Movie review: Birdeater (2024)

19 Friday Jul 2024

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To liken this movie to Talk To Me, as I’ve noticed in certain publications, is like comparing apples with oranges. Talk To Me deserves the praise it received for the manner in which it delved into the pursuit of lost youth, grief and desperation with a particular bent that tapped into the popular zeitgeist. Birdeater is a far different entity and the comparisons purely rest on the creators all being from Australia. Now I’m going to champion the dark heart of the Australian horror genre but let’s not paint them with the same brush when accolades and praise should be placed where it deserves. Now does Birdeater deserve its own positive praise from the festival circuits, such as SXSW Austin, Melbourne International Film Festival and CinefestOz, plus receiving the Audience Award for Best Australian Narrative Feature at Sydney Film Festival? Happily, yes.

Directed by the duo of Jim Weir and Jack Clark, it attempts to place the toxic masculinity that resides beneath the surface of Australian society firmly under scrutiny as they slowly turn the screw with unsettling and shocking results.

I’ve lived in this land of this savage-yet-loveable land for over 20 years now and while the so-called motherland from which I originally hailed has its own fair share of troubles and tribulations, it struck me how the Australian nation had a deeply embedded masculine identity at its core and this is the vein that the filmmakers have tapped into, exposing the fevered flow that pulsates through us all, waiting to be exposed.

As the film opens we see what on face value appears to be the kindling of a romantic encounter between Louie (Mackenzie Fearnley) and Irene (Shabana Azeez), and various short scenes indicating a solidified bond, but as the time passes we see that the cracks are starting to show with Irene housebound, dependent on Louie’s partnership. But what is truly hindering her and how genuine is Louie’s heart? The feature allows us to unearth the truth over a  bucks night, where Louie strangely asks Irene to be a part of. Is this romantic or controlling?

Accompanying them are Louie’s two best mates, Dylan (Ben Hunter), the larrikin of the group but who also hides behind the facade of bravado and humour; and Charlie (Jack Bannister), a devout Christian with pent up sexual frustration, who also brings along his partner, Grace (Clementine Anderson). Grace’s role as far as the men are concerned, is to keep Irene company, but again the plans to control or dictate proceedings will fall sour before the night is through. Also, among the retreat is Murph (Alfie Gledhill) a somewhat isolated figure from the troupe, who blends in well with the male-orientated pursuits brandishing a false hope and a pre-arranged task to carry out. And lastly is Sam (Harley Wilson), a friend of Irenes and fuel to the fire of emotions as Louie questions their motives and faithfulness.

With the players set to play their identified roles, the night has just begun, and the real identities will spring forth to reveal darker and subdued emotional privilege simmering beneath the surface.

The Prognosis:

The subject matter could easily have been overplayed, but both Weir and Clark offer a slow hand to strengthen their cause and allow the characters to sink into the mire. The revelations of the motives set by the players of the piece is masterful and with every ounce of dedication and respect by the acting troupe who portray them. The light is shone firmly on this toxic masculinity without much reprieve or solution, but once the gaze is cast, it’s hard to turn away from the core message. For that Birdeater is a topical and relevant piece that deserves your time and energy. It is another fine Australian feature that lifts above the noise and resonates with its wings, beating out a very clear and precise observation of Australia and its current culture.

  • Saul Muerte

Birdeater is currently screening at selective cinemas nationwide.

1960s Retrospective: Black Sabbath (1963)

18 Thursday Jul 2024

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Mario Bava, often hailed as the master of Italian horror, followed his groundbreaking debut Black Sunday (1960) with Black Sabbath (1963), a horror anthology that would cement his reputation as a visionary filmmaker. While Black Sunday introduced audiences to Bava’s unique blend of gothic horror and atmospheric storytelling, Black Sabbath showcased his versatility and innovative approach to the horror genre through a triptych of chilling tales.

