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The best bloody dozen Aussie horror films of the decade (2010 – 2019)

30 Monday Dec 2019

Posted by in Australian Horror

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As we encroach the end of another decade I felt that it was best to review the best Australian horror films from the past ten years. Australia continues to make a significant impact on the genre with its unique antipodean perspective on the world and the darker side of humanity, which I’m hoping the following list lays testament to.

The Loved Ones (2010)

Directed by: Sean Byrne

Byrne may have only directed two feature films thus far including The Devil’s Candy which is equally brilliant and keeps this resident surgeon awaiting what he will serve up next. For the list though, I have chosen his debut feature, purely for the way it perfectly encapsulates the insane drive of love, revenge, and proms. The cast (Robin McLeavy and Xavier Samuel in particular) are amazing and deliver on point performances that rip the heart of romance apart.

The Tunnel (2011)

Directed by: Carlo Ledesma 

Notable for its distribution method, through BitTorrent’s free internet downloading platform which provided the film to a much wider audience. The Tunnel is a compelling found footage film that is clearly produced by a highly-skilled and knowledgeable team who manage to wrangle out every ounce of tension and animosity through this low-budget feature that follows a camera crew investigating the disappearance of homeless people in the hidden tunnels beneath Sydney.

The Babadook (2013)

Directed by: Jennifer Kent

Despite dividing the horror-loving audience, this film took out our own poll for Best Horror film 2013 and for good reason as it tackles a sometimes taboo subject in society: depression, grief, and children with learning difficulties. The beautiful blend of stop-animation and stark reality ignites the emotions on screen and ably played by Essie Davies and Noah Wiseman.

Wyrmwood: Road of the Dead (2014)

Directed by: Kiah Roache-Turner

Take two brothers invested in a balls-to-the wall, action-packed zombie flick with pure bloody Aussie adrenaline pumping through its veins and you get this awesome fun ride in Wyrmwood. Such was its success on home soil and overseas that it’s little wonder that there has been talks of a sequel and/or tv series. If it does pick up, I’m sure it will be a glorious bloodbath of euphoria.

Hounds of Love (2017)

Directed by: Ben Young

Some may argue that this is more of a crime thriller, but the sheer terror that Ashleigh Cummings portrays as kidnapped victim Vicki, who is tormented by a disturbing Stephen Curry as John White. His wife and lover (Emma Booth) hangs in the balance of right and wrong, as she longs to please her husband, but struggles to adhere to his desires. The trio of performers are equally astounding, propelling the drama forward to a climactic conclusion that is both deeply satisfying and harrowing.

Killing Ground (2017)

Directed by: Damien Power

Damien Power’s direction shines the dark light on outback Australia that is gut-wrenchingly painful to endure. As we witness the destruction of the family unit at the hands of two deranged individuals in German (Aaron Pedersen) and Chook (Aaron Glenane) the audience is left pondering what is left to fight for when faced with a battle for survival.

The Marshes (2017)

Directed by: Roger Scott

In another tale of survival, The Marshes casts three biologists in the remote marshlands of Australia in what can be described as an environmental horror. Roger Scott tackles a topical subject and projects it into an untapped landscape that deserves to be displayed in celluloid form. It’s a powerful way to promote the true horrors of the world through the eyes of fantastical horror blended with folklore and mythology, and I can only hope that this film gets a decent release on demand and in front of a wider audience to spread this message further.

Cargo (2018)

Directed by: Ben Howling and Yolanda Ramke

The strength of Australian storytelling is clearly evident in this post-apocalyptic tale that began as a short film in Tropfest before being crafted into a feature length story. Its genius casting in Martin Freeman as the lead helps elevate the film for a wider audience, and is further enriched by the Australian landscape, a beautiful performance from Simone Landers, and a refreshing take on a tired genre that pulls at the heartstrings. 

Rabbit (2018)

Directed by: Luke Shanahan

I’m a sucker for psychological horror and this narrative delightfully casts you down the rabbit hole as Maude (Adelaide Clemens) goes in search of her missing sister using that quirky psychic connection that often occurs in twins. This slow burn may not suit everyone’s tastes but I enjoyed the journey all the same, and believe Shanahan has a gift in accessing the recesses of a disconcerted mind. 

Tarnation (2018)

Directed by: Daniel Armstrong

What can be described as an Australian love song to Sam Raimi’s The Evil Dead, Armstrong taps into a wild, strange, and deranged underworld. The off-beat, quirky humour is a perfect vessel to showcase Australia’s knack for macabre and fantastical stories and propels the audience through a delightful visual feast.

