As discussed in our latest podcast on Annabelle: Creation, the Conjuring universe is certainly expanding and this latest entry into the world feels like the first to make its mark.
Cinematic universes are fast becoming the next big thing – you can’t create a movie these days without looking beyond the movie that is being produced in order to explore untapped story potential.
Annabelle: Creation is no exception and a lot has been resting on the shoulders of this film to succeed in order for The Conjuring Universe to leap ahead with its grand plans.
Already committed to the franchise is ‘The Nun’ spinoff, heading to cinemas mid-next year, plus a stand-alone film centered on ‘The Crooked Man’ from The Conjuring2, plus a third outing on the supernatural investigations led by The Warrens.
Overseeing this universe from a writing perspective is Gary Dauberman, who not only has cast his vision across the numerous films slated, but contributed towards the much-anticipated It movie, due to be released in the coming weeks.
What is notable however in Dauberman’s writing is his fascination with the occult and those that practice or delve into the dark arts.
Despite its obvious flaws, Annabelle’s beating heart centred upon ‘Satanists’ and that of a woman from an undisclosed cult projects her twisted soul into the titular doll and thereby exacting its demonic will upon the afflicted family.
What has this all to do with the Manson family murders, I hear you cry?
Well, sandwiched in-between the release of Annabelle and Annabelle: Creation, Dauberman worked on a little movie called Wolves At The Door, a tough, hard-hitting drama horror based on the Sharon Tate murders.
Those who are unfamiliar with this case, there were 5 victims in total, murdered in the home of Sharon Tate, wife to director Roman Polanski at the time and who was 8 months pregnant when she was killed.
The murders were carried out by four of Charles Manson’s ‘family’ by climbing into the estate and carrying out one of the most brutal and documented crimes in Hollywood.
It’s a dark subject and perhaps due to its historical context makes the viewing all the more harder to take on-board despite its lenient running time.
The connection doesn’t just stop with this movie though, as a more obvious relation is at play in Dauberman’s writing in the form of this guy.
Eric Ladin’s detective character, Clarkin was last seen in the Annabelle movie, charged with overseeing the murders that took place at the start, and would be called upon by Mae to discuss the ‘ritual’ behavior that was carried out.
“Crazy people do crazy things sometimes.”
A line that he mentions in passing to sum up all the horror that has unfolded and would be repeated again in Wolves At The Door, when Clarkin is again called in to investigate a break-in that has all the hallmarks of satanic beliefs and the precursor to the Sharon Tate murders.
His appearance may be minor in both films, but is there more to be uncovered in this character?
Does Dauberman have any plans to explore this character further? Could we expect another spinoff following Detective Clarkin’s investigations?
With the expanding universe, anything’s possible, right?
Like me, you may have believed that The Sixth Sense was M. Night Shyamalan’s directorial debut, such was the impact that movie had on his career and the horror genre.
Before this movie awakened our senses and Shyamalan became known as the director with the twist endings, he would take the helm with two other features, Praying with Anger, and Wide Awake.
The former would see Shyamalan write, direct, produce, and star (a sign of things to come) in a self-reflective story about an Indian American, who was raised in the States who goes to India to study, and a conflict of Western and Native culture collide.
Clearly, there is a lot of the director’s love and labour thrown into this project as he covers every aspect of the production process.
Six years later (1998) Shyamalan would venture into his sophomore feature with Wide Awake, a comedy drama starring Denis Leary, Dana Delany, and Rosie O’Donnell.
Once more faith, and religion (a reoccurring them in Shyamalan’s work) would play a part in this story, as a 10-year-old searches for answers around life and death.
Another signature that would return for the third movie and the film that would put Shyamalan’s name on the map would be to tell the story through the eyes of a young boy, capturing the essence of innocence in a ‘brave new world’.
The Sixth Sense
The blessing and the curse
The film was nominated for six Academy Awards and thrust Shyamalan into the spotlight.
The Sixth Sense has been referenced and parodied on numerous occasions, and cemented itself firmly into pop culture.
Starring Bruce Willis, Toni Collette, and career defining performance from Hayley Joel Osmont.
Despite all the accolades thrust toward the movie, because of its ‘surprise ending’, it falls into the trap of lost magic, once the reveal is apparent.
