Dead Mail Delivers Style, But Forgets the Substance

15 Tuesday Apr 2025

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An 80s-inspired mystery with a killer synth score gets lost in its own overwritten posturing.

There’s something undeniably intriguing about the premise of Dead Mail—a mysterious cry for help lands in a 1980s post office, pulling a dead letter investigator into the orbit of a kidnapped keyboard technician. It’s weird, it’s retro, and it’s got all the makings of an offbeat cult thriller. Unfortunately, it never quite delivers on that potential.

What starts as a stylised mystery told through a unique lens quickly buckles under the weight of its own self-importance. The dialogue, while initially compelling, becomes increasingly laborious—a dense and indulgent spiral of overwritten musings that feel more like cinematic wankery than meaningful character development. The film leans hard on its quirkiness, but instead of building tension or intrigue, it feels like it’s stalling for time.

Where Dead Mail does shine is in its sonic world. The synth-heavy score pulses with personality, creating an ambient hum of unease that subtly underscores the surreal premise. There’s a genuine love for the analog here—tape decks, clunky tech, and circuit boards become part of the storytelling language, and the music stitches it all together with a retrofuturist flair. The score doesn’t just support the film—it elevates it, becoming its own kind of character: detached, nostalgic, and oddly haunted.

That said, atmosphere alone can’t carry a film this narratively inert. As Dead Mail lingers in endless corridors of conversation and cryptic visuals, the tension flatlines. There’s too much effort in trying to sound profound and not enough substance to back it up. What could have been a tight, unsettling dive into lost messages and fractured identity ends up feeling like a late-night transmission from the Twilight Zone that didn’t quite come through.

The Prognosis:

For all its eccentricities, this dead letter is best returned to sender.

  • Saul Muerte

Dead Mail will be streaming on Shudder from Fri 18th Apr.

Murder, Money, and Misfires in Daniel’s Gotta Die

14 Monday Apr 2025

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Dysfunction, greed, and a body count—what could go wrong?

On paper, Daniel’s Gotta Die has all the ingredients for a riotous dark comedy: a wealthy family reunion set in the Cayman Islands, a fortune up for grabs, and a protagonist too pure for the backstabbing world around him. But despite a promising premise and a few moments of eccentric charm, this madcap tale of familial betrayal rarely hits the mark, stumbling more often than it soars.

Following the sudden death of the Powell family patriarch, Daniel (Joel David Moore) is named sole heir to the family fortune—on one condition. His estranged siblings must survive a bonding weekend together at the family’s lavish beach house. What Daniel envisions as a healing reunion quickly spirals into a murder-fueled farce, as his greedy relatives plot to eliminate him and claim the inheritance for themselves.

The setup is ripe for biting satire, but Jeremy Lalonde’s direction never fully leans into the chaos or emotional core the story seems to reach for. The pacing drags, the tonal shifts are jarring, and the comedic timing often feels off. Despite the colourful cast—including Mary Lynn Rajskub, Carly Chaikin, and the late Bob Saget in one of his final roles—the performances feel underutilised, lacking the punch needed to elevate the material. Even Iggy Pop’s brief appearance registers more as novelty than narrative necessity.

Joel David Moore gives Daniel an endearing naïveté, and the film’s central question—whether goodness can survive in a world poisoned by greed—has potential. But the sincerity clashes with the film’s broader, more cartoonish elements. It’s a movie at odds with itself, unsure whether it wants to be a zany murder comedy or a morality tale with heart.

The Prognosis:

Daniel’s Gotta Die may amuse some viewers with its outlandish premise and offbeat energy, but it ultimately feels like a missed opportunity. It aims for a twisted family portrait but delivers a sketch that’s only half-filled in.

  • Saul Muerte

The Amityville Horror (2005): Twenty Years Later, Still All Flash, No Chill

14 Monday Apr 2025

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Ryan Reynolds brings the rage, but this remake forgets what made the original so haunting.

Two decades on, The Amityville Horror (2005) still stands as one of the more prominent attempts to resurrect a horror legacy that’s seen more sequels, spin-offs, and reboots than most franchises could survive. But while this glossy reimagining may boast higher production values and a memorable performance from Ryan Reynolds, it ultimately trades away the creeping dread of the 1979 original for jump scares and visual bombast.

