Movie review: Bad Things (2023)

13 Sunday Aug 2023

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It’s fairly obvious from its setting that inspiration is drawn from The Shining and the subject of trauma is at the heart of this feature with promise of disturbing reflection on the impact that this has on all who come into its path. The slow, meandering start to this movie however leaves one a little misguided by what is about to unfold. There is a lot of time spent on the quartet of female characters who are all going through various stages of turmoil and are leaning into a false desire to reach enlightenment. So embroiled are they though in their embittered lives that they neglect to remedy their own healing. 

Pulling them deeper into their conflict is the narratives’ protagonist (Gayle Rankin – Men) who has inherited a snowy resort from her Grandmother. There is however a continuing threat from her mother (Molly Ringwald – Cut) who may or may not be unhinged, but definitely is the bearer of some traumatic psychological scars. 

These ongoing conflicts between the group and their own demons play a part in the web of confusion as the labyrinth of the resort surrounds them and consumes their fears, only to spew it back out upon them. An indicator that they can not seem to deal with their suffering. 

It’s a shame though that the story too gets lost and the intentions of the characters are too murky for the audience to bear any commonality with nor find solace in their plight.

The Prognosis:

The elements embedded in Bad Things are a clear homage to The Shining, but where Stanley Kubrick embarked in a deeply psychological and traumatic narrative, helmed by the depth of character that Jack Torrance embodied and wonderfully portrayed by Jack Nicholson, the realms of insanity on display here are thwarted by a shallow interpretation of persona.

Stewart Thorndike does attempt to steer the inspiration into a new direction with an avenue of intrigue and entropy, but her characters are already lost at the start and without hope of resolving their internal conflict.

  • Saul Muerte

Bad Things is streaming in Shudder from Fri 18th August.

Movie review: Dracula: Voyage of the Demeter

10 Thursday Aug 2023

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Sandwiched between the opening act of Bram Stoker’s Dracula where Jonathan Harker is imprisoned by the titular dark lord, and the events that unfold in London, there is a chapter centred on the transportation of the Count across the seas to Whitby. For four pages we read the account of this perilous trip courtesy of the captains’ log on the ship The Demeter.

For such a small amount in the novel, the diarised account would have a profound impact on the reader as the crew are picked off one by one before the ship finally reaches its destination, so it’s little wonder that it would draw inspiration in the celluloid artform. The concept holds a lot of promise, with the original narrative detailing a treacherous voyage with a crew of nine sailors, all prey for the beast that has boarded the ship. One can imagine a similar telling to Alien, where a confined space where there is nowhere to run other than to confront the demon can elevate the fears, driving a wedge between sanity and madness, thrusting the crew to fall deeply into the latter.

And so we embark on Director André Øvredal’s vision of this tale, who is no stranger to paranormal and twisted stories in a remote setting as The Autopsy of Jane Doe can attest to. Boasting a strong cast at its helm, leading with Corey Hawkins (Straight Outta Compton) as the trained doctor Clemens, marred in society because of the colour of his skin, bargaining his way on board the ship for the chance to return to his homeland; There’s Liam Cunningham (Game of Thrones) as the stoic captain; David Dastmalchian (The Boston Strangler) as the loyal-yet-disbelieving first mate, Wojchek; Jon Jon Briones (Ratched) as the cook and religious zealot; and Aisling Franciosi (The Nightingale) as the stowaway Anna, who has an intricate connection to the predator. But it is Woody Norman as the young cabin boy Toby who pivots the heart of the story and portrays a captivating character that belies his years.

As for the titular villain of the piece… his presence is always felt throughout the film but his impact is not as telling, nor confronting as one would have hoped for, despite some decent effects.

The Prognosis:

There is plenty of intrigue from a fairly untapped segment in one of Gothic literature’s finest tales, one that would pull me into the arena with willing anticipation. Yet, for all the talent on screen, there is surprisingly little in the way of building up the ambience and dread from someone as fearful as Dracula. So focused are the writers in embellishing the plot with background and character development, (some with the licence that creatives can afford to keep the audience captivated) that they neglect to draw out the fear and trepidation that the Prince of Darkness deserves. While the journey is still an enjoyable one, the course is easily traversed and never delves into the realms of immorality in order to stir the senses, or shake you to the core.

  • Saul Muerte

Dracula: Voyage of the Demeter is currently screening in cinemas nationwide.