People may have been keen to re-watch and scrutinise every aspect for the clues set up along the way, but essentially, you could never capture THAT moment again with repeat viewing.
It’s a strong contender in Shyamalan’s canon of work, but arguably not his finest hour for this writer.
Personally, I don’t feel he has managed to top his follow-up movie…
Unbreakable
The elevation of success continues
Bruce Willis would once again work alongside Shyamalan following the success of The Sixth Sense.
This time Samuel Jackson and Robin Wright, rounding out a stellar cast that would accompany him.
Shyamalan’s ode to the comic book genre has been labelled as one of the best superhero movies of all time and you can clearly see the director’s love for the subject.
Unbreakable is a wonderful shot and beautifully told story that pits Willis’ David Dunn, a man who discovers that he is as the title suggests, unbreakable when he is the lone survivor of a train crash.
Dunn pits his strength and wits against Jackson’s Elijah, his polar opposite in that his body is prone to fracturing easily and in my mind, one of the best things about the film is the way Shyamalan’s narrative leads you to believe and identify with the reasons that Elijah resorts to villainous behaviour, a topic that many have tried but failed to convey.
Shyalaman’s third success would come in the form of…
Signs
The last hurrah?
Signs would complete Shyalaman’s hat trick of successes before his fall from grace.
Once more faith is put under scrutiny when Gibson’s Father Graham Hess is struggling to identify with his religion after the loss of his wife.
It’s his acceptance of that grief that shoulders him and ultimately his family through an alien invasion that threatens their way of life.
With each movie Shyamalan has released his formula had been pretty consistent, but audiences were starting to wisen up to his craft.
His next feature would break the camels back and see a downward trend in Shyamalan’s fortunes.
The Village
The one trick pony revealed
I’m gonna ask a question here relating to The Village, which in my opinion has received unfair criticism towards it.
If Shyamalan had not been the director, would we (the audience) have been so scornful?
Too many people had become familiar with the directors trick of adding a surprise ending that when said trick arrived in The Village, there was a sense of being let down.
“Oh, is that it? WTF!!”
However, if you take Shyamalan out of the equation and simply look at the movie on its own merit, it’s actually a lot stronger than our immediate reactions warranted.
Joaquin Phoenix returns as Shyamalan’s latest muse, this time portraying Lucius one of the next generation of a secluded villagers that we’re led to believe darkens back to days of yore, such is the existence that the inhabitants lead.
Believing that their secret is set to be exposed, the Elders are rescued by a stroke of luck when a blind girl, Ivy (Bryce Dallas Howard) ventures out into the outside world to retrieve some much needed medicine.
As I said, I liked this movie. Agreed not Shyalaman’s finest hour but it’s a solid movie.
Any fans of the directors work that found themselves sitting on the fence of uncertainty about Shyalaman’s directing prowess, would find their confidence drift further with his follow up film…
Lady In The Water
The fall from grace
There’s no doubt in my mind that Shyalaman is a smart man.
His intelligence brims to the surface of all of his movies.
But like another smart man once said, ‘With great power comes great responsibility.’
And with his recent run of successful movie hits, one can’t help but thing that Lady In The Water is an example of how the directors vision had left his vision firmly in the clouds.
You have to commend him for the effort portrayed in infusing a fantastical world based in reality, but Shyalaman is so absorbed in his own creation and egotistical views that he fails to see the bigger picture, and because of this, he loses his audience in a convoluted mess of a fairy tale.
What makes it worse, is the now notorious self-casting of the writer come to save us all.
It feels so egotistical that and the delusion is worrying sign for a director/writer who had shown so much promise.
And as if he were hell-bent on destroying his career, Shyalaman decides to kill off a character within the plot who just so happens to be a movie critic.
If Lady In The Water has one saving grace, it’s that Giamatti’s performance keeps the narrative bopping above the surface, but not even the addition of a good cast in support, notably Bryce Dallas Howard as the nymph, Story, and Jeffrey Wright as Mr Dury can help save this film from drowning in a pool of its own vomit.
So, where to from here?
His first box office disappointment and Shyalaman chooses to push on regardless with…
The Happening
The film that limped across the line.
With a point to prove, Shyalaman would turn his attention next to a B-Movie horror with smarts.
But The Happening was hardly a victory.
Starring Mark Wahlberg, who himself criticised the film and Zooey Deschanel, an actress who usually sets the screen alight with her strong performances.