Directed by Andrew Douglas, the remake wastes no time in dialing up the intensity, diving into its supernatural beats with an urgency that’s both jarring and oddly hollow. Gone is the patient, simmering tension of Stuart Rosenberg’s original film—where James Brolin’s slow unraveling added genuine unease. Reynolds, to his credit, gives it his all, and while he captures the transformation into the increasingly unhinged George Lutz with gusto, there’s a lack of the brooding gravitas that Brolin effortlessly embodied. He’s intense, yes, but intensity without nuance quickly becomes noise.

As for Melissa George, this reviewer will admit a soft spot—she brings an emotional steadiness to the role of Kathy Lutz, and her presence elevates scenes that might otherwise collapse under the weight of Douglas’ heavy-handed direction. But even her grounded performance can’t escape the remake’s overarching flaw: its overreliance on style over substance.

The original Amityville Horror succeeded not just because of its infamous “true story” marketing hook, but because it knew how to build atmosphere. The 2005 version, unfortunately, seems determined to blow the doors off the house from the start. Any notion of slow-burn psychological torment is bulldozed by jump scares, flickering spectres, and flash-cut haunted house theatrics.

In the years since, many have tried to return to Amityville with diminishing returns. Oddly, it was filmmakers like James Wan and Leigh Whannell—clearly inspired by this brand of haunted house horror—who came closer to the spirit of what made the original chilling. Their Conjuring universe didn’t just pay homage; it refined the formula and found a new audience hungry for the quiet dread and escalating horror the Amityville franchise once promised.

The Prognosis:

At twenty years old, The Amityville Horror (2005) remains a sleek but soulless retelling. It may still attract casual horror fans and those nostalgic for mid-2000s supernatural thrillers, but it serves mostly as a reminder that atmosphere, patience, and suggestion often haunt the mind far longer than a house full of CGI ghosts.

  • Saul Muerte

Fear No Evil (1969) – A Reflective Look at Occult TV Horror

12 Saturday Apr 2025

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By the late 1960s, television horror was beginning to dip its toes into more psychological and supernatural territory, often embracing the occult with varying degrees of success. Fear No Evil (1969), directed by Paul Wendkos, fits squarely into this mold, offering a made-for-TV horror experience that flirts with interesting ideas but ultimately feels constrained by its small-screen limitations.

The story follows Dr. David Sorell (Louis Jourdan), a psychiatrist with a particular interest in the supernatural, as he becomes entangled in a case involving an antique mirror with a sinister history. The mirror’s influence extends beyond the realm of the living, allowing a grieving fiancée to reconnect with her deceased former lover. What begins as a promising supernatural mystery soon devolves into a predictable exercise in TV-movie theatrics, relying more on melodrama than genuine chills.

Jourdan, ever the consummate professional, carries the film with an air of refined authority. His performance elevates the material slightly, making even the more overwrought moments watchable. He leans into the gothic atmosphere with conviction, though the film itself doesn’t always support his efforts. The occult elements, while intriguing, never reach their full potential, often feeling more like window dressing than integral components of the plot.

Visually, Fear No Evil does what it can within its limited budget, employing shadowy lighting and moody cinematography to create an eerie ambiance. However, the production values betray its television origins, making it difficult to shake the feeling that this could have been an episode of an anthology series rather than a standalone feature. The film lacks the polish and cinematic depth of its theatrical contemporaries, and its pacing suffers as a result—dragging when it should build tension.

Despite its shortcomings, Fear No Evil was notable enough to warrant a spiritual follow-up, Ritual of Evil (1970), which continued Dr. Sorell’s supernatural investigations. This suggests that there was an audience for this type of made-for-TV horror, even if it never quite managed to transcend its format.

The Prognosis:

In the end, Fear No Evil is a passable, albeit forgettable, occult thriller that never fully commits to the weight of its premise. While Louis Jourdan gives it his all, the film struggles to break free from its “cheesy TV movie” trappings, leaving it as little more than a curiosity for genre enthusiasts rather than a must-see classic.

