Movie review: The Long Night (2022)

13 Saturday Aug 2022

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Fear the darkness inside you.

This is the bold tagline that director Rich Ragsdale and his creative team wish to instil fear into their audience with for his feature debut behind the lens. 

In order to evoke any sense of trepidation however, you must first look at two essential ingredients; chemistry and atmosphere. Both of which are sadly lacking here. 

It takes a full 30 minutes of wading through our two leads Grace (Scout Taylor-Compton – Halloween) and her boyfriend Jack (Nolan Gerard Funk – Truth or Dare) struggling to connect on screen. 

Grace is driven by the quest to find the parents she has never known. Following an ominous lead, the couple end up at a remote house surrounded by curious totems, shrugged off as a Southern thing and there’s no sign of their host. 

It’s not until Jeff Fahey’s cameo however as local Wayne, that things heat up and some gravitas is brought to the screen. It’s brief but enough to shake Taylor-Compton’s performance a little and give her more substance to the character. 

It is not quite enough though to ground this movie and propel the action forward despite the sinister looking satanic cult that have encompassed the property. These figures seemingly rely on their menacing presence and the odd mysticism to generate apprehension, but beneath their outer shell is a vacant entity; a symbol of the film as a whole.

Having said that, the movie does boast some nice imagery in places, a signature of Ragsdale’s eye for detail from his days as a cinematographer. It also has a worthy snippet from Deborah Kara Unger, who is always a welcome addition.

The Prognosis:

The Long Night offers a painfully slow descent into a nightmare that struggles to find its roots in terror.
There are moments of promise but all of this is squandered by lack of substance or flair.

  • Saul Muerte

The Long Night is currently available on DVD and VOD (iTunes, Google Play, YouTube Store, and Fetch TV) and released by Eagle Entertainment Australia.

Retrospective: Braindead aka Dead Alive (1992) 30th anniversary

13 Saturday Aug 2022

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Thirty years ago the world was subjected to Peter Jackson’s madcap, blood-splattered vision and introduced us to an infected Sumatran rat-monkey, an ass-kicking priest, and a lawnmower wielding protagonist with serious Mummy issues.

For me, it was my first introduction to Peter Jackson’s as a director, albeit the last of his splatter trilogy following Bad Taste and Meet The Feebles. These movies I would see at a later date, but it also marked my earliest experience of New Zealand’s quirky humour which resonated and reverberated nicely in this writer’s cerebellum, impacting deeply to shape my own taste and love of dark comedy.

It also brings about nostalgic memories of friendship and a united love of the horror genre with that disturbing twist. 

Braindead aka Dead Alive is a zany tale of Lionel Cosgrove (Timothy Balme) whose mother, Vera (Elizabeth Moody) is fatally bitten by the afore-mentioned rodent simian. She becomes infected and dies before coming back to life and terrorising Lionel from beyond the grave.

The feature’s appeal doesn’t just reside in its energy though but also in the gore-spewed special effects combined with a warped love story involving the awkward Lionel and the local shopkeeper’s latino daughter, Paquita (Diana Peñalver). The latter is completely smitten by the stars and her romantic pursuits that drive her in winning Lionel’s heart, despite the crazed obstacles that stand in her way. Lionel too must overcome his ties to his mother, and free himself from the shackles that have gripped him all his life. 

Part of the lure is through Jackson and long time writing partner and collaborator Fran Walsh’s carefully laid groundwork using exposition to create the world in which Braindead resides. It is this dedication that allows for the madness to ensue, much to the delight of the audience. The film’s climax is also a sight to behold, cementing its place in in horror celluloid history with 300 litres of fake blood to carry out Jackson’s creativity and Lionel’s rise to personal triumph.

Supposedly it was a great influence on another successful comedy horror film, Shaun of the Dead, and its infectious attraction is the reason that it still resonates today and places in Time Out’s The 100 best horror movies of all time. 

  • Saul Muerte

Movie review: Nope (2022)

10 Wednesday Aug 2022

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Jordan Peele ventures forth with his third outing behind the camera following success with Get Out and Us, with a nod to the B-horror science fiction movies of the 50s. Set in an isolated part of inland California, siblings OJ and Emerald Haywood witness the death of their father when random objects fall from the sky. This prompts them to capture evidence of an unidentified flying object and probable cause of the strange happenings but may lead them to an unnerving discovery.