Following the success of Black Sunday, Black Sabbath allowed Bava to experiment with narrative structure and thematic diversity. The anthology format gave him the freedom to explore different sub-genres of horror, from supernatural terror to psychological suspense. This film demonstrated Bava’s ability to craft distinct and memorable stories within a single film, each with its own mood and style.

Black Sabbath also marked a pivotal moment in Bava’s career by establishing his signature visual style, characterized by vibrant colors, dramatic lighting, and meticulous set design. This aesthetic would become a hallmark of his later works, influencing not only his own films but also the broader horror genre. Bava’s use of color and composition in Black Sabbath was particularly revolutionary, setting a new standard for visual storytelling in horror cinema.

The Pros:

  1. Diverse Storytelling: Black Sabbath consists of three distinct segments—The Drop of Water, The Telephone, and The Wurdulak. This diversity allows Bava to explore various aspects of horror, from ghostly apparitions to psychological terror and vampire folklore. Each story is self-contained, providing a rich and varied viewing experience.
  2. Pacing and Engagement: The anthology format keeps the audience engaged by offering new characters, settings, and scenarios every 30 minutes or so. This structure prevents the film from becoming monotonous and maintains a high level of suspense throughout.
  3. Showcase of Talent: The format allows actors to shine in different roles and settings. For instance, Boris Karloff, who not only narrates but also stars in The Wurdulak, delivers a memorable performance that underscores his versatility and enduring appeal.

The Cons:

  1. Inconsistent Tone: While the anthology format offers variety, it can also lead to tonal inconsistencies. Black Sabbath navigates between supernatural horror, psychological thriller, and gothic folklore, which might leave some viewers feeling disjointed.
  2. Variable Impact: Not all segments may resonate equally with the audience. For example, The Telephone, with its more contemporary and less supernatural storyline, may feel out of place compared to the other, more fantastical tales. This variability in impact can affect the overall cohesiveness of the film.
  3. Limited Character Development: The short runtime of each segment restricts character development and narrative depth. While each story is engaging, there is less time to build complex characters and intricate plots compared to a feature-length film.

The Prognosis:

Black Sabbath stands as a testament to Mario Bava’s ingenuity and his ability to push the boundaries of horror cinema. The film’s anthology format, while presenting certain challenges, allows for a diverse and engaging exploration of horror that highlights Bava’s creative range. The success of Black Sabbath helped to solidify Bava’s position as a pioneering director in the genre and paved the way for his subsequent works, including Blood and Black Lace (1964) and Kill, Baby, Kill (1966).

As we look back on Black Sabbath, it’s clear that the film’s strengths lie in its visual style, varied storytelling, and atmospheric tension. Despite some tonal inconsistencies and limited character development, Black Sabbath remains a seminal work in horror cinema, demonstrating Mario Bava’s enduring influence and his mastery of the craft.

  • Saul Muerte

Celebrating 25 Years of The Blair Witch Project: The Genius of What We Don’t See

14 Sunday Jul 2024

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As we mark the 25th anniversary of The Blair Witch Project, it’s a fitting time to reflect on what made this film a groundbreaking piece of horror cinema. Released in 1999, Daniel Myrick and Eduardo Sánchez’s found footage phenomenon redefined the genre, not through what it showed, but through the terrifying power of what it didn’t.

The true genius of The Blair Witch Project lies in its ability to immerse audiences in an intricate web of legends and backstories, masterfully crafted to blur the lines between fiction and reality. Central to this mythos is the enigmatic figure of Elly Kedward, the Blair Witch herself, a woman accused of witchcraft and banished from Blair, Maryland, in the late 18th century. Her vengeful spirit is said to haunt the Black Hills Forest, where the film’s events unfold.

The lore extends further with tales of Eileen Treacle, a young girl who drowned in 1825, and Robin Weaver, a child who went missing in 1886, both supposedly victims of the Blair Witch. The chilling accounts of Coffin Rock, where five men were found ritualistically slaughtered, and Rustin Parr, a hermit who murdered seven children under the witch’s influence, add layers of dread and intrigue to the story. These elements, meticulously detailed in the film’s supplementary materials, create a rich tapestry that fuels the viewer’s imagination and fear.