  • Saul Muerte

Cat’s Eye at 40: Stephen King’s Underrated Anthology Still Scratches the Horror Itch

11 Friday Apr 2025

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By the mid-1980s, Stephen King had already become a powerhouse name in horror cinema, with adaptations of Carrie (1976), The Shining (1980), and Christine (1983) cementing his influence. Cat’s Eye (1985), directed by Lewis Teague, took a different approach by presenting a horror anthology linked by a wandering feline. While it may not reach the same heights as King’s most revered works, Cat’s Eye remains a solid genre effort, offering a mix of psychological tension, supernatural horror, and dark humour.

The film’s triptych of tales begins with “Quitters, Inc.,” starring James Woods as a desperate man who enrolls in a sinister program to quit smoking, only to find the methods more terrifying than expected. Woods delivers a strong performance, balancing paranoia with nervous energy, making his character’s predicament all the more gripping. The second story, “The Ledge,” follows Robert Hays as a gambler forced to traverse the narrow ledge of a high-rise building by a vengeful crime boss. This segment is packed with suspense and effectively utilises vertigo-inducing cinematography to heighten the tension.

The final segment, “General,” shifts into a more supernatural realm, with a young Drew Barrymore playing a girl tormented by a malevolent gnome that only her stray cat, General, seems to understand. Barrymore, fresh off E.T. the Extra-Terrestrial (1982) and Firestarter (1984), once again proves herself a strong child actor, giving the film a heart amid its more macabre elements. Her presence adds emotional weight to an otherwise whimsical horror entry, ensuring the audience remains invested in her fate.

Director Lewis Teague, who had previously helmed Cujo (1983), brings a polished visual style to Cat’s Eye, ensuring each segment has its own distinct atmosphere. While the stories vary in intensity, the film remains engaging throughout, aided by King’s darkly humorous and inventive storytelling. The anthology format allows for quick pacing, though it also means that not all segments leave a lasting impact.

The Prognosis:

As a whole, Cat’s Eye is a respectable entry in the pantheon of King adaptations, offering enough thrills and memorable performances to make it a worthwhile watch. While it may not be the most iconic of King’s cinematic ventures, its mix of psychological horror, dark comedy, and supernatural tension make it a unique entry in his filmography. Forty years later, it remains an enjoyable, if somewhat underrated, slice of 80s horror cinema.

  • Saul Muerte

Preachy and Painless: Shadow of God Lacks Spirit

08 Tuesday Apr 2025

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An exorcism film with nothing to exorcise but your patience.

Exorcism horror is a subgenre rich with potential—questions of faith, frailty, and fear, all wrapped in layers of the unknown. Unfortunately, Shadow of God, the latest Shudder original, squanders that potential with glacial pacing, overwrought storytelling, and bargain-bin visual effects that break whatever immersion its lofty premise tries to build.

The film follows Father Mason Harper (Mark O’Brien), a Vatican exorcist drawn back to his hometown after a mysterious string of clergy deaths. What should be a chilling homecoming quickly devolves into a murky theological slog, especially when Mason’s long-thought-dead father, Angus (Shaun Johnston), reemerges—changed, and possibly possessed… not by the devil, but something supposedly divine. It’s a neat inversion on paper, but in execution, it’s all empty sermon and no soul.

Director Michael Peterson leans heavily into a tone of self-importance, mistaking laborious dialogue for depth. The film drowns in exposition and symbolism so on-the-nose it feels like you’re being bludgeoned by scripture. What could have been a taut, unsettling exploration of corrupted holiness instead becomes an exercise in patience.

Worse still are the effects. When Shadow of God tries to finally erupt into spectacle—visions, possessions, biblical cataclysm—it falters hard. Cheap CGI and awkward choreography undercut whatever tension might’ve remained, ejecting the viewer from the already tenuous atmosphere. It doesn’t help that the performances, while earnest, are often lost in the noise of a bloated script and uncertain direction.