With a promising start, The Happening does hold promise, but the audience once again finds themselves lost in the lack of plot structure and smothered by the overbearing message on environmentalism.
By now, we’ve reached the mid-way point of Shyalaman’s career thus far and the feeling I get as I survey his filmography is that he’s a man with grand visions and ideas, but he’s not necessarily going to execute them effectively.
Case in point…
The Last Airbender
Dead on arrival
Based on the successful kids tv series on Nickelodeon, The Last Airbender should have been a success given its strong following, and this could be in part why it received a fairly strong opening weekend at the Box Office.
But the first movie that Shyalaman would attempt from a story that wasn’t his own would prove to be another failure for the director.
This film to me feels like a move from a guy who is lost in the world and with no sense of direction or where he is going.
Which is understandable considering his recent run of poor performances.
With a central character who displays no personality whatsoever and a script that clearly doesn’t connect with the writers ethos, The Last Airbender is a film that doesn’t even register on the Richter scale and doesn’t stir any emotion at all.
This is Shyalaman’s lowest point in his career.
When you reach rock bottom there’s only up though, right? Right?
An interesting response from Shyalaman during this time was to put on his producer hat and support another movie released in 2010 called Devil.
This film was actually quite good and showed promise, but importantly saw a success under Shyalaman’s name but this time not as a director.
That particular journey had still needed to right itself and was by far from finding solid ground.
Instead we’re treated to…
After Earth
The forgottenfailure
This movie was essentially a passion project of Will Smiths.
Based on an idea that he developed, After Earth would also star Smith’s son Jayden and produced by Smith himself alongside his wife, Jada Pinkett Smith and Shyalaman.
The latter of whom feels like is still in self destructive mode, clambering up the sides of the hole of failure, which he pretty much dig himself.
As if he didn’t learn his last lesson, Shyalaman plummets into another disappointing film by tackling a story that is not his own.
Ironically, the director had lost faith in himself. Ironic in that faith is the very subject that fascinates this director when approaching storytelling.
Will Smith would describe After Earth as his most painful failure and there’s a reason that most people have tried to bury this movie from their minds, which falls just short of being the worst post apocalyptic sci-fi film of all-time.
No one can take Battlefield Earth off that mantle.
Wayward Pines
The much needed reprieve
Although his next move saw Shyalaman only serve as director for the pilot and serve as Executive Producer, the choice was an important step in his career.
By turning his attention to a different medium, (a tv series), Shyalaman would be able to realign himself once more.
Take stock and arguably bring him back into contention as an auteur once more.
The Visit
The reawakening
This could very well be the turning point that Shyalaman was searching for in his climb back into the realms of success again.
On face value it struck me as just another found footage horror, with the protagonists played by sibling kids, Becca and and Tyler (Olivia De Jonge and Ed Oxenbould who both deserve high recognition for their performances in this) who go to stay with Nana and Pop-Pop, grandparents they’ve never seen before, which automatically sent signals off for me.
The plot line is a little clumsy in places as Shyamalan stumbles his way through telling a story on new-found confidence, albeit a little shakily.
There is another strength in the tale though to allow Shyalaman to stride forward in his tale, as the right ingredients are in place to propel the story forward with fear and trepidation combined with a genuine care factor for the central characters involved.
My only niggle was the slight arrogance from Shyalaman from the role of Becca.
She speaks intelligently enough but it just dips slightly into the level of annoyance and too many scars are on display still from Shyalaman’s previous outings.
This aside, it plays along nicely enough with a reward that doesn’t feel forced.
It’s a strong sign of things to come.
Split
The return to form?
By the time I came around to watching this the word was already out and the spoilers had hit the net.
The audience reaction was… divided and yet I intended to come into this film with an open mind.
The pace and build up was faultless and thrust the viewer headlong into the ordeal that the 3 kidnapped girls face.
James McAvoy is simply outstanding displaying so many diverse personalities, although we only ever see 8 of the 24 in the film.
Perhaps because this would have been too confusing and the audience would have been lost.
Maybe Shyalaman has learnt his lesson after all?
Also making an impact on the screen in films such as Morgan and The Witch is Anya Taylor-Joy who delivers another defining turn as one of the kidnapped girls, Cassie, who has her own skeleton in her closet which becomes integral to the closing scenes of the movie.