The massacre of the Burkittsville Seven, where Parr’s victims met their gruesome end, is perhaps one of the most unsettling parts of the legend. The graphic details of their fate, revealed through interviews and historical documents within the narrative, enhance the film’s realism and horror. This backstory isn’t just background noise; it’s the foundation upon which the entire atmosphere of the film is built.

The Blair Witch Project also arrived at a pivotal moment in the evolution of the internet. The filmmakers ingeniously leveraged the burgeoning online community to propagate the mythos, creating one of the first viral marketing campaigns. Websites, message boards, and mockumentaries provided “evidence” and “testimonials” that blurred the lines between reality and fiction, convincing many that the events depicted were real. This innovative use of the internet not only amplified the film’s reach but also its psychological impact, leaving audiences questioning the boundaries of reality.

Beyond the film itself, the Blair Witch universe expanded into various media, enriching the lore and keeping the legend alive. The Blair Witch Project: A Dossier provided a deeper dive into the mythology, presenting police reports, interviews, and other documents that added to the authenticity and mystery. Comic books explored new narratives and characters, while video games allowed fans to experience the horror firsthand, navigating the eerie Black Hills Forest themselves.

The genius of The Blair Witch Project is that it understands fear’s most potent form comes from within. By constructing an elaborate backstory and creating a sense of realism through minimalism and suggestion, the film leaves much to the viewer’s imagination. This approach taps into our primal fears, making the unseen and the unknown the real stars of the movie.

As we celebrate the 25th anniversary of The Blair Witch Project, we recognize its lasting impact on the horror genre and its innovative use of storytelling and marketing. The film’s legacy is a testament to the power of suggestion and the enduring allure of folklore. It’s a reminder that sometimes, the most terrifying horrors are those we can’t see.

  • Saul Muerte

Podcasts:

The Blair Witch Franchise

Eduardo Sanchez interview

“The Devils Bath: A Haunting Exploration of Human Suffering and Societal Repression”

13 Saturday Jul 2024

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Veronika Franz and Severin Fiala, the Austrian filmmaking duo known for their unsettling psychological narratives, return with The Devils Bath. This film, much like their previous works Goodnight Mommy, The Field Guide to Evil, and The Lodge, delves deep into the human psyche, exploring themes of repression, oppression, and the dark underbelly of human nature. However, while The Devils Bath is a commendable effort, it falls short of the high bar set by their earlier works.

Set against the backdrop of rural Austria, The Devils Bath is inspired by Kathy Stuart’s research in Suicide by Proxy in Early Modern Germany: Crime, Sin and Salvation. The film focuses on the oppressive socio-cultural landscape, particularly highlighting issues of sex, gender, physical labor, and cultural constraints. Franz and Fiala’s return to their native roots is evident as they weave a narrative that is both a reflection and a critique of historical and contemporary societal norms.

The story follows Agnes (Anja Plaschg), a woman caught in the web of societal and self-imposed repression. Her portrayal of a character grappling with the heavy burden of expectations and the search for salvation is both poignant and harrowing. Plaschg’s performance is the film’s centerpiece, providing an honest and raw depiction of human suffering and resilience. Her portrayal is masterful, capturing the nuances of a woman on the edge, struggling to find her place in a world that seems determined to crush her spirit.

Franz and Fiala’s direction is, as always, meticulous and slow-burning. They build an atmosphere of dread and discomfort, using the rural landscape to amplify the sense of isolation and entrapment. The film’s pacing is deliberate, allowing the audience to fully immerse themselves in Agnes’s world and experience her despair and occasional moments of hope. However, this slow-paced approach may not resonate with all viewers. Some may find the film’s methodical unfolding and heavy subject matter overwhelming and difficult to engage with.

