Movie review: His House (2020)

18 Wednesday Nov 2020

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Is it possible that director Remi Weekes has just generated the most impactful horror film of 2020? And what’s more a debut feature film that has launched on streaming platform, Netflix.

With a refugee storyline front and centre, depicting a couple who have barely survived escaping from war-torn Sudan to settle in England. as they carry their scars in the decisions they make in order to fight for their freedom.
These choice moments wear them down both physically and mentally which is then projected into the walls of their new abode.
Are these ghosts of their past, a demonic presence, or maybe something far more sinister lurkin from the depths?

I’m a sucker for films that spend the time to create depth in their characters and here Weekes has carefully crafted a storyline with meticulous research and infusing his leads with a predicament based on real life situations to grind as much reality onto the screen, amplifying their turmoil further.
It’s this attention to detail that is even crafted through the production design and cinematography that cements the story and the sheer harrowing ordeal to the very core of humanity.
We continue to question our choices and the decisions we make through life and sometimes these fleeting moments are what haunt us the most, and we must choose to face up to them or continue to burden them upon our backs. It is these minute details and the dedication to the ground work in film making which casts Weekes with a promising career ahead of him. 

Weekes is quick to attest the success of His House to his lead performers, Sope Dirisu (Humans) as Bol and Wunmi Musaku (Lovecraft Country) as his wife, Rial.
Both of whom are beyond amazing with their performances and clearly emote every ounce of the weight that their characters embody, but I would argue that this is a result of what happens when a director allows their actors the space to breathe life into their roles and develop the profundity of their misery.
We the audience are all the better for it and shoulder the burden of every twist and turn along the way, which makes a certain reveal all the more gut-wrenching when it comes along.

The Prognosis:

For a first time running a feature length film, Weekes belies his film-making status, leading the audience to believe that he is a veteran of his craft.

The story is dark, disturbing and ultimately human.

His characters are a showcase in depth, fuelled with the emotion that his fantastic leads, Musaku and Dirisu embody in order to tell a tale that is rich and ultimately rewarding.

His House is an amazing film and has left a significant mark on this reviewers’ soul.

  • Saul Muerte

Movie review: Freaky (2020)

12 Thursday Nov 2020

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Once again director Christopher Landon proves his mark in the realm of teen slasher horror. Whilst Happy Death Day had its faults, Landon struck a vibe with the new generation of horror fans by taking a classic comedy film ala Groundhog Day and adding a slasher twist. The success proved such a success in collaboration with Blumhouse, a production company that have excelled in recent years tapping into the horror genre with great success, that would go on to produce an equally profitable sequel. Proving that the formula works to reinvent family-friendly comedies of yester-year, Landon hits his stride with the twist on body swap sub-genre and the Freaky Friday film, this time around seeing teen protagonist Millie Kessler (Kathryn Newton – Supernatural) switching bodies with a serial killer, The Blissfield Butcher (a surprisingly good Vince Vaughn). 

Landon’s language on screen has also come into his own as he projects great energy with his admittedly one-dimensional characters, (if there is one criticism to be held, it’s definitely here) but it’s the way Landon plays with these characters within his realm with the number one aim to have fun with it. I can not stress how much Freaky owns the comedy element, knocking around familiar concepts in the genre with some cracking nods along the way, notably Halloween and Friday the 13th franchises respectively and sure fire proof that Landon knows his craft.

What surprised me about this film was how the ‘camp’ elements played in favour of its narrative, which so easily could have bent in the wrong direction, tipping into painful territory, but manages to keep that balance in check. This also allows for some decent heartfelt moments especially for Vaughn to chew his teeth into and adding some nice beats in the more quiet moments in the film. 

There are also some cracking gore moments to keep the horror enthusiasts thirst for on-screen blood satiated. It may not go dark enough to some, but to do so would be detrimental to the humour component that Landon was striving for. 

The Prognosis:

This is a fun, enjoyable ride that does exactly what it says on the tin.

Landon excels in this environment, playing with the genre concepts with glee and producing a cracker movie filled with great energy and plenty of gore whilst keeping his finger on the pulse.