There are some moments that he action is a little scattered in places but overall Shyamalan delivers a solid movie with the promise of an Unbreakable / Split crossover in the near future.
This news has got fans salivating at this prospect but also has film lovers in a frothing frenzy of anger at the idea of another movie being released by the director.
Has Shyamalan burnt too many bridges in his audience trust?
Is he bouncing back from redemption? And does have what it takes to another another successful feature?
Love him or hate him, I’ve come to admire his appetite to keep challenging himself and delivering compelling stories.
Each story he produces takes him in a different direction and he seems fearless to take on his visions.
Yes he may not land with every punch, but there’s not many other directors out there in the mainstream that continue to offer something new to the scene and to produce conversation with every project that he overseas.
For good or Ill, I’m glad to see someone like Shyamalan still producing in the film industry.
And I’ll have to hang my hat on that unpopular statement.
Xx is released on Blu-ray and DVD today, so I thought I’d write this review and share my thoughts.
Warning: contains spoilers for those who’ve not seen it yet.
I soooo wanted to like this movie.
So long now, women have been forced into the shadows unable to have a voice (with a few exceptions) so when I heard that four female directors would team up to deliver a collection of short horror stories for a feature, I was beyond excited about shifting that ‘male gaze’ with a much-needed feminine skew.
I have to say though, I was let down, although only marginally.
Features that contain short stories rarely work in my opinion.
Some come out stronger than others and the overall feel of the feature as a whole is a little unbalanced as a result.
Unfortunately, the weaker of these stories occur at the beginning of the movie.
So, let’s scrutinise this further by examining the shorts in question.
First up we’re presented with…
The Box
…which was also written by Jack Ketchum, who has 4 Bram Stoker awards to his name, so he is no stranger to the dark world, but with all due respect to him, I was kind of hoping that these collections would be 100% female orientated.
Not just with the writing but with the writing too and his addition mars this ever-so-slightly.
The Box presents a mysterious story centred around a mysterious red box that a guy is holding on a train.
A boy, Danny asks what’s inside and when he peers in an eerie transformation occurs, where he won’t eat anything anymore.
One by one the other family members succumb to this strange ‘virus’, all except the mother played by Natalie Brown (Channel Zero: Candle Cove).
The family end up starving to death, and the mother is left wandering the tubes in search of the man with the box and an answer to the mystery to no avail.
The Box has a cold heart at its core, and whilst it’s interesting enough leaves the viewer feeling a little empty and therefore struggles to pick up any energy moving forward, which it does attempt to do with the more light-hearted….
The Birthday Party
Which stars the wonderful Melanie Lynskey (Heavenly Creatures) and it’s refreshing to see her on screen again.
Here she plays Mary, a housewife struggling in a troubled relationship
With her husband, David.
When she finds her husband dead on his home office, she struggles to hide this from her daughter, who just coincidentally is having her birthday party that day.
A sort of warped version of Weekend at Bernie’s, The Birthday unfolds with a comic lilt and is great insight into the vapid world of the social elite told from a mother struggling to keep up with the Joneses and all appearances to be pristine.
Written and directed by Annie Clark from St Vincent, this short feature would be best served as a single entity rather than absorbed in this group.
It’s certainly not a horror film despite it shedding light on a much heightened side of society, but by sitting alongside its fellow shorts here, it feels and makes the complete picture incredibly disjointed.
Next up…
Don’t Fall
Written and directed by Roxanne Benjamin, the third instalment feels like a nod to old school horror, and is quirky enough to stand out here, but rather than push the feature on in a stronger direction, it limps towards the finish line.
Set in remote desert, four campers encounter a creature that kills them one by one.
It has its funny moments of banter in the dialogue, but the care factor for the characters are low and because of this lack of engagement it’s hard for the viewer to empathise with their plight.
With more room to breathe and a possible feature in her hands, director Benjamin could still be someone to look out for as it does feel that she has more to say, and there’s enough in her writing that makes me willing to listen.
Onto the final instalment…
Her Only Living Son
Thank God for Karyn Kusama.
Just when it feels like XX is dying out with a whimper the director of the brilliant The Invitation comes along with the final offering and you can certainly see that she owns her craft and her skillet is a lot higher than her female counterparts.