Thematically, The Devils Bath continues Franz and Fiala’s exploration of oppressive familial and societal structures, a recurring motif in their filmography. In Goodnight Mommy, they examined the fractured relationship between a mother and her sons; in The Lodge, the psychological torment within a new family dynamic; and in The Field Guide to Evil, the darker sides of folklore and tradition. The Devils Bath feels like a natural progression in their oeuvre, further exploring the ways in which individuals are shaped and often suffocated by their environments.

While The Devils Bath succeeds in many areas, it is not without its flaws. The film’s heavy reliance on thematic depth and slow pacing may alienate some viewers. The narrative, though rich in symbolism and subtext, occasionally feels weighed down by its own seriousness. There are moments when the film’s contemplative nature borders on self-indulgence, risking disengagement from its audience.

The Prognosis:

The Devils Bath is a compelling addition to Veronika Franz and Severin Fiala’s body of work. It is a film that demands patience and introspection, offering a stark and honest portrayal of human suffering and resilience. Agnes’s journey is both heartbreaking and inspiring, brought to life through Anja Plaschg’s exceptional performance. However, the film’s slow pace and heavy themes may not be to everyone’s taste, making it a divisive yet thought-provoking piece of cinema.

  • Saul Muerte

The Devil’s Bath is currently streaming on Shudder.

Maxxxine: A Stylish Nod to the 80s That Falls Short in Substance

12 Friday Jul 2024

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We’re fast approaching 20 years since director Ti West released his first feature film, The Roost. Since then, he has meticulously crafted his signature style behind the lens, primarily in the realm of horror. Notable among these features are The House of the Devil, The Innkeepers, and The Sacrament. However, arguably his latest venture with actress Mia Goth in what has become the X film series has garnered the most attention. The first of these, X, was a significant hit in 2022, with its unique spin on the slasher genre and notable nods to the 70s films that marked the industry, such as The Texas Chain Saw Massacre. Just when we thought our horror appetite was satiated, West delivered another serving with Pearl, which arced back to 1918 with the titular villain, again played by Goth, and was infused with the birth of Technicolor films.

So, with the announcement that a third installment was on the horizon and would be set in the heart of the 80s—the era of big hair, big action, and high levels of glorious entertainment—needless to say, I was eager to see the finale and had highlighted this as one of the most anticipated movies of the year.

Upon watching Maxxxine, the final installment in Ti West’s trilogy, it’s evident that while the film possesses a lot of style and pays notable homage to the films of the 80s, it unfortunately falls short in substance. The era’s aesthetic is captured impeccably, from the vibrant neon lights to the pulsating synth-heavy soundtrack. The attention to detail in recreating the 80s is commendable, with West and his team clearly putting a lot of effort into making the film feel authentic to the time period.

Mia Goth once again delivers a strong performance, embodying the titular character with a raw intensity that has become a hallmark of the series. Her portrayal of Maxxxine is layered and compelling, and she brings a magnetic presence to the screen that is hard to ignore. The supporting cast also does a commendable job, with each actor fitting seamlessly into the world West has created.

However, where Maxxxine stumbles is in its narrative depth and impact. The plot feels somewhat thin, lacking the same level of intrigue and tension that made X and Pearl so engaging. While the film is packed with stylistic nods to the 80s and bursts of nostalgia, it doesn’t quite manage to weave these elements into a story that resonates on a deeper level. The themes explored in the previous films seem to be diluted here, and the emotional stakes never quite reach the heights that fans might have hoped for.

Additionally, the film’s climax, while visually impressive, doesn’t deliver the satisfying conclusion that the trilogy deserved. It feels restrained, not going as big or bold as one might expect for the final chapter of such an ambitious series. There are moments of brilliance scattered throughout, but they are often overshadowed by a sense of missed potential and unfulfilled promises.