Movie review: Wolfkin (2023)

09 Wednesday Aug 2023

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I’ve always been lured in to lycanthrope movies, perhaps because they generally arc back to a tormented soul, cursed by a torturous, shape-shifting, life-altering event that threatens to rip apart the physical self in order to destroy the last ebbs of humanity.

So, upon hearing that Luxembourger film director, Jacques Molitar was offering up a fresh slice of the werewolf folk story, I was gripped with eager anticipation.

Elaine (Louise Manteau) is a single mother, following the disappearance of the father after a naked romp during the films prologue (typical guy, right?)

Cut to 8 years or so later, and Elaine’s son, Martin, is starting to present some unusual physical and psychological traits that lead him to biting a schoolfriend. Shocked and ashamed, Elaine intends to find out the root cause of this odd behaviour and heads back to the paternal grandparents in search for answers, who I might add are significantly well off, casting an automatic divide that juxtaposes the rough suburban lifestyle that Elaine and Martin have been living.

When she gets there though, there are some curious happenings which raise further questions and family secrets that she may have wished remained buried. Elaine must then decide which path her son should take in order for him to survive in the real world.

The Prognosis:

Whilst Wolfkin does boast some decent practical effects, this is a slowburn story that does little when it tries to finally ignite.

Where Let The Right One In and The Hatching (both movie which it has been likened to in promotions) have depth and tension to fill the void, Wolfkin simmers along with plenty to say but little impact in the way that it’s presented.

Hats off to Molitar for attempting to take an age-old tale into a new direction but it ultimately lacked enough bit to sink your teeth into.

– Saul Muerte

Wolfkin is currently available on DVD and Digital platforms.

Movie review: The Communion Girl (2023)

07 Monday Aug 2023

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As I started watching The Communion Girl, my immediate reaction was one of enjoyment. It had all the hallmarks of an intriguing horror flick with strong religious avenues; a mysterious woman in white; ghostly apparitions that drive one to the grave; and perilous teens on the brink of rebellion but treading ever so closer to the reaper.

The feature does well to entice you in with its central female protagonist, Sara (Carla Campra – Veronica) who is relatively new to the province of Tarragona. Socially awkward, Sara relies on her best friend, Rebe (Aina Quiñones) an extrovert who wears her heart and soul on her sleeve, but all this bravado hides a troubled household that she is struggling to climb out of. The two of them hit the town in search of some deeper connection to the world around them, and getting their kicks from some illicit antidote. 

On their journey home though with a couple of guys they meet at the nightclub, Pedro (Marc Soler) and Chivo (Carlos Oviedo) they encounter a little girl who carries a doll and is dressed for her first communion, before disappearing into the night. Was she an apparition or just a figment of their imagination? Before long, they all become haunted by the girl and must find the root cause of this ghostly cause or else it will consume them in her wake.

The Prognosis:

Spanish film director, Victor Garcia is no stranger to the horror genre, having worked on Mirrors 2 and Hellraiser: Revelations, and he weaves his craft with delight in his latest venture. Carla Campra also captivates on screen as the ‘final girl’, but as the narrative unfolds it becomes apparent that The Communion Girl borrows heavily from other successful features, such as Ringu, or folk tales like The Curse of the Weeping Woman. We know that the vengeful spirit has a vendetta that needs to be brought to a satisfying conclusion, and so we walk familiar terrain to get there. Despite this, the feature does still entertain and offers a slight twist in the tale albeit a slightly confusing one.

The Communion Girl is streaming Exclusively on Shudder and AMC+ Film Premieres Friday 11 August

  • Saul Muerte

Movie review: Talk To Me (2023)

04 Friday Aug 2023

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Now that the dust has had time to settle and the litmus test has had the opportunity to really sink in and absorb the quality of this year’s most hyped and discussed Aussie horror flick, I’ve taken stock of my own initial impression of the RackaRacka brothers debut feature, Talk To Me and feel ready to weigh in with my verdict.

There was always going to be plenty of eyeballs on this venture with the amount of support that Danny and Michael Philippou bring with their strong social following. That’s before it went off the dial with a huge reaction at Sundance and A24 nabbing the rights to a cinematic release.

Could the RackaRacka boys pull off their debut directorial feature to back up their social credibility?

The answer to that is a firm yes, but with a caveat, albeit a slight one.

The choice for their playing field lies in an age-old tale of communication with the afterlife; How grief can dictate and steer your emotions to make rash decisions in the wake of the loss; and the lengths that someone is willing to go to in order to find relief no matter what the cost made to those around you. 