  • Saul Muerte

Movie review: Alone (2020)

31 Saturday Oct 2020

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Based on the Swedish thriller Försvunnen released in 2011; a film that was decent enough but lost in the inertia of the Nordic Noir phenomenon.

Here director John Hyams (Z Nation) attempts to add an American touch to the psychopathic stalker road trip movie in which he pushes his two lead performers to draw on all facets of his emotions.

Jules Wilcox (Teen Wolf, Bloodline) who plays Jessica, a woman who we learn has tragically lost her husband who took his own life. Pained by the memories of what transpired, Jessica packs up her belongings and leaves in her car and a rented hangar to start a new life. Only travelling alone across the Pacific Northwest she encounters a lone predator (Marc Menchaca – Ozark, Homeland) and from here on in we’re treated to a cat and mouse hunt that starts off as a nod to Steven Spielberg’s Duel and then shifts into a escape from imprisonment and a fight for survival in the midst of the vast, temperate rainforest. 

Alone does struggle at times to shift through the gears between each plight that Jessica has to endure and the initial encounter with her stalker is a little lacking. If I’m completely honest, there’s no real indication of what lures our antagonist into Jessica’s path, but once ensnared the lack of motive is all the more sinister as the film draws on. 

When the film hits its stride, the terror and turmoil is positively cruising and delightfully amps up the tension with equal measure. And we’ve nor even mentioned the delight in seeing Anthony Heald (The Silence of the Lambs) on screen. Always a pleasure to see.
In addition, I’d like to applaud the sound department who play delicately with one of cinema’s greatest senses to add to the ambience and fuel the fire of our growing trepidations.

The prognosis:

This film requires patience. It may have a slow and faltering start, but once the motor starts running, the tension heightens and we steered through a grueling and entertaining fight for survival that leads to a strong and effective conclusion.

  • Saul Muerte

Available to rent now via FOXTEL & FETCH
*Also screening at Ritz Cinemas, Randwick (NSW) & 5 Star Cinemas New Farm (Qld) from October 29

Movie Review: Camp Twilight

31 Saturday Oct 2020

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Felissa Rose came to fame in the cult classic, Sleepaway Camp and in some horror genre circles is considered an icon, which she humbly shakes off this term of endearment, but is quick to recognise how much the 80s slasher has impacted her life.

Now fans of Rose will be pleased to know that she is to star in a new feature film, Camp Twilight streaming on digital platforms from November. 

Much like the film that propelled her into the limelight, this latest feature sees a group of teenagers sent to a summer camp where someone lurks in wait to kill them one by one.

Said teenagers are a sextet of delinquents that are told by their teacher and principal that they must attend or fear failing school, little knowing that a greater fear awaits them.

While Camp Twilight is low budget, (this is both its challenge and its charm) its flaws slowly ebb away and allow its personality to shine through.
This is enhanced by some of the recognisable genre actors that support the key players along the way, from Dave Sheridan (Scary Movie) as one of the bumbling rangers, to Linnea Quigley (Return of the Living Dead), Vernon Wells (Commando) and Camille Keaton (I Spit on Your Grave).

Let’s not forget Rose, who steals the show as the slightly eccentric school teacher, Jessica Bloom, who at times feels like Rose is channeling Aunt Martha from Sleepaway Camp, her character’s name supposedly a nod to Joe Bob Briggs. 

This is not to say that the teens in question don’t hold their own on screen when it matters, but let’s face it.
We’re just keen to see them meet their comeuppance, which plays out as a whodunnit, genuinely keeping the audience guessing as to who is behind the murders at the park with a notorious history.

The Prognosis: 

Camp Twilight doesn’t shy away from its flaws but embraces them and in doing so let’s the audience enjoy the ride.
One that is clearly being carried out by its cast members and takes you on a fun journey to a slightly convoluted conclusion.

  • Saul Muerte

Felissa Rose interview

Felissa Rose as Jessica Bloom in Camp Twilight
https://player.whooshkaa.com/episode?id=751650

Movie Review: Spree

15 Thursday Oct 2020

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Spree is one of those rare treats that will surprise you.
Admittedly I went into watching this film with low expectations and unfairly dismissing it for yet another commentary on the negative impact of social media.