The Prognosis:

Maxxxine‘s vibrant depiction of the 80s serves as a colorful facade, masking the deeper issues at hand—a fitting metaphor for the film itself, which dazzles with style but lacks the impactful substance beneath the surface.

  • Saul Muerte

“Horror Castle: A Glimpse into the Early Days of Italian Gothic Horror”

12 Friday Jul 2024

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“Horror Castle” (original title: “La vergine di Norimberga”), directed by Antonio Margheriti, is a film that sits at an intriguing crossroads in the evolution of Italian horror cinema. Released in 1963, it embodies many of the characteristics that would come to define the genre during this period. While it offers some chilling moments and atmospheric visuals, it ultimately falls short of its potential, resulting in a middling experience that hints at the greater heights Italian horror would soon achieve.

The 1960s marked a significant era for Italian horror films, with directors like Mario Bava and Riccardo Freda leading the charge. This decade saw the emergence of Gothic horror, characterized by lavish set designs, eerie atmospheres, and a penchant for the macabre. “Horror Castle” is very much a product of its time, drawing heavily on Gothic influences and showcasing the era’s fascination with historical settings and elaborate castles.

One of the film’s strengths lies in its atmospheric setting. The titular castle, with its dark corridors, hidden chambers, and medieval torture devices, provides a suitably creepy backdrop. Margheriti, known for his ability to create compelling visuals on modest budgets, effectively uses shadows and lighting to build suspense. The film’s cinematography, though not as innovative as Bava’s, still manages to convey a sense of dread and unease.

However, “Horror Castle” falters in its storytelling. The plot, which revolves around a woman discovering her husband’s dark secrets in a foreboding castle, is predictable and lacks the twists and turns that could elevate it. The characters are thinly drawn, with little development or depth, making it hard for the audience to become truly invested in their fates. The pacing is uneven, with moments of tension often undercut by slower, less engaging scenes.

The cast, led by Rossana Podestà and Georges Rivière, delivers competent but unremarkable performances. Podestà’s portrayal of Mary Hunter, the film’s protagonist, lacks the nuance needed to fully convey her character’s terror and determination. Rivière, as her enigmatic husband, is similarly one-dimensional. The supporting cast, including the imposing Christopher Lee in a minor role, adds some gravitas, but their characters are underutilized.

Despite its flaws, “Horror Castle” is an interesting piece in the puzzle of Italian horror’s evolution. It showcases the genre’s early attempts to blend Gothic horror with contemporary themes, a combination that would be perfected in later films. The movie’s shortcomings highlight the growing pains of an industry still finding its unique voice, but they also underscore the potential that would soon be realized in masterpieces like Bava’s “Black Sunday” (1960) and Freda’s “The Horrible Dr. Hichcock” (1962).

The Prognosis:

“Horror Castle” is a film that embodies both the promise and the pitfalls of early 60s Italian horror. While it provides a glimpse into the atmospheric and visually driven storytelling that would come to define the genre, it ultimately falls short due to its lackluster narrative and character development. As a piece of cinematic history, it is a worthwhile watch for fans of the genre, offering a window into the formative years of Italian horror. However, as a standalone film, it remains a middling entry that struggles to fully realize its potential.

  • Saul Muerte

1960s Retrospective: Matango (1963)

11 Thursday Jul 2024

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“Matango,” directed by Ishirō Honda and released in 1963, stands as a hauntingly unique entry in the annals of Japanese horror cinema. Known primarily for his work on kaiju films such as “Godzilla” (1954) and “Mothra” (1961), Honda steps away from giant monsters to deliver a psychological horror masterpiece that delves into the darker aspects of human nature. “Matango” explores themes of metamorphosis and bodily assault, with an underlying anti-drug message that resonates deeply within its unsettling narrative.