Driving this perspective through to its bitter conclusion is Mia (Sophia Wilde), whose mother passed away a year prior, but the memory is still ripe and the sorrow lingers with harrowing dread. Mia has been drifting through life on the periphery and as a drifter has struggled to connect to those around her. Her one lifeline to humanity is through her best friend Jade (Alexandra Jensen) and Jade’s family. They accept her for who she is and Jade’s brother Riley (Joe Bird) is almost smitten by her.
When the trio become embroiled with a group who have discovered how to conjure the dead through an embalmed hand, they are soon hooked, and drawing the spirits forth like some crazed drug fix. By inviting the souls into their own body for a short time, our protagonists are compelled to dive deeper, treating the whole episode as a light-hearted affair That is until Mia’s mother finds a brief way to connect with her, and with one quick stroke, our protagonist is willing to open Pandora’s Box and breaking all previous agreed conventions in order to connect one last time.

The Prognosis:

The RackaRacka brothers have not only exceeded expectations but have produced a solid effort for their first feature length outing, calling the shots from behind the camera. While arguably they have produced a fairly safe outing when it comes to narration, the captivating part comes through their strength in character combined with Sophia Wilde’s performance. Also, the blend of humour and horror peppered throughout helps to flip the juxtaposition of polarizing extremes to tie you to the chair forcing you to grip the hand of darkness. 

  • Saul Muerte

Movie review: The Pope’s Exorcist (2023)

18 Tuesday Jul 2023

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If you’re familiar with the works of Julius Avery, you won’t be surprised that his latest endeavour starring Russell Crowe is filled to the brim with cigar chomping action sequences that stretch the realms of believability to the nth degree. Whether it;s gold heists in Son of a Gun; American soldiers taking on experimental Nazi zombies in Overlord; or Superhumans in Samaritan, Avery likes to bend our receptions and tantalise the visual senses with implausibility and a mixture of delight. You’re alway guaranteed to have an entertaining time, no matter what subject the Australian director turns his attention onto.

For his latest outing, The Pope’s Exorcist takes inspiration from the real life personality Father Gabrielle Amorth, an Italian Catholic priest who was an exorcist for the Diocese of Rome. The tales that Amorth has to tell and his endeavours with the paranormal are to the extreme, so a perfect playing field for Avery and for Crowe to portray the titular character.

Amorth is introduced as a down-to-earth, practical man whose methods are questionable (as highlighted in the opening scene when he tricks a demon to possess a pig and then promptly shoots it) and a constant ache in the heart of those wishing to wield power in the Vatican community. When he is asked to investigate the curious possession of a boy in Spain, Amorth uncovers something much darker lurking beneath the refurbished castle abode, something that the Vatican had wished to remain dormant. 

The Prognosis:

Avery tempts us in with a curious tale, weaving together a buddy relationship between the cavalier veteran, Amorth and the local priest Father Tomas Esquibel (Daniel Zovatto) and the mother in plight, Julia (Alex Essoe – a little underused here playing second fiddle to the testosterone on show). 

If you’re willing to let the far-fetched, and attempted humour of an action-packed exorcism, then you will definitely be entertained. Crowe certainly appears to be having fun chewing up the scenery at any given opportunity, but the fanciful and extreme measures taken to amuse jolts far too often, thrusting you out of the picture in the process.

  • Saul Muerte

The Pope’s Exorcist is available to Rent or Buy from Jul 19.

Movie Review: Pensive (2023)

15 Saturday Jul 2023

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Carrying the candle for the first slasher movie to be filmed in Lithuania, director Jonas Trukanas draws inspiration from one of the keystone features from the genre, Friday the 13th and its iconic killer, Jason. Mainly the artistry is built around a group of kids in a remote location and being picked off one by one by a masked assailant. Pensive makes its own mark in its fresh and original approach to the field; a protagonist who is far from likeable and in danger of being lost in a sea of ordinary.