What was presented however can be closely associated with both Taxi Driver and American Psycho as its inspiration. The former is that Eugene Kotlyarenko plays similar beats to the Martin Scorsese classic, and the later for its satirical take on the human psyche. 

Where Kotlyarenko injects his own gaze into the public spectrum is through his offbeat humour and attention to detail in presenting a gonzo-infused view of social influencers on platforms such as YouTube, Instagram, and TikTok. Both director and his lead, Joe Keery (Stranger Things) researched these areas to encapsulate the personality that his character Kurt Kunkle portrays.
Profiled as 23 year old in search of infamy through his social platform who will stop at nothing to reach notoriety, Keery demonstrates a believably unhinged individual, a testament to his acting abilities and the level of attention taken into bringing his character to life. 

Fueled by this desire, Kurt rigs up his car with cameras and signs up for a rideshare app called Spree, where he then ventures out in his shortcut to the warped American Dream by picking up would-be victims. At first, we encourage his maniac exploits as the victims of choice are suitable ugly characters that arguably warrant their fate, but the more disturbed Kurt becomes in attaining his goal, the more chaotic and wild his antics become.
Kotlyarenko’s storyline choices are further cemented with the introduction of fellow social climber, comedian Jessie Adams played by a magnificent Sasheer Zamata (Saturday Night Live) juxtaposing Kurt’s own ascent with a seemingly genuine rise of her own. When Jessie comes across Kurt’s radar, his jealousy boils over and she becomes his new target and in doing so, furnishes the film with a riveting climax.

The film also boasts strong support roles in David Arquette (Scream franchise) as deadbeat dad Kris, Kyle Mooney, Mischa Barton, and John DeLuca. Where it does fall short is that initial trigger point that sends Kurt over the edge, plus it lags in the middle act as it struggles to build up momentum and hold the audience’s interests through the leads indecisive phase in his social lesson. 

The Prognosis:

In the words of gonzo journalism creator, Hunter S. Thompson, “Buy The Ticket, Take The Ride”.

It’s a modern take into the current state of The American Dream through the eyes of a wannabe social influencer on a murderous rampage.
There is much to delight in this gut-wrenching flight of fancy, highlighting just how deranged modern society has become.

  • Saul Muerte

Spree is currently screening at select cinemas and available on PVOD with Foxtel and Fetch until November 11.

It will also be released on digital: iTunes, Youtube Movies, Fetch, Microsoft Store, Google Play from November 25.

Movie review: Antebellum

15 Thursday Oct 2020

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There was a lot of promise behind this film from the producers of Get Out and Us, but unfortunately it lacks the vision of those films’ creator Jordan Peele.

Instead we’re offered some admittedly stunning and shocking images of America’s slavery past and how it coincides with the current state of affairs from the supposed land of opportunity.

Both of these world’s alone resonate deeply the physical pains of the past and how the mental scars are still very much in the present. The problem in the narratives depiction comes with the marrying of these two worlds through the eyes of the film’s protagonist played by an incredible Janelle Monae. One can not fault her performance as she clearly pushes her every ounce of emotion and deserves praise for this alone. It’s just a shame that this is overshadowed by the clunkiness of the film’s exposition.

The premise presented to the audience is that Monae plays a modern African American woman, Veronica, trapped in a 19th century slave plantation run by the Confederate States Army. Straight away the audience has to endure the stark brutality and the tight reins that are forced upon the slaves who must not speak unless spoken to and any signs of “misbehaviour” could lead to a fatal outcome of the slaves do not tow the line.

As the story unfolds, the audience soon starts to question how the premise fits into the overall story arc. Is Veronica trapped in a time warp or God forbid, are we about to embark on M. Night Shyamalan The Village venture?

Unfortunately the story centres strangely towards the latter and by the time the reveal occurs, we no longer care and a little rushed to a conclusion that all too neatly into this declaration, which is probably the most horrific thing about the movie. By coming out with such strong imagery, the storyteller is left with not much left to shock its audience and we’re left playing the guessing game and neglecting the core message at hand.