Her Only Living Son is a glorious tale of a mother who soon discovers that her suspicions about her son being the spawn of Satan are true.
I have to commend the performance from Christina Kirk as the matriarch caught between the love of her son and knowing that she must prevent the evil from seeping into the world before it’s too late.
It feels like Rosemary’s Baby told from the view of the baby reaching adulthood and that despair of being caught between doing the right thing as painful as that decision may be.
Thankfully Kusama’s story elevates Xx back up to a semi-decent level.
It’s not the best of features and it certainly struggles in places, but it does have its strong points too and by the very nature of its existence, it will have an important place in horror film history.
IN THEIR THIRD appearance together for Universal Pictures, Boris Karloff and Bela Lugosi have the routine down pat.
Lugosi oozes maniacal glee as the Poe-obsessed surgeon with a torture chamber in his basement.
And Karloff, (who was billed with just his surname for this picture, which goes to show how symbolic his name had become in the industry) plays a fugitive on the run from the police.
The film begins with an actress, Jean Thatcher (Irene Ware) hanging on for dear life after a car accident.
Her father and her betrothed seek the help of a retired surgeon, Richard Vollin (Lugosi) to pull her through.
Vollin then develops an unhealthy infatuation towards Jean, who is indebted to him for saving her life.
Vollin attempts to sway her much to the reluctance of Jean’s father.
A crazed plan only comes to light for Vollin when a chance encounter with Edmond Bateman (Karloff) seeking refuge with a proposed operation to change his appearance.
Bateman’s words hang firmly in the mind of Vollin when he mentions how being ugly may have led to him doing ugly things.
In what Bateman hopes will be a transformation for good, Vollin seizes upon this and turns him into a disfigure monster followed by a promise that he will aide him in exacting revenge on the Thatchers.
The conclusion of the movie centres on a dinner party which soon descends into the basement of torture, where one by one the guests face the likes of the pit and the pendulum, and the shrinking room.
It is Bateman’s tortured soul that wins the day though, as he searches for a good heart within and turns the tables on the fanatical Vollin, forcing him into the shrinking room and in turn his demise, but not without inflicting a fatal bullet wound in the process.
Upon release the movie received poor box office receipts, which is a shame, as I found the narrative and performances to be one of the strongest outside of the ‘monster’ features.
Both Lugosi and Karloff are particularly strong in their respective rolls, but it was deemed the subject matter of torture and disfigurement (themes that would be welcomed today among cinema-goers) too strong for the audience.
The following year would see Universal Pictures change hands, and the proprietors were less interested in the stories of the macabre and The Raven’s poor performance was evidence enough for them to make this decision. It not for long.
AT FIRST WHEN Universal first posed the concept of a shared Universe, now known as the Dark Universe, in order to release a string of movies that would link all their classic monsters together, I wanted to say that it was a bold approach, but it’s not exactly new.
As a fellow horror enthusiast pointed out on a social thread, Universal were the originators of the crossover worlds with the likes of House of Frankenstein and House of Dracula.
They were though, wanting to relaunch this product into a modern world for a contemporary audience, but there are a few things that prove as an obstacle to completing their vision.
And with these obstacles, Universal find themselves navigating a minefield of troubles which leads the picture to snag on every component along the way and unravel before our very eyes.
So let’s take a look at these obstacles, starting with the elephant in the room, otherwise known as…
Tom Cruise
I’ve been reading a lot about this in the past few days and something that strikes me a little is that people are very quick to point their fingers at Mr. Cruise, citing too much involvement and interference on his part.
But here’s the thing, whether or not this is true, the buck has to stop with Universal and their director.
They decided to cast Cruise in this vehicle and with that you have to expect him to bring some weight and opinion to the piece.
He is known for getting hands on with every project that he takes on, including all the stunts that he performs himself.
So why so surprised when this turns into a Tom Cruise project?
Director Alex Kurtzman may have handled big picture projects as a writer, but prior to The Mummy, he has handled only one other feature at the helm, People Like Us.
So was this a case that veteran actor, Cruise took advantage of this and began to steer said film instead?
Perhaps more questionable is that the script itself is so disjointed and incoherent that you wonder how someone like Kurtzman, (who also wrote this movie) with the vast amount of writing credits to his name managed to make such a botch job of it.
Which comes to the second point.
Lack of character.