For me, labelling Nope as a horror film is akin to saying that fish and chips is a healthy eating option. Sure, Nope has jump scares, and blood, and people die, but nothing, and I do mean nothing, about this film makes it a horror flick.

That’s not to say that you won’t have a good time watching it-Daniel Kaluuya is the undisputed king of understated, brooding acting, and Keke Palmer is 100% joy on screen.
Personally, I was thrilled to see Michael Wincott again. As if his frankly ridiculously beautiful speaking voice wasn’t enough, he nails the role of ‘surly but genius cinematographer.

Speaking of cinematography, Hoyte Van Hoytema is behind the lens for this one (he’s they guy who shot Tenet, Interstellar, Dunkirk, and Ad Astra. He’s practically Christopher Nolan’s go-too-guy) and holy smokes does he bring each location to life.
Truly stunning work.

The Prognosis:

I am by no means an edge lord gatekeeper of horror films – I still can’t watch the Thriller video without needing a hug afterwards, but don’t go into Nope expecting to be scared out of your mind.

There’s plenty of questionable plot holes, and I wanted to see much more from Steven Yeun’s character ‘Ricky’, but it’s still a fun watch, and worth seeing at a cinema purely for the sound design alone.

  • John Turnbull

Nope is a homage to classic B movie sci fi horror, but it is NOT made in the usual cookie cutter paint-by-numbers way. It is powered by a unique vision only achievable by Jordan Peele

Antony Yee

Movie review: Prey (2022)

06 Saturday Aug 2022

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For the fifth instalment of the Predator franchise, Director Dan Trachtenberg (10 Cloverfield Lane) and co writer Patrick Aison (Wayward Pines) have decided to reach into the folklore set by the Raphael Adolini 1715 flintlock pistol that was gifted to Lieutenant Mike Harrigan at the end of Predator 2.

This moment always stirred by interest about how a conflict between humanity and a Yautja would come about, and the notion of primitive representations of both these species coming head to head in the 18th century.

Trachtenberg and Aison present this tale through the eyes of a Comanche tribe, in particular that of Naru (Amber Midthunder – Legion) in her pursuit of becoming a great hunter, but is constantly in the shadow of her brother Taabe (Dakota Beavers).

Among the sibling rivalry and respect storyline that pays dividends to the weight of the performance on screen, there is also a nicely handled touch on gender diversity with Naru trying to break the mould of traditions past. Women are deemed the weaker sex, when this assumption is exactly what leads to their strength when coming up against any foe.

On the hunt for a mountain lion, Naru notices that there are some strange things afoot, such as skinned snakes, and unusual bear-like prints in the mud. She suspects there is something larger and a bigger threat in the wilderness, but her tribe neglects her warnings.

The threat of course is our central predator figure (Dane DiLiegro), a much more leaner, and sleek design from the Yautja that we have come to know and love from previous movies, but this version needs to present in a different fashion as it would be another 200 plus years before they would come to Earth again, and advancements in evolution would naturally occur. Initially, I didn’t respond to this look but I soon warmed to it by the film’s end.

The confrontations and slow build up between the predator and Naru are well handled, showing insight into the predator’s curiosity over finding the top of the food chain and crowning itself the apex. It moves from snake to wolf, to bear, before discovering humans’ position in the chain.
Naru’s journey also goes from one of becoming the best hunter to prove herself to the tribe, to one of using all her guile to survive the game. 

The Prognosis:

It’s a deliberately slow and insightful build, which allows the predator to become the prey and vice versa here. The performance from Amber Midthunder is to be commended as she shows her versatility in Naru’s character to become our protagonist and champion for the human race.
The predator is a slick, killing creature, so fans won’t be disappointed in the manner that he eviscerates all that he encounters. There are also great nods to previous ventures throughout this feature, which was a nice touch.

The decision to place the arena in the heart of the Comanche tribe’s own will to survive in the face of white settlement is also to be commended and is handled with respect and dignity, fulfilling Trachtenberg’s intent to do things with the franchise that hasn’t been done before. Depending on the film’s success, I wouldn’t be surprised if we see further instalments come out of the jungle. Especially as it is left unclear as to how that flintlock pistol gets back into the Yautja hands again.