We begin with an introduction to our intended victims; a group of classmates at the height of their graduation with all eyes on the after party. Everyone seems to have an identity, a mark that makes them stand out from the crowd. All that is except Marius (Sarunas Rapolas Meliesius) who has walked through life without anyone really noticing him. Even his own mother and father have lost interest in him. If it wasn’t for his best friend Vytas (Povilas Jatkevicius), he would simply not exist. So, when the proposed location for the party (organised by the budding athlete and alpha male of the group, Rimas (Kipras Masidluskas) falls through, Marius sees an opportunity to to not only rise in his classmates estimations but also win the heart of Brigita (Gabija Bargailate). Marius learns of a cottage through his mother’s estate agency that would be perfect, and so our journey begins. Will it be one of redemption or ruin?
When they arrive, it seems like paradise for the partying to ensue, but there are these strange wooden sculptures, which serve as the instrument of destruction and the resurrection of a killer, lurking in the woods.

The Prognosis:

By thrusting a nobody at the heart of the carnage, questions will be raised about a protagonist’s approach to be somebody at the detriment of those around him. This makes Pensive a noteworthy entry into the slasher genre and one that potentially provides Lithuania with not just its first entry but one that provides a bold new direction.

  • Saul Muerte

Pensive is screening at the A Night of Horror International Film Festival on Saturday, September 30th at 9.30pm. It is screening with short features, Red Wedding, and My Scary Indian Wedding.

Movie review: Quicksand (2023)

14 Friday Jul 2023

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The latest offering from Shudder’s original and exclusive platform pits marriage as the focus of turmoil and lurking doom.

The subject of marriage has been one placed under high scrutiny over the years with a high statistic of failure across the board. With such a great percentage deemed to expire within a short time frame, it seems perfect fodder for the horror genre to play with. The notion then to thrust a troubled couple Sofia (Carolina Gaitan) and Josh (Allan Hawco) literally into a quicksand , where any hope for survival is as slim as their relationship prospects is one ripe for exploration. If you pardon the expression, there’s depth to be explored, if the characters are strong in substance (as the more detail unearthed during their trepidation, the more likely we will side with their plight and will for them to pull through.

The first trick that the director Andres Piltran has to achieve this goal is to make the ordeal believable and to get our lead characters to land themselves in the titular quicksand. There’s a lot of leg work needed to get to this point, partly in building up Sofia and Josh’s backstory, casting them on a hiking trip through a Colombian rainforest  This is by no means an unusual location, as not only is this a place familiar to Sofia, but both are present to run a lecture at the local university. With time to spare beforehand, they decide to venture into the jungle and as seasoned hikers, have no fears about what lay ahead, little knowing that the weather and darker elements will lead them to confront a more tragic and troublesome conflict, each other. Can their relationship survive or will it be at the cost of one of their lives?

The Prognosis:

Both Gaitan and Hawko provide compelling depictions of their character, and Director Piltran does their best to weed out a decent thriller in a fairly rigid script. It’s hard for the talent on show to wriggle out of such a tight and singular point in time. With more depth applied to the narrative and indeed each character’s perspectives, then the journey towards the climax would have been easier to endure. Ultimately this is no easy task to pull off and Piltran has just enough experience to keep it on the right side of bearable.

  • Saul Muerte

Quicksand is currently streaming on ShudderANZ.

Movie review: Run Rabbit Run (2023)

11 Tuesday Jul 2023

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Run Rabbit Run begins with an incredible vista of shallow flooded plains, white bark trees protrude out of the sheen, it’s an incredible and eerie sight. We find our lead, Sarah (played by Succession’s Sarah Snook), lying on a muddy bank. There is no indication of what has happened but it is a foreboding promise, a promise which the film never really keeps.

Flashing back we learn that Sarah is a healthcare worker specialising in fertility, she is co-parenting her daughter Mia (Lily Latore), nicknamed Bunny, with her ex-husband (Damon Herriman) who is starting a new family with his partner; and Sarah’s father has recently passed away. This full serving of life is only intensified when a white rabbit appears on their front doorstep which Mia adopts in more ways than one. Making a crude pink rabbit mask (that serves are the main imagery used in the films marketing), Mia begins her transformation into “Creepy Horror Kid”, insisting that she is actually named Alice (the news of Sarah’s younger sister who had disappeared when they were children). Mia regularly haunts doorways and windows watching Sarah, drawing disturbing drawings on the backs of all of her art projects and insists that she wants to see her “real mother”. Sarah relents and takes Mia to visit her grandmother, who is living in an aged care facility, suffering from dementia. As the film progresses Sarah is pulled further back into her past as her mind unravels.