Sure enough we are presented with a back story to Princess Ahmanet, but at no stage do we engage with her or identify with her plight.
This basically means that her level of menace is weakened and the fear element is lost – the anchor of the PG-13 rating on it and like the Mummy, the film spends most of the time restrained and unable to break free.
By the time that she does, it’s all too little too late.
I really had high hopes for the female Mummy component and seriously wanted her to kick arse, but when it did happen, it was fleeting and reduced to a whimper.
The supposed transformation of Russell Crowe
So restricted were the creative team behind The Mummy that even Russell Crowe was reduced to a feeble example of Mr Hyde.
On paper, this casting sounded perfect as we have seen portray some notably dark characters on screen before.
Instead we’re present with a gruff version of himself with yellowy eyes.
Sure, I get that they may have wanted to go with a more subtle approach, but why do this if the whole point is to let the monsters loose?
Zombie Vail
“You can be my wing-zombie anytime.”
While it was good to see Nick Morton (Cruise) spa with his buddy Vail at the beginning of the movie, which highlighted his recklessness, and I know I might be sounding fickle here, but it kind of got my goat, when they started riffing off An American Werewolf In London and have Vail come back as a zombie-buddy.
Even more so in the films climax, when they walk off into the sunset, ready for their next adventure.
The question is, will there another adventure?
Going off the poor box office receipts, you’d be forgiven to think that Universal would scrap their plans, but my overall feeling is that they’ll give it another push to win over their audience, which means there would be a lot riding on their next feature Bride of Frankenstein in order for them to see any payoff.
If the dominoes are now set in place for the crossover stories to take hold, then maybe, just maybe the producers will be free to flex their writing muscles and let the narrative go into some bold, new territory.
Ironically for their Dark universe to truly see any reward, Universal need to consider living up to the brand they’ve living by and take it darker.
As such, The Mummy was a mess that was placed too far into the light feel-good category for it to have the impact that horror fans were craving for.
IT’S NOT OFTEN that a movie will leave me feeling that strange, eerie sense of detachment.
As if one’s soul has been ripped away from the body and thrust into the open space to drift in the emptiness.
It’s a feeling of confusion that leaves you wondering what took place that makes you feel a strange mix of emptiness and euphoria.
The last time I can recall feeling this way, was after viewing Gaspar Noe’s controversial movie, Irreversible.
Although Raw deals with a completely different subject matter, it does something similar in crashing head long into a terrain that some may find difficult to handle, and perhaps too confrontational, but in both cases, they are subjects that warrant addressing with a fresh new take, in order to shake things up a bit.
On face value there are some that might be turned away at the prospect of Raw, the tale of vegetarian Justine, (Garance Mariller, who incidentally delivers a stunning performance) who loses all sense of herself in her first week of veterinary school and eats raw meat for the first time.
All the trailers and imagery surrounding the movie have centred on a bloody Justine, who on one hand heightens the gore factor, but what it fails to convey is the sheer depth of this movie.
It’s more than a sensationalist shock-fest and deep down is a coming-of-age story.
When Justine is dropped off at University, she’s somewhat abandoned to her own devices by her parents to make her way in this strange new land.
Her only lifeline comes from her older sister, Alexia, (played by Ella Rumpf, who is equally charismatic and engaging on screen) but is far from the person that Justine once knew and because of this finds it hard to connect with.
The early scenes at the University are immersed in a world of chaos and anarchy – an almost Lord of the Flies situation, where the “Elders” are left to rule the roost and the teachers appear strangely absent and willing for the wild parties and engagements to reign.
It’s an indication to of our times and Director, Julia Ducournau in her feature debut, certainly has her finger on the pulse capturing the very heart of the youth’s struggles as they reach their sexual awakening with only each other to turn to in order to learn from. And sometimes we might not like what we see.
Admittedly, I found the first 20 minutes hard to get into, but as soon as I was immersed in the world that was created, I became instantly absorbed and willing to be taken along Justine’s journey of elation, repulsion, disgust, and delight.
The confusion she feels as she experience all these emotions at the same time, leaves her in disarray, and what at first appears to be a cruel turning point when her taste for the flesh lunges for the one lifeline that she has, only to have the tables turn in a deliciously exciting way.