The Furies (2019)

Directed by: Tony D’Aquino

The deadliest game pitting women in a barren world to outwit, outlast each other using brutal methods throughout their ordeal. D’Aquino is not shy in delivering a bloody battle royale to cast his perception of the devastation that women are subjected to using the male gaze that society had come accustomed to. It’s a savage portrayal with plenty of punch to keep viewers squirming at the edge of their seat.

Little Monsters (2019)

Directed by: Abe Forsythe

Rounding out our bloody dozen is this delightful tale of down and out loser, musician Dave who learns that he must grow up fast when he attends his nephews school excursion to a farm during a zombie outbreak. Forsythe handles kids, animals, and zombies with enough care and dedication that proves his a natural in his game which belies his sophomore attempt in the director’s chair. Filled with pain and laughter this is a cracker of a movie that is amplified by Lupita Nyong’o’s performance as kick-ass teacher, Miss Caroline. 

  • Saul Muerte

Movie Review: Killing Ground marks new territory in Aussie horror

23 Wednesday Aug 2017

Posted by in Movie review

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Australians have been producing quality horror films for some time now, whether you look at the films of yester-year with the likes of Long Weekend, or Turkey Shoot, to more modern scares with The Babadook, Wyrmwood, The Tunnel, or Wolf Creek.

There’s a range of psychological emotions that come with each of the afore-mentioned movies with one thing in common…the ability to heighten your senses by scaring and entertaining you.

It’s part of the reason that as a film lover, (and to isolate that down further) a fan of the horror genre, that I’m proud of the quality movies that are being produced on this Southern land that I call home.
And it’s also why I’m a huge campaigner of the films that are being produced here in Australia.

So with eagle eyes, I’ve noticed a recent ripple in the genre on our homes soil, with the much-touted Killing Ground.

Directed by Damien Power, who has been turning heads with his short features for the past few years, most notably with Peekaboo, and A Burning Thing, which starred Nashville’s Clare Bowen.

Killing Ground would be Power’s feature length debut and it certainly packs a punch.

Utilising two of Australia’s strong identity components in the bush land and the sun.

Firstly, I’d like to look at the first element…the bush.

Australia is notorious for its ever-rolling landscape, with is a strange mix of the wild and beautiful thrust together in co-existence.

It’s an area that has been explored before with the afore-mentioned Wolf Creek, where director Greg McLean highlights the fear within Australia’s red centre.

With Killing Ground, Power takes that same initiative, but thrust the viewer into the bush land, centring on a couple, choosing a romantic getaway at an isolated spot known for its walks among the fauna.

All gets flipped over though when said couple, Sam (Harriet Dyer) and Ian (Ian Meadows) unwittingly stumble on a crime scene and have to resort to their wits in order to survive.

Meadows is fast crafting a name for himself in the genre following the Cairnes brothers movie, Scare Campaign, and carves a decent performance in Killing Ground as Ian, a doctor by trade, but when push comes to shove, becomes indecisive and ultimately only thinks of himself. It feels like a natural response coming from this character and tears down the walls of predictability with Ian’s reactions or lack thereof highlighting his plight.

Equally, Harriet Dyer’s journey of Sam bends a strong character arc that shines brightly by the films conclusion and is enjoyable as a result.

In order for the film to be successful though it does hinge on the antagonists to be brutal, savage, and fearful.

And this maybe my only criticism of the piece, from what is essentially a well crafted film.

The highlight, hands down, is Aaron Pedersen’s portrayal of German. The menace and savagery that he brings to the table is haunting and Pederson delivers a character that is embedded in dark mind that can be turned on and off with horrifying ease. He was a delight to watch and it was a shame to see his comeuppance come so swiftly, when it does arise. (Although, again it feels like a realistic moment when it does occur).

As a result though, the film relies on the unhinged Chook (Aaron Glenane) to carry out the proceedings of hunting down our protagonists, and unfortunately this is where I feel it falls flat.
Chook is unbalanced, and clearly motivated by his sexual appetite, his character never feels threatening enough. Yes, he’s a crack shot with the rifle and that’s plenty to be fearful of, but he’s bumbling approach to life, dampens the threat a little.

It’s a shame as it feels like so much attention was focused on the other characters that with a bit more work on this would have made for an excellent climax.

Speaking of which, the ending to the movie feels like it takes a bit of a stretch, and maybe because I had high hopes, I was left wanting.

Yes there is a resolution and one that does satisfy with our central character’s journey, but that satisfaction is left a little empty as the threat level diminishes.

I say all this, but it negates the films strong points. It’s a well-crafted slow burner of a thriller that propels you along with its split timeline narrative and allows the horror to be drawn out in a compelling way.
Damien Power certainly has a gift for spinning a thrilling yarn both as director and writer of Killing Ground, and this effort is definitely one to be proud of.

I look forward to seeing where his talents take him next.

 

– Paul Farrell