Ishirō Honda’s name is synonymous with the kaiju genre, but “Matango” showcases his versatility and ability to craft an atmosphere of dread without relying on colossal creatures. Honda masterfully builds tension and paranoia, using the isolated island setting to amplify the characters’ descent into madness. His direction emphasizes the psychological torment of the stranded group, making the horror personal and intimate. The film’s slow, methodical pacing allows the terror to seep in gradually, creating an ever-present sense of unease that lingers long after the credits roll.

While Honda’s kaiju films focus on the external threat of giant monsters, “Matango” shifts the horror inward, examining the fragility of the human psyche and the grotesque transformations that occur when civilization crumbles. The film follows a group of affluent friends who become shipwrecked on a mysterious island, only to discover that the island’s fungi have a horrifying side effect: those who consume them slowly transform into monstrous, humanoid mushrooms. This chilling premise diverges from the grand spectacle of kaiju destruction, instead presenting a more insidious and personal form of horror.

“Matango” carries a potent anti-drug message, conveyed through the insidious allure of the titular mushrooms. The desperate characters, succumbing to starvation and hopelessness, turn to the mushrooms despite the warnings and the visible consequences. Their addiction leads to physical and psychological transformation, mirroring the destructive path of substance abuse. Honda’s portrayal of this metamorphosis serves as a stark warning about the dangers of addiction, using the horror genre to deliver a socially relevant message.

At its core, “Matango” is a film about metamorphosis and the violation of the human body. The transformation from human to mushroom creature is depicted with unsettling realism, emphasizing the loss of humanity and the degradation of the self. The characters’ gradual change into grotesque forms serves as a powerful metaphor for the dehumanizing effects of addiction and the breakdown of societal norms. The film’s imagery is haunting and visceral, with the fungal infection representing an assault on the body that strips away individuality and humanity.

Honda’s use of practical effects and makeup to depict the transformation process is both imaginative and disturbing, contributing to the film’s enduring impact. The scenes of metamorphosis are not just physical changes but also psychological breakdowns, highlighting the horror of losing one’s identity and becoming something other.

The Prognosis:

“Matango” remains a standout film in Ishirō Honda’s illustrious career, demonstrating his ability to evoke terror without the use of giant monsters. The film’s exploration of metamorphosis, addiction, and the assault on the human body offers a profound and disturbing narrative that transcends its genre roots. Honda’s direction, combined with a compelling anti-drug message and themes of bodily transformation, ensures that “Matango” is a haunting, thought-provoking experience that continues to resonate with audiences. It is a testament to Honda’s versatility as a filmmaker and a chilling reminder of the horrors that lie within the human condition.

  • Saul Muerte

Retrospective: Symptoms (1974)

10 Wednesday Jul 2024

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“Symptoms,” directed by José Ramón Larraz and released in 1974, is a psychological horror film that drips with eeriness and an unearthly atmosphere. While it succeeds in creating a deeply unsettling mood, the film’s narrative and pacing issues ultimately prevent it from reaching its full potential. Despite its flaws, “Symptoms” remains a noteworthy entry in the horror genre, largely due to its chilling ambiance and the haunting performance of its lead actress, Angela Pleasence.

“Symptoms” excels in crafting an atmosphere of unease that permeates every frame. Set in an isolated country mansion, the film leverages its gloomy and desolate surroundings to build a sense of foreboding. Larraz’s direction emphasizes the oppressive stillness and eerie silence of the setting, making the house itself feel like a character in the story. The pervasive sense of isolation and claustrophobia is palpable, drawing viewers into a world where reality and madness blur together.

Angela Pleasence delivers a standout performance as Helen, a woman tormented by her own mind and the enigmatic presence in the mansion. Pleasence’s portrayal of Helen is nuanced and haunting, capturing the character’s fragility and descent into madness with chilling precision. Her unsettling screen presence adds to the film’s eerie vibe, making her character both sympathetic and terrifying. However, even Pleasence’s remarkable performance can’t fully compensate for the film’s narrative shortcomings.