  • Saul Muerte

Movie review: What Josiah Saw (2022)

02 Tuesday Aug 2022

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At first glance, there’s enough interest gathered from the cast of What Josiah Saw alone, with two of the top-billed actors Robert Patrick and Nick Stahl, and even Jake Weber in a supporting role. Each of them do a fair amount of  heavy lifting on screen, pulling out all the stops to generate interest out of their characters and not isolate them to two-dimensional representations. The premise is also one that further builds intrigue, placing a family reuniting at their farmhouse, after a lucrative offer is placed on it, but why have they become so estranged from one another? And what secrets do they hope to remain buried?

Each member of the family is awarded their own chapter of the storyline before the afore-mentione coming together at the farmhouse. It starts with the father, Josiah (Patrick) and his son Thomas (Scott Haze), the latter appears to be trying to look after the upkeep of the abode, but there is something aloof about the way the two engage with one another that doesn’t quite fit, which becomes all too apparent by the films’ conclusion.

The middle chapter and possibly the most intriguing has another son, Eli (Stahl) who is caught up with questionable characters and is charged with two other guys to visit some gypsy folk; a moment that comes to a whole heap of trouble for Eli.

Lastly, we’re introduced to the daughter, Mary (Kelli Garner) and her partner, Ross (Tony Hale), who have been struggling to have children of their own and are in the throes of finalising an adoption process.

As each chapter unfolds, serving as a means to build up and embellish each character, but these windows into their lives so far trudge along at a snail’s pace without any clear direction or purpose. Other than to allow the final moment to unfold. For what it’s worth this final moment when it arrives is well placed and with a powerful punchline, but it’s a damn painful ride to get there. For some, they would have tuned out long before this takes place. 

The Prognosis:

There is plenty of promise set up in What Josiah Saw, with a solid cast and a definitive approach to the storytelling.

The problem arises through its slow interplay as it tries to develop the characters, ordinarily a good thing, but this is painfully slow and interest wanes quite quickly.

A shame, as the last scene is a decent and dramatic conclusion.

  • Saul Muerte

What Josiah Saw is streaming on Shudder ANZ from Thu Aug 4th.

Retrospective: Tarantula! (1955)

30 Saturday Jul 2022

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Universal Pictures would follow up their 1955 science fiction feature This Island Earth, with another larger than life science horror tale.

This time the focus would be a monster creature feature and developing one of humanity’s greatest fears, the spider, more specifically the tarantula. It would take on one of the popular themes of the time, by increasing the size of creatures (or in some cases, shrinking the humans)  to maximise the threat factor on screen. 

Set in the fictional town of Desert Rock, Arizona, Tarantula! Is essentially your science gone wrong, film, and picks up with a deformed man emerging out from the vast landscape before dying. The man in question was biological research scientist Eric Jacobs, and we later find out that it was his research that was his own undoing. 

Our lead protagonist and local town doctor, Matt Hastings (John Agar) is intrigued by Jacobs’ strange deformity and is compelled to find out the truth. His investigations naturally lead him into danger when he finds out just how life threatening Jacobs’ research has gone. The research laboratory is in the back of beyond, where Jacob’s colleague Professor Gerald Deemer (Leo G. Carroll – Strangers on A Train, North By Northwest) resides and appears to be continuing with the experiments. It also turns out that part of the formula that is being tested on the animals in the lab, speeds up the growth rate, including the titular Tarantula who escapes following the initial fire outbreak and is now growing at an alarming rate and consuming all the local cattle… before taking a fancy to human flesh!

It’s all b-movie material with close ups of the victims as the tarantula descends upon them and they meet their end.

Of course it wouldn’t be a 50s sci fi horror without a love interest thrown into the mix, which is where lab assistant and student, Stephanie Clayton (Mara Corday) enters the scene and into the spider’s lair, so to speak, to become the damsel in distress but with smarts.

By the film’s conclusion, humanity has to resort to some heavy duty firepower to rid the world of this menacing creature, and it comes from the Air Force, carrying napalm and piloted by a certain cameo by Clint Eastwood.

  • Saul Muerte

Tarantula is currently available at Umbrella Entertainment as part of a double bill blu-ray with The Incredible Shrinking Man.

Retrospective: The Quatermass Xperiment (1955)

29 Friday Jul 2022

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In the same year that Universal release This Island Earth, Hammer Films were about to enter a brave new world of their own, and it would all begin with their release of The Quatermass Xperiment. Spearheaded by James Carreras knack for networking and the ability for Hammer to produce the familiar in the eyes of the backers but with their own spin. In this instance, the appeal would come from an adaptation of BBC serial The Quatermass Experiment. 