Written by Australian author Hannah Kent (her first feature screenplay) and directed by Daina Reid (The Handmaid’s Tale, The Secret River), the film is a poetic, almost lyrical exploration of grief and guilt and feels very literary. There a few key allusions to Alice in Wonderland, that feel like they may spiral into something more fantastical but never do. For the duration, the movie walks a fine line of madness and metaphor that may not be everyone’s cup of tea. The horror tropes that are deployed are well trodden ground and may even feel a little uninspired. It’s hard to keep The Babadook out of your mind while watching Run Rabbit Run, the same kind of motherly decedent into grief and guilt stricken madness is explored but where The Babadook thrived in creating its own mythology and closed circuit world, Run Rabbit Run feels more scatter shot.

Cinematographer Bonnie Elliott (These Final Hours, The Turning) creates such a rich atmosphere and features some of the most beautiful scenery I’ve seen in an Australian film, the flood plains, the rivers, cliffside beach. Elliot and Reid showcase and integrate the landscapes into the film, there is no feeling of them being tacked-on second unit shots. It is a wonderful advertisement for Victorian tourism, which is a bit of a backhanded complement for a horror film.

The Prognosis:

Ultimately the film is beautifully shot, strongly performed and manages to carry a sense of dread throughout most of the run time, giving us a few solid scares, but it feels like a shallow adaptation of a book with so many threads that deserve more investigation and a hollowness that the prose would certainly fill. 2.5/5

  • Oscar Jack

Movie review: Insidious: The Red Door

07 Friday Jul 2023

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Movie review: Insidious: The Red Door

It’s been 10 years since Lee Whannell created a universe that opened up a portal into The Further. There’s been a further three instalments since then to expand on the disturbing journey which has seen The Lamberts face untold evil beyond the realms of our known realm; we’ve shared the pains of loveable medium Elise (Lyn Shaye) and her struggles to rid the torment of the lady in black; and the goofy sidekicks, Specs (Whannell) and Tucker (Angus Sampson) to supply the chuckles amongst the sinister and creepy paranormal events that unfold.

Where there has been ups and downs in the franchise so far, straying deeper into the world in order to flesh out and lure audiences back into the fold, arguably the creative have struggled to recapture the initial vision set out by Whannell combined with the directorial eye of James Wan.

The horror genre has always been one for experimentation though and often has provided a vessel for those to try out new things in order to create or spark the imagination, so when the news came that there would be a fifth instalment, it didn’t come with groans or grimaces as it not only posed the question of what happened to the Lamberts following attempts to suppress the memories of patriarchal figure, Josh (Patrick Wilson) and his son Dalton (Ty Simpkins), but it also offers Wilson the opportunity to sit in the Director’s chair. Wilson is ripe with experience before the lens, and has been as close to the source material throughout the past years, so is in prime position to carry the lantern back into The Further once more.

The premise is something of a double-edged sword however, as there was so much balance placed on the Lambert’s upheaval and band-aid solution to sealing up The Further from their lives, that it is inevitable when returning to this world that there will need to be a shift in equilibrium. 

Whannell returns once more to helm writing duties alongside his creative partner Scott Teems to weave a story that examines what happens when we repress our emotions and in this case the connection to astral projections. We learn that Josh’s mother Lorraine (Barbara Hershey) has passed on, along with some secrets that she thought she had taken to the grave; and Josh and Renai (Rose Byrne) have separated, which is a little predictable, but also inevitable when repression has been forced and skeletons welded in the closet, or behind the red door. With the relationship strained, so too has Josh and his son Dalton. What once was a bond united by their paranormal abilities, has been severed along with their binding. The impact that this has takes its toll and seeps to the surface at a key point in Dalton’s life; leaving the family home to go to University.

As Dalton tries to find himself in his art studies, unlocking the very thing that has been kept at bay, Josh goes in search for the reason his world has been turned upside down, and the reason behind his foggy mind. Both these pursuits will take them on a dangerous turn, that could take them on a descent from which not only will contain their souls but will come at the cost of those they hold dear.

The Prognosis:

While there is still promise contained within the world of The Further, this could be one step too far for the Lamberts. There is a decent plot at hand, crafted by Patrick Wilson for his feature length directorial debut and Whannel offers another venture into the world with his penmanship.

On face value, it works, but delve a little deeper and you soon realise it lacks the chemistry of the first film. The absence of Wan is noticeable, and the humour is a little too forced in places. Without the heart and soul of what initially drew us to Insidious, we’re left stumbling around in the dark, waiting for someone to flick on the corpse light and lead us back home.

  • Saul Muerte

Insidious: The Red Door is currently screening at cinemas nationwide.