The relationship that Justine has with Alexia is vital for this movie to pay off and relies on the strength of both actors. It beautifully captures that whole love/hate sibling rivalry, where blood is thicker than water and sometimes family is all we have to rely on at a time when the very thought of that couldn’t be further from the truth.
The more I think of it, the more beautiful and powerful a movie Raw appears to be. It evokes so much emotion that it lifts you up on high and lets you marinade in the bloody mess that is left behind.
Even as I write this up, I can feel that same sense of elation deep in my core.
It’s hard to shake and I can’t recommend this movie enough.
A glorious insight into the chrysalis of youth, what emerges is a thing of beauty.
I can only marvel at the wondrous sight that was presented and watch it soar high into the atmosphere.
By far and away, the best movie I’ve seen this year, and I could venture to say, the best movie I’ve seen in the last few years.
Do yourself a favour.
Go and see this movie and have your own celluloid awakening with this feast for the eyes.
When some bright spark from the Surgeons of Horror camp came up with the notion of doing a marathon session of Syfy Australia’s latest horror drama, Channel Zero, there were nods of approval around the table, but when it came to which team member should actually perform the task, all eyes quickly settled on the only one deranged enough to take it on, yours truly, ‘Mad Moon’ Maguire.
Pathetic really, but as the night shift tends to my basic needs, I was more than willing to fill that void within the mind of Kris Straub, (who penned the story that the series is based upon) and Nick Antosca, (series creator).
The concept was a simple one, to create a 6 Part series based on the Creepy pasta stories that have become popular in recent years online, and the first subject would be centred around Candle Cove.
You may have seen images already some of the creatures that inhabit this nightmarish world, and it’s not until you immerse yourself into the story as it unfolds that Candle Cove really gets a stranglehold on your psyche and begins to mess with your mind.
There are a lot of elements at play here that were clearly inspired by known properties. Some reviewers have likened it to a cross between American Horror Story and The Twilight Zone and whilst I personally see it falling into the latter camp, I can also see aspects of David Lynch, Children of the Corn, and Stephen King.
Paul Schneider portrays the child psychologist Mike Painter, who returns his hometown after suffering his own psychotic episode.
Throughout the series, we constantly question the stability of our lead protagonist as he delves into the mysteries surrounding the disappearance of his brother all those years ago and the murders that occurred during that time.
Schneider’s performance is beautifully subdued and because of this lends weight to his spiralling madness and / or tangled web of the supernatural that we plummet into on his journey.
While the first episode sets up the intrigue that is embodied throughout Candle Cove, the second episodeallows for further character development to come to fruition just before it pulls the rug from under your feet leaving you questioning just exactly who you should trust.
This is all part of the strength that lies within Candle Cove.
Just as the kids seemingly fall under some evil trance, we too are lured under its spell, falling deeper within the labyrinth of despair.
There are shocking and confronting moments all held within this disturbing world, leaving you gripped and eager to delve further into its dark recesses.
And the further we go, the more secrets there are to unfold.
By the end of the journey, we’re left satisfied with its completion, knowing that all appears to have been resolved, even though it may have strengthened our fears of puppetry, tooth monsters and anything else that maybe lurking beyond.
Roll on the next instalment of Channel Zero entitled The No-End House, due to be released in October.
DESCRIBED AS A social thriller, Get Out is fast becoming the must-see horror film of the year.
Brought to the screens by the brilliant Jordan Peele, with his sharp observations on society and culture.
In particular, Get Out focuses on the racial divide in America.
Whilst there are some moments that are blatant statements of the issues faced in the US, there are some that are a little more subtle.
So many layers are placed in this movie that when watching, you almost feel like you’ve transcended into your very own ‘sunken place’, paralysed by in Peele’s world, searching for a way out of the madness that surrounds our central character, Chris.
Here are 7 Key moments that you may have missed on first viewing
“Run”
It’s a common theme within the movie – more prominent with the song Run, Rabbit Run, that’s played at the start of the movie, but emphasised even more so, with a Swahili song that also feature in the movie, which when translated, tells us to listen to your ancestors, and run.
No trace of I.D.
When Rose hits a deer with the car, did anyone notice her lack of empathy?
Chris is drawn to see the deer as it instantly reminds him of his own mother, who was knocked down in a hit and run, but when the cops arrive,
Rose is very quick to defend Chris and not let the Cop force home to give out his drivers licence.