Hats off to the support performance of Gabourey Sidibe who steals every scene she is in. I wish more could be said for Jack Huston and Jena Malone, who are equally proficient actors but grossly underused in this instance.

The Prognosis:

A mismatch of style and substance combined with a weak fusion of the obvious similarities between past and present allows the key message to feel too heavily handled and lost in the complexities of what should have been a very straight forward premise.

Based on Monae’s acting alone though, she should have no qualms about her future and promises to continue to deliver some more powerhouse performances.

  • Saul Muerte

Movie review: The Curse of Audrey Earnshaw

03 Saturday Oct 2020

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The Curse of Audrey Earnshaw is embedded in folklore horror, with a fractured community already outsiders from the common world striving to live the lives of good Protestants and reap the land and prosper.
The seed of doubt is always prominent however and amplified when the crops begin to fail during harvest season, all except the land at the Earnshaw family.
As the villagers predicament grows increasingly dire, panic soon sets in and escalates to a pandemic state, something that director Thomas Robert Lee didn’t initially intend to resonate so deeply with his audience but certainly reflects the mindset of the modern world at large.

The kernel of the town’s plight stems from a particular eclipse that occurred 17 years ago and coincides with the birth of the titular Audrey Earnshaw. What is it about this strange child? Who was the father? And what pact did her mother Agatha make in order to flourish so greatly in her crop production? 

The ingredients are all there to provoke the fear and trepidation in the heart of the most stolic of people with the practice of occultism in the soul. When the wind blows foul, it destroys the mentality of those that come into contact with the Earnshaw’s execution.

All of which can only be produced with the masterful direction of Robert Lee and the strength of the performances from its cast.
Notable standouts for me came from the matriarchal Agatha Earnshaw played by Catherine Walker (A Dark Song) who has clearly made some dubious choices but is slowly becoming engulfed by her equally enigmatic daughter, Audrey (newcomer Jessica Reynolds).
Likewise some of the village folk draw the audience’s gaze through the deeply troubled Bridget Dwyer (Hannah Emily Anderson, who is amazing in her portrayal and fluctuations of emotions that her character has to traverse throughout the films’ narrative); the steadfast husband Colm Dwyer (Jared Abrahamson) whose faith is probably tested the most; and the instantly recognisable Seamus Dwyer (Sean McGinley) as the patriarchal member of the community and never fails to deliver a solid performance. 

The Prognosis:

It’s a slow burn which allows the fear to sink deep into the recesses of the villagers minds. 

The strong performances definitely resonate and help to deliver Thomas Robert Lee’s vision and the cinematography captures the beautiful landscape on scene. 

If there is a flaw to be found is that the focus is so intense that it can become overwhelming with the way it’s directed.

At times the pace is painfully slow and the emotions are slowly pulled through the mangler that every ounce and weight of the characters’ turmoil is felt to the detriment of the audience who have to endure this burden until the films’ conclusion.

The Curse of Audrey Earnshaw is currently screening in selected theatres and will be released on VOD and Digital on Oct 6th 2020.

  • Saul Muerte

Movie review: Sputnik (Спутник)

30 Wednesday Sep 2020

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For a directorial feature debut, Egor Abramenko is able to inject a thrilling, psychological piece that despite not necessarily offering anything new, does deliver a solid dramatical experience. This Russian entry into symbiotic alien invasion, creature feature horror plays its strength through grounding the fantastical elements into something that feels real. 

Whilst most people would associate the name Sputnik with one of Russia’s finest achievements in space as the first man-made satellite to orbit the Earth, it’s literal translation into the English language can mean ‘travelling companion’, both interpretations can be closely connected with this film. The film is set in 1983, towards the end of the Cold War, when two cosmonauts encounter a strange experience on their return journey back to Earth; an encounter that leaves only one human survivor, Konstantin (Pyotr Fyodorov). His partner Averchenko is revealed to have had his skull ripped open and Konstantin clearly inhabiting unspeakable ills with an unknown entity harbouring inside his body. At this stage it is unclear if Konstantin is possessed or something far more sinister, but his ‘travelling companion’ will definitely become more clear as the story unfolds. This creature too, could spell a new world for the Soviet Union, with the first human encounter with an alien species. 