Mark O’Brien does what he can with a lead role that demands more whispery brooding than range, while Shaun Johnston’s Angus never fully sells the “divine possession” angle. Jacqueline Byers, so compelling in Prey for the Devil, is underused here. And while the supporting cast (Josh Cruddas, Adrian Hough, David Haysom) put in respectable work, they’re ultimately swallowed by the film’s somber, meandering tone.

The Prognosis:

Shadow of God wants to wrestle with grand themes—faith, legacy, divine intervention—but the execution is so leaden and clunky that it all feels like a sermon no one asked to hear. Instead of soul-searching, we get soul-sapping.

  • Saul Muerte

Grafted (2025) review: A Haunting Exploration of Beauty and Identity

08 Tuesday Apr 2025

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Sasha Rainbow’s Grafted is an unsettling body horror film that blends themes of identity, beauty standards, and cultural pressure with grotesque yet effective visuals. The film explores the psychological and physical toll of striving for perfection, offering an eerie commentary on how far one might go to fit in.

The story unfolds at a deliberate pace, which can feel sluggish at times, making it difficult to fully connect with the protagonist’s journey. However, the film’s strong pulse comes from its commitment to disturbing imagery and practical effects, which elevate the horror elements. The lead performance is commendable, portraying both vulnerability and a creeping sense of detachment as the character undergoes a grotesque transformation.

Visually, Grafted is striking, utilising cold, sterile environments that contrast with the organic and unsettling nature of the body horror sequences. The cinematography and lighting work to create an almost dreamlike quality, amplifying the protagonist’s descent into obsession. However, the screenplay struggles to maintain a gripping narrative, often losing momentum in its quieter moments.

Despite its flaws, Grafted offers enough unsettling moments to leave an impression. Fans of slow-burning horror with a focus on psychological and body horror will find much to appreciate, even if the film doesn’t fully capitalise on its intriguing premise.

The Prognosis:

A visually striking yet sluggish horror film that explores beauty and obsession through an unsettling lens. While Grafted may not resonate with all audiences, its strong effects and eerie atmosphere make it worth a watch for genre enthusiasts.

  • Saul Muerte

Dead Sea (2025) Review – A Tense Maritime Thriller That Treads Familiar Waters

07 Monday Apr 2025

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Phil Volken’s Dead Sea takes the tried-and-true formula of oceanic survival horror and blends it with a grim and unsettling reality of human trafficking. While the film doesn’t reinvent the genre, it provides a tense and serviceable thriller that delivers a slow-building dread, punctuated by moments of sheer brutality.

The performances elevate the film above its straight-to-home-entertainment origins. Kaya, played with conviction by Isabel Gravitt, anchors the film with a blend of vulnerability and resilience. The dynamic between the three stranded friends feels natural, making their plight all the more gripping. The real standout, however, is the ship’s captain, Ray (Alexander Wraith)—portrayed with an eerie mix of menace and charm, making him a truly detestable villain.

Despite its strengths, Dead Sea treads a somewhat predictable path. The film borrows heavily from survival horror tropes, and seasoned viewers will see many of the twists coming. While the tension remains effective, the screenplay doesn’t fully capitalise on the psychological terror that could have been explored in such a confined setting. The cinematography, though competent, lacks the stylistic flair that could have made the film visually more memorable.

That said, Dead Sea still delivers enough suspense to keep audiences engaged. The film does well to maintain a sense of claustrophobic dread aboard the trawler, and when the violence erupts, it doesn’t hold back. The film’s commentary on human trafficking and black-market organ trade adds an extra layer of horror, making it more unsettling than your average lost-at-sea thriller.

For fans of survival horror and maritime thrillers, Dead Sea offers a solid—if not groundbreaking—entry into the genre. It’s a film that will keep you engaged but likely won’t linger in your mind.

The Prognosis:

A solid effort in the home entertainment space, Dead Sea delivers competent performances and steady tension but ultimately follows a familiar course without breaking new ground.

  • Saul Muerte

Available to rent or buy on Digital at Apple TV, Prime Video, Google TV, YouTube, and Fetch (AU). Own it on DVD at JB Hi-Fi and Sanity from April 9th.