The film’s strength lies in its ability to evoke a sense of the unearthly. The cinematography, with its lingering shots and shadowy compositions, creates a dreamlike quality that keeps the audience on edge. The use of sound, or often the lack thereof, heightens the tension, making every day noises seem ominous and otherworldly. These elements combine to create a pervasive feeling of dread that lingers throughout the film.

Despite its atmospheric strengths, “Symptoms” struggles with its storytelling. The plot, which revolves around Helen’s psychological unraveling and the mysterious events at the mansion, unfolds at a sluggish pace. The film’s deliberate pacing, while intended to build suspense, often feels drawn out and meandering. Key plot points are obscured by the film’s tendency to dwell on mood over substance, leading to a sense of frustration as the narrative fails to deliver a satisfying payoff.

“Symptoms” hints at deeper themes of mental illness and the supernatural, but it never fully explores these concepts in a cohesive manner. The ambiguity that surrounds the film’s events can be both a strength and a weakness; while it adds to the unsettling atmosphere, it also leaves the audience yearning for more concrete answers. The film’s climax, though appropriately eerie, lacks the impact needed to bring the story to a satisfying conclusion.

The Prognosis:

“Symptoms” is a film that thrives on its eerie atmosphere and the unearthly feeling it evokes. José Ramón Larraz’s direction and Angela Pleasence’s haunting performance make it a memorable, if flawed, entry in the horror genre. The film’s atmospheric strengths are undeniable, but its narrative and pacing issues prevent it from achieving greatness. For those who appreciate mood-driven horror and psychological intrigue, “Symptoms” offers a chilling experience, albeit one that falls short of its potential.

  • Saul Muerte

“The Beast Must Die: A Masterful Blend of Whodunit Mystery and Supernatural Thrills”

09 Tuesday Jul 2024

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“The Beast Must Die,” directed by Paul Annett and released in 1974, is a unique gem in the horror genre that brilliantly marries the classic “whodunit” mystery with the supernatural intrigue of a werewolf thriller. This film stands out not only for its innovative approach to storytelling but also for its exceptional cast, who deliver performances that elevate the material to memorable heights. Over the years, “The Beast Must Die” has garnered a well-deserved cult following, and a retrospective look reveals why it remains a beloved classic.

At its core, “The Beast Must Die” is a murder mystery with a twist: one of the suspects is a werewolf. The film follows Tom Newcliffe (Calvin Lockhart), a wealthy big-game hunter who invites a group of guests to his secluded estate, convinced that one of them is a lycanthrope. The film cleverly incorporates elements of the classic “whodunit” genre, keeping the audience guessing and engaged as Newcliffe conducts his investigation. The added layer of supernatural suspense amplifies the tension, creating a gripping narrative that keeps viewers on the edge of their seats.

One of the film’s most innovative features is the “Werewolf Break,” a 30-second pause near the climax where viewers are invited to guess the identity of the werewolf. This interactive element is both charming and effective, adding a unique participatory aspect to the viewing experience. It underscores the film’s playful yet suspenseful tone and has become one of its most iconic features.

The success of “The Beast Must Die” is largely due to its remarkable ensemble cast. Calvin Lockhart shines as Tom Newcliffe, bringing charisma and intensity to the role of the determined hunter. His commanding presence drives the narrative forward, making his character’s obsession with uncovering the werewolf both believable and compelling.

Peter Cushing, a veteran of the horror genre, delivers a typically strong performance as Dr. Lundgren, a knowledgeable and mysterious figure who adds depth to the story. Cushing’s nuanced portrayal adds gravitas to the film, grounding its supernatural elements in a sense of scholarly authority.

The supporting cast, including Charles Gray, Anton Diffring, and Marlene Clark, also contribute significantly to the film’s appeal. Each actor brings a distinct personality to their character, creating a tapestry of suspects that enriches the mystery. Their interactions are filled with tension and suspicion, enhancing the film’s “whodunit” allure.