What extent could this finding have on the country and the world is part of what fuels the narrative, and we’re led through this paranormal investigation through physician neuro-scientist Tatyana Klimova (Oksana Akinshina), and her controversial hard-hitting approach that brings her before Colonel Semiradov (Fyodor Bondarchuk), the man in charge of finding out what exactly is lurking inside of Konstantin’s human frame. Tatyana is instantly likeable despite her cold demeanor, thanks to Akinshina’s performance offering a glimpse of humanity and frailty beneath the tough exterior. 

Much like Konstantin’s condition, Sputnik holds a cool exterior but buried beneath each character is a warren of emotions and in some cases when unleashed can herald some darkly disturbing truths. Konstantin himself is troubled by abandoning his son to an orphanage and therefore feels that the alien infestation is no more than what he deserves for his past actions. Semiradov also likes to keep things close to his chest and the more we learn about his motives, the more shadowy his methods appear. This is Tatyana’s story though and the biggest twist in her character arc doesn’t rise to the surface until the film’s epilogue, but is worth the wait.

Sputnik must rest on its depiction of the alien and with some incredible visual effects brings a stunning creature that invokes a combination of fear and vulnerability that spreads dread through the hearts of all those that interact with it. Fueling this animosity is much like the human fear of the unknown is that our own interpretations foster at night when we too are at our weakest. 

Sputnik deserves high praise and is worth your time and attention, a journey into the core of humanity, ripping it apart the soul and unleashing cortisol from which fear and our base animalistic minds can feast upon.


IN CINEMAS NATIONALLY OCTOBER 1
*Excluding Victoria

  • Saul Muerte

Podcast: Season 7 Ep 15: John Carpenter’s In The Mouth of Madness

28 Monday Sep 2020

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“Do you read Sutter Cane?”

This episode looks at John Carpenter’s In The Mouth of Madness starring Sam Neill, a film that was considered a box office failure but went on to receive cult status.

Does it deserve high praise?

The Surgeons team dissect and discuss the movie to find out. Check out our thoughts in the ep below.

https://player.whooshkaa.com/episode?id=738384

Retrospective: The Mummy’s Tomb (1942)

27 Sunday Sep 2020

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Yes this movie is reaped in formula and shuffles along a predicable path to its mortal conclusion, and yet it boasts some strong choices for a third instalment. Namely it’s decision to kill off its lead protagonists from the previous film, The Mummy’s Hand.

Bold in that it’s something you may not necessarily identify with a film from the 1940s, and in doing so, Universal Pictures once more indicates how readily it is to move away from the old and make way for the new despite only a two year gap between both movies.

The film like it’s predecessor delivers an exposition in the form of a flashback so that audiences can be brought up to speed with the franchise narrative. This tale is told from the perspective of Steve Banning (Dick Foran), the hero from The Mummy’s Hand, albeit now an elderly Gent who speaks to his sister, his son John (John Hubbard) and his son’s long term girlfriend Isobel (Elysse Knox). Essentially potential victims in the mix. At the same time we see another passing of the baton with Andoheb (George Zucco) guiding his protege Mehemet Bey (Turhan Bey) to reek revenge by restoring Kharis to destroy Banning and his family.

Stepping into the bandaged shoes that were once worn by horror legend Boris Karloff and Tom Tyler comes another legend in horror, Lon Chaney Jr, who had made a name for himself playing the tragic character Larry Talbot in The Wolf Man.

From here on in the film plays with a paint by numbers tale as Kharis is sent to enact revenge and killing off people one by one, starting with the first shock death of Steve Banning. Director Harold Young does a great job of amping up the tension as we the audience can see that Banning’s time is up and fate slowly wields it’s deathly hands around his throat.

In addition the demise of Babe Hanson (Wallace Ford) returns to add to the mythology and serves as a spanner in Bey’s plan and so has to be dispatched in, by the forties standards, gruesome fashion.

The storyline does try to throw in an added element with Bey falling for Isobel and his stunting his trajectory but for the most part it trudges along and delivers an all too predictable ending and underusing Chaney Jr serving as the prototype monster which is a shame.

– Saul Muerte