Late Night Trains (1975) – A Familiar Journey into Unrelenting Terror

07 Monday Apr 2025

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Aldo Lado’s Late Night Trains (L’ultimo treno della notte, 1975) arrived at the height of Italy’s exploitation boom, a time when filmmakers weren’t shy about pushing boundaries. A clear product of the era’s fascination with transgressive horror, the film wears its influences on its sleeve—most notably Wes Craven’s The Last House on the Left (1972). While it doesn’t reinvent the formula, Late Night Trains still manages to carve out its own identity, delivering a nihilistic nightmare that lingers in the mind, even as it struggles to justify its existence beyond sheer brutality.

The setup is all too familiar: Two young women, Margaret and Lisa, board a train home for Christmas, unaware that their holiday journey will become a waking nightmare. As the train moves through the cold European night, they fall prey to two sadistic criminals and a demented woman who seems to relish the violence as much as they do. The film unfolds as an exercise in cruelty, culminating in the expected revenge-fueled third act.

Lado’s direction is both slick and suffocating, using the cramped confines of the train to heighten the claustrophobia. Unlike Craven’s grimy, almost documentary-like approach, Late Night Trains boasts a more polished aesthetic, with an unsettling score by Ennio Morricone that contrasts its horrors with an eerie, melancholic beauty. This visual and auditory elegance makes the film’s brutality hit even harder, though it never quite transcends its exploitation roots.

Where Late Night Trains stumbles is in its lack of depth. While The Last House on the Left (for all its flaws) attempted to grapple with themes of cyclical violence and societal decay, Lado’s film largely exists to shock. The social commentary feels tacked on rather than fully explored, and the violence, while effectively harrowing, leaves little room for nuance. Still, as a piece of grindhouse cinema, it succeeds in delivering an experience that’s undeniably disturbing.

Fifty years later, Late Night Trains remains a controversial and haunting film, albeit one that struggles to differentiate itself from the many Last House imitators of the era. It’s a rough watch—not just for its unrelenting cruelty but for its sense of inevitability. There’s no escape here, just an unrelenting descent into torment. While not a masterpiece of the genre, its cold, methodical savagery ensures that once seen, it’s not easily forgotten.

  • Saul Muerte

From Hell House to Ashland Falls: Cognetti’s Eerie Evolution

06 Sunday Apr 2025

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The Hell House LLC director slows things down for a moody, multi-perspective mystery.

A slow-burning mystery from the creator of Hell House LLC, soaked in dread and small-town secrets.

After a family tragedy, Chuck Wilson (Joe Falcone) moves to the quiet town of Ashland Falls with his wife Maria (Elizabeth Vermilyea) and younger sister Isabelle (Kathryn Miller), hoping for a fresh start. But peace proves elusive as the trio becomes entangled in the unsettling lore of their new home—specifically the ominous mystery surrounding a woman named Helen Foster. As the story unfolds from the perspectives of each family member, the true nature of Ashland Falls begins to take shape—and it’s far from comforting.

Stephen Cognetti, best known for his Hell House LLC trilogy, steps away from the chaos of found-footage terror to deliver a more measured, psychological horror in 825 Forest Road. The scares are subtle, the pacing deliberate, and the dread seeps in slowly as the audience is invited to peel back the layers of each character’s experience. By splitting the narrative into three viewpoints, Cognetti crafts an eerie puzzle box of grief, guilt, and unresolved trauma, all tethered to a town that harbors something rotten at its core.

While some may find the pacing too slow or miss the jolting immediacy of Hell House LLC, there’s a quiet confidence in Cognetti’s restraint. He’s developing his voice beyond found footage, proving that he can unsettle audiences without relying on the genre’s usual tricks. The performances—especially Vermilyea as the emotionally fraying Maria—ground the film and help build a creeping sense of paranoia.

The Prognosis:

825 Forest Road may not fully capitalise on its premise, and its ambiguity might frustrate some, but it marks another intriguing step in Cognetti’s horror journey. It’s a film that whispers rather than screams—but it leaves behind a chill all the same.

  • Saul Muerte

825 Forest Road is now streaming on Shudder.