“The Beast Must Die” excels in creating a tense and atmospheric setting. The secluded estate, surrounded by dense forest, provides a perfect backdrop for the unfolding mystery. Annett’s direction, combined with effective use of lighting and music, heightens the sense of isolation and danger. The film’s pacing is expertly handled, maintaining a steady build-up of suspense that culminates in a thrilling climax.

The Prognosis:

“The Beast Must Die” is a standout film that masterfully blends the intrigue of a classic murder mystery with the supernatural thrills of a werewolf tale. Its innovative “Werewolf Break,” engaging narrative, and outstanding cast make it a unique and memorable entry in the horror genre. Over the years, it has earned its place as a cult favorite, and a retrospective viewing only deepens appreciation for its creativity and execution. Paul Annett’s direction and the exceptional performances of Calvin Lockhart, Peter Cushing, and the rest of the cast ensure that “The Beast Must Die” continues to captivate and entertain audiences, proving that the hunt for the beast is as thrilling now as it was upon its release.

  • Saul Muerte

Retrospective: It’s Alive (1974)

08 Monday Jul 2024

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Larry Cohen’s 1974 film “It’s Alive” stands as a remarkable piece in the horror genre, notable for its unique premise and the extreme vision of its director. The film, centered around a mutant baby with a murderous instinct, has left a lasting impact on the genre, offering a disturbing exploration of parental fears and societal anxieties. Cohen’s daring approach and the introduction of the mutant baby as a horror trope make “It’s Alive” a significant entry in the annals of horror cinema.

Larry Cohen, known for his bold and unconventional filmmaking, brought a distinctive touch to “It’s Alive.” His approach was characterized by a willingness to push boundaries and explore controversial themes. With this film, Cohen delved into the primal fears of parenthood and the fragility of human life. The horror in “It’s Alive” is not just in the grotesque imagery but in the psychological terror that arises from the concept of a parent’s love turning into fear.

Cohen’s direction is marked by a blend of horror and dark humor, a signature style that he used to great effect in many of his films. He managed to craft a narrative that is both terrifying and thought-provoking, forcing the audience to confront their deepest fears. His use of practical effects, combined with a gripping storyline, creates a tense and unsettling atmosphere that lingers long after the credits roll.

“It’s Alive” introduced the concept of the mutant baby as a central horror element, a theme that has been revisited in various forms in horror cinema. The idea of an innocent newborn transforming into a deadly creature taps into deep-seated anxieties about the unknown and the uncontrollable aspects of childbirth and parenthood. This theme resonated with audiences, as it played on the natural fears associated with bringing a new life into the world.

The mutant baby in “It’s Alive” serves as a powerful metaphor for the unpredictability of life and the potential for evil lurking beneath the surface of innocence. This concept has influenced numerous horror films and has become a recurring motif in the genre. The grotesque imagery and the moral questions it raises continue to captivate and disturb audiences, making the mutant baby a lasting icon of horror.

“It’s Alive” is not just a film about a killer baby; it is a commentary on the fears and anxieties of modern society. The film’s success lies in its ability to blend shocking imagery with deeper psychological horror. Cohen’s direction, combined with a haunting score by Bernard Herrmann, elevates the film beyond its B-movie roots, creating a work that is both disturbing and intellectually engaging.

The film’s impact is evident in its influence on later works in the genre. The mutant baby trope has been explored in various films, each adding new dimensions to the original concept introduced by Cohen. “It’s Alive” paved the way for horror filmmakers to explore more extreme and unconventional themes, pushing the boundaries of the genre.

The Prognosis:

Larry Cohen’s “It’s Alive” remains a seminal work in horror cinema, notable for its extreme vision and the introduction of the mutant baby as a central horror element. The film’s exploration of parental fears and societal anxieties, combined with its disturbing imagery, has left a lasting impact on the genre. Cohen’s daring approach and the film’s unique premise continue to resonate with audiences, cementing “It’s Alive” as a landmark in horror cinema.

  • Saul Muerte