The tale takes place when a three-manned rocket ship owned by Professor Bernard Quatermass (Brian Donlevy) loses radio contact and crash lands with two of its occupants vanished without a trace. Its sole survivor, Victor Carroon (Richard Wordsworth) has been clearly affected by a parasitic alien organism that slowly engulfs his body and is also transfused with a cactus plant that he came into contact with. 

Part of the attraction to TQX is that Quatermass himself leads questionable character choices. From the get-go, we learn that the rocket ship in question was launched without being sanctioned to do so. This recklessness is still evident too by the films’ end when he is still insistent in going ahead with his scientific plans despite the flaws and drawbacks that were brought about due to his decisions. Was there no lesson learned for him at all? Or is it purely that he is driven to succeed in his experimentations? At what point is it too far to cross? Or does the line simply not exist for the likes of Quatermass?

Richard Wordsworth’s performance is equally compelling, providing heart to the troubled Carroon. His deterioration both physically and mentally on screen keeps the audience gripped and able to connect with his plight.

It should also be noted how integral Director Val Guest’s vision had on defining the style of Hammer’s more sci-fi horror leaning productions, (the more recogniseable Gothic features would very much fall to Terence Fisher) and would have him return for Quatermass 2. There would also be the notable push for adult classification in Hammer’s production releases hence the deliberate X placement in the title to define their approach and the audience they wanted for their movies.

The success of TQX for Britain and across the seas in the States would project them further towards success and unite them in a deal with Columbia Pictures. Hammer Films were a heartbeat away from The Curse of Frankenstein, the movie that would cement their footing in the horror scene, but TQX would provide them with the first footsteps to celluloid history. It’s incredibly riveting and watchable still and highly recommended. 

  • Saul Muerte

Retrospective: This Island Earth (1955)

29 Friday Jul 2022

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My Universal horror retrospective chronicling the transition away from the genre that made the production company famous throughout the 30s and 40s and into the sci-fi realm continues with This Island Earth. 

At the time of its release the movie was noted for its state-of-the-art effects and use of Technicolor but it would later be famously ridiculed in Mystery Science Theater 3000, showing just how far the film had fallen in the public’s eye.

For me, it will always conjure up the image of the Metaluna Mutant, once a rejected choice for It Came From Outer Space (1953) It’s an iconic character that probably deserves a little more screen time than it actually receives than the short scare towards the film’s climax.

Upon closer scrutiny, TIE does suffer with minimal plot narrative to bind it together; a case of more style than substance. So you can understand the mockery that it fell subject to in more recent years,

The story essentially follows Dr. Cal Meacham (Rex Reason) who is mysteriously rescued when his jet almost crashlands with the aid of a strange green glow. He is then gifted a set of instructions to build a complex machine; a test to see if he has the smarts to be selected for a special research project run by the equally mystifying Exeter (Jeff Morrow).

Before long Cal is recruited by Exeter and meets up with old flame Dr. Ruth Adams (Faith Domergue) and a few other hand-picked scientists. The film quickly develops from a proposed science espionage flick into an intergalactic war when Cal and Ruth are whisked away to the planet Metulana, a planet under attack from the unseen Zagons.   

There are great leaps in the imagination here from a screenplay based on the novel by Raymond F. Jones, and one needs to give in to the mindless direction it takes you in and not pay to close mind to the obvious flaws within.

It remains a film with some great images for its time, despite this, and is indicative of the b-movie sci-fi flicks that would swiftly follow suit and one that would capture the imagination of cinema-goers in the mid 50s. 

On the other side of the pond however, Britain’s Hammer Films were offering up an alternative spin on the science fiction scene with… The Quatermass Xperiment.

  • Saul Muerte

Pennywise: The Story of IT Documentary review

29 Friday Jul 2022

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For some, the year 1990 would prove to be just your average year. Some were still spinning out from the decade before with its acid wash jeans, video rentals, and big hair.
Some though, like me, were having their minds filled with the wild imaginations of Stephen King and this year would prove to be the year that Pennywise entered our homes.

Such was the wildfire of nightmares born out of the miniseries written by Lawrence D. Cohen and Tommy Lee Wallace (the latter also taking on directorial duties), that it spread a combination of love and fear into the school playgrounds, and fuelled the flames deep in the heart of this reviewer.