On face value, this might seem like an empowering moment as she stands up for her man, but in light of what transpires later in the movie, could be viewed as Rose covering her tracks.
If there’s no record of her and Chris being together, she can hide all trace of his inevitable disappearance.
The Black Buck
Briefly mentioned by Rose’s father with an off-hand comment, with his lack of love for bucks or deer is actually racist slur in post-reconstruction America.
It was used by those in white authority on Black men who refuse to ‘tow the line’.
Silver spoon
Speaking of bowing to authority, the method that Missy uses for her hypnosis treatment labours the point further around ‘White supremacy’ with the aid of a silver spoon.
A symbol of how the elite can rule and control those in a ‘lesser’ position.
Cotton picker
Slightly more obvious is Chris’ method of escape. When tied down, he literally has to pick the cotton embedded in the chair, in order to win his freedom.
It’s a strong and profound moment in the movie.
Froot Loops and Milk divided.
Believing that all is in order, Rose resorts to her basic behaviour and let’s her guard down in search for her next victim.
Whilst she does this, Rose eats some Froot Loops on their own before consuming some milk.
An odd behaviour in itself, but on closer scrutiny symbolises the separation of colour from the white that is deeply embedded in her psyche.
It feels as though I’ve only touched the tip of the iceberg with this one.
Get Out is so deeply layered that it warrants a repeat viewing or two to really appreciate Peele’s work.
And with the promise of several more social thriller instalments on the way, I can’t wait to see what Peele serves up next.
If her name isn’t one your register, it should be.
An award winning writer, director who garnered recognition with her political/social film Defendant 5, Heidi Lee Douglas documented the destruction of Tasmania’s rainforest, only to suddenly find herself thrust into a legal battle.
The right of free speech was being stifled, and yet she persisted in getting the project out of the wilderness and into the limelight.
Since then, Lee Douglas has formed her own company, Dark Lake Productions with amazing results including the short gothic thriller, Little Lamb.
Now though, she has turned her attention to a new project, Devil Woman, a smart horror film that takes the viewer directly into the coal-face of human conflict over our relationship with the environment.
The film draws from the world of zombies and shape-shifters, with the added flavour of Lee Douglas’ penmanship that adds a unique voice in the horror genre.
It’s an Australian story that embodies the diverse terrain of the Tasmanian landscape.
Devil Woman is currently looking for support through crowd-funding via pozible, so if this piques your interest, then head on over and contribute.
Want to know more? Well the Surgeons team recently had the opportunity to sit down with Heidi Lee Douglas to discuss this passion project. Check out the podcast below.
Following the success of his film school feature Dark Star, which he collaborated with John Carpenter, Dan O’Bannon would team with his house mate, Ronald Shusett to create (arguably) the best and most iconic science fiction horror movie to date.
Once the screenplay was in place, the perfect recipe started to formulate with some fresh new faces, starting with the director, Ridley Scott with his sophomore feature, still at a point where he was willing to take on a few risks.
There must have been something that resonated deep down with Scott too, as he has returned to the franchise at the helm with 2012’s Prometheus, this years’ Alien: Covenant, and the promise of more to come.
Joining alongside him would be fellow fresh-faced actress, Sigourney Weaver, and along with it, her take on the protagonist, Ellen Ripley, would be a pioneer in the industry, paving the way for more like-minded, strong, female characters to come.
Sure, we’ve still got a long way to come yet, but Ripley is still held highly amongst fans and cinema-lovers across the globe.
Her journey would span across another 3 movies in the franchise, such was her resonance.
It helped too that her fellow cast members, all prolific in their own right would elevate, (essentially a haunted house story, albeit set in space) high, not just in the genre, but in film history.
Tom Skerritt, John Hurt, Harry Dean Stanton, Ian Holm, Veroncia Cartwright, and Yaphet Kotto all lend valuable weight to the proceedings.
As does the visual cinematography (Derek Vanlint) and the design, headed up by H.R. Giger, who created the look and feel of the alien creature in all it’s transitions; egg, face-hugger, baby xenomorph, to its adult version.
The film drips and oozes such an amazing treat for the senses, that it’s not surprising that it still stands the test of time.
To celebrate #alienday, the Surgeons of Horror team took it upon themselves to discuss this movie, that rightfully has become a classic.
Check out our in-depth discussions on iTunes or through our podcast feed below.
