to both Cage’s acting prowess and Cosmatos’ direction. By ever so slowly dialing up the heat, Red reaches the pique of frenzy at the right moment in the film to make it both believable and a delight to see.

The diagnosis:
Beware of your strive for beauty and perfection. Slice it open and you get a reign of anarchy and destruction.
Cage taps into the life of a man who has his whole world savagely ripped wide open and ventures out on a path for vengeance and fury, delivering one of his finest performances to date.
It’s a visually stunning movie with an amazing cast including a welcome cameo from Bill Duke in the midst of the mind-fuckery that goes on.
Whilst it’s not for everyone, this movie will delight many in its unique style and approach to the celluloid form.

The Big Boss on crack!!

– Saul Muerte
Catch the screening of Mandy at the Sydney Underground Film Festival.

Screening times and tickets available below:

SUNDAY 16TH SEPTEMBER – 7PM
SUNDAY TICKET

Mandy 1

The Babysitter

25 Wednesday Oct 2017

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Directed by McG and a Netflix original, The Babysitter is one of those films you could easily watch while scrolling through Facebook or feeding the dog and still get the general idea.

Twelve-year-old Cole (Judah Lewis) has the world’s best babysitter, Bee (Samara Weaving). She’s got her sci- fi trivia- down pat, hot tips on beating bullies, and she’s a drop dead gorgeous American dream. As in, pass me the Blu Tack and stick her poster up on my wall kind of hot.
Cole and Bee are the best of friends (go Cole) until one day his parents are away and he stays up past his bedtime. He discovers Bee is eeevilll and plans to use him as a blood sacrifice in a magic ritual (Noooo we thought you were perfect, Bee).

The Babysitter isn’t trying to be brilliant, it tries to mirror your eighties teen slasher flick.
A little bit of horror and a little bit of comedy mashed up with a side of teen titillation. We see a cheerleader get shot in the boob, we see a nerd get his first– kiss, a girl on girl make out sesh and stacks of cheesy graphics.
If the full frame “what the fuck” graphic doesn’t alert you that the plot is taking a turn, then maybe Thomas the Tank Engine might be a better choice for you.
Those who aren’t into McG’s male gazy lens better steer clear too.

If we wipe away the blood and teen slasher film cliché’s the film is really a coming of age story about a twelve-year-old that overcomes his fear of needles, bullies and not being accepted.
Judah Lewis does a great job of pulling on our heartstrings and doing the whole nerd -becomes -hero thing.
The early scenes with Lewis and Weaving are the film’s strongest. Bee and Cole have real chemistry. Even the other villains do what they can to make their cliché characters dance.
McG nails slowing down the background action whenever the pair are together. These scenes provide much needed depth balancing out the one-dimensional horror to come.

The Diagnosis:

Look, you’re probably not going to be talking about this one over drinks at the pub or even remembering what it was about next week (caution: you may lose a few brain cells throughout). However, respect for not trying to be something it’s not and giving us a few cheap laughs along the way.

– Breana Garratt