It’s little wonder that a worthy documentary would surface at some point to please the minds of those that were so shaped by this two-part serial. The bewilderment may be more from the fact that it took so long for someone to actually get it greenlit. Thankfully an Indiegogo project was set up which would see director Chris Griffiths team up with producers John Campopiano and Gary Smart to bring the project to fruition. 

Pennywise: The Story of It is exactly what you would hope from a 2 hour documentary dedicated to the making of the mini-series, with Wallace and Cohen cast their thoughts and views, looking back at the time and the impact that it had on popular culture. He’s not alone to appear of course, as we have the great Tim Curry (Pennywise), along with other cast members Richard Thomas (Bill), Seth Green (Richie), Dennis Christopher (Eddie), Adam Fairazi (young Eddie), Tim Reid (Mike), Brandon Crane (young Ben), and Emily Perkins (Beverly), to nam but a few. Plus special effects makeup artist Bart Mixon among others that were behind the scenes.
There were some notable absences from the Losers club, but none more heartfelt at their loss than Jonathan Brandis (young Bill) and John Ritter (Ben) who both respectfully are acknowledged for their input into the movie from both cast and crew.

The passion is clearly shared by those involved in the making of the miniseries, in the way that they are so animated about it in their interviews. It was incredibly warming to see such dedication to the miniseries being laid out and reviewed retrospectively from a team that were united with the same passion that I share for the miniseries, even to this day. 

  • Saul Muerte

Pennywise: The Story of IT  is currently screening with a 30-day free trial of Screambox, available on iOS, Android, Prime Video, YouTube TV, Comcast, and Screambox.com.

For more thoughts on the original miniseries, you can also listen to the SOH team’s alternate commentary below:

IT Mini Series – Part 1 (Surgeons commentary)

IT Mini Series – Part 2 (Surgeons Commentary)

Movie review: The Reef: Stalked

27 Wednesday Jul 2022

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Australian Director Andrew Traucki certainly has a taste for aquaphobia with his breakout feature hits Black Water, and The Reef. Back in 2020, he decided to revisit his croc shock feature with the sequel, Black Water: Abyss. Now is the turn of the shark, with a delve back into the reef with a twist in the tale for The Reef: Stalked.

His hook is in telling the story of Nic (Teressa Liane), who is still in the breaches of surviving the trauma of her sister’s murder. Nic tries to reconnect with the world by submerging herself into an old pastime on a kayaking adventure with her younger sister, Annie (Saskia Archer), and her two friends, Jodie (Ann Truong) and Lisa (Kate Lister). Before long the predator of the ocean makes its presence known and begins to hunt them down without backing down once it latches onto their scent.

The topic of trauma is a gripping one and presents and interesting premise for Traucki to grapple with and I applaud him in dabbling in this terrain to weave together an incredible story about survival against the odds and placing it in a shark horror feature.

The premise, and the topic may have been a stretch too far to blend them together with a sense of ease, as too often the focus shifts on the unrest between the two siblings rather than the fear itself. It’s a tough balancing act, because you want to establish a connection with your audience by building on the characters’ exchange with one another. Unfortunately I felt that the dialogue and performances were waning; a crying shame as Traucki has proven up to the task before, especially in his feature debut, Black Water, thrusting his female protagonists played by Diana Glenn and Maeve Dermody through the ringer, with grit and determination. 

The lack of grit is all too evident here, and the leads spar off each other from one scenario to the next without too much substance to wade through.

So what of the shark? 

When it appears there are flashes of images to spark fear in the audience but it never comes across as sinister enough and murky as a result. The one moment where your heart spins for a moment, is when some children are caught in the mix with their life in the hands of fate. In this instance, you are willing for them to survive and here Traucki shows his hand at playing with the audience’s heartstrings. A sign that he still knows how to play that card and its not completely lost at sea.

The Prognosis:

Shark movies are always a tough gig to sell, and Andrew Traucki does his best to repeat his formula from his 2010 feature, The Reef with a notable and worthy attempt at looking at the impact of trauma.

I really wanted to like this film and champion homegrown Australian cinema but despite some notable moments, the result is a stretch too far with performances and dialogue not weighing up to the potential that a strong subject like trauma deserves. 

  • Saul Muerte

The Reef: Stalked is released in Australian cinemas from Thursday 28th July.