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Under Paris: A Sinking Shark Thriller with Fleeting Moments of Frenzy

06 Thursday Jun 2024

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Netflix’s Under Paris attempts to dive deep into the shark horror genre, but unfortunately, it mostly treads water. While the film does have its moments, it ultimately feels like a mish-mash of recycled tropes, CGI overload, and a lack of genuine tension that leaves viewers unsatisfied.

The premise of Under Paris is intriguing enough: in order to save Paris from an international bloodbath, a grieving scientist is forced to face her tragic past when a giant shark appears in the Seine. However, the execution falls flat. The movie churns out all the shark horror chum we’ve seen before, blending it into an uninspired and predictable narrative. The CGI sharks lack realism, making it hard to suspend disbelief, and their overuse detracts from any potential suspense.

One of the most glaring issues is the film’s inability to build and maintain tension. Scenes that should be pulse-pounding instead feel routine and lackluster. The constant reliance on jump scares and clichéd horror elements fails to evoke the kind of dread that makes for a memorable shark horror film.

That said, Under Paris isn’t without its redeeming qualities. The catacombs scene stands out as a highlight, offering a chaotic and entertaining spectacle. The claustrophobic setting, combined with the frenetic pace, injects a dose of much-needed excitement and mayhem. It’s a brief glimpse of what the film could have been with better execution and more imaginative storytelling.

However, these moments are few and far between. Too many scenes are visually disorienting, resembling the view from inside a washing machine. This shaky, swirling camera work detracts from the action and leaves viewers feeling more nauseous than thrilled. It’s a stylistic choice that might have aimed to enhance the sense of panic but instead contributes to the overall sense of disarray.

In conclusion, Under Paris sinks more than it swims. Despite a few fun moments in the catacombs, the film is bogged down by overdone CGI, lack of tension, and disorienting cinematography. While it may offer some superficial thrills for die-hard fans of the genre, it ultimately fails to leave a lasting impression.

The Prognosis:

Under Paris is now streaming on Netflix, but unless you’re a completist for shark horror films, you might find yourself diving into disappointment.

  • Saul Muerte

“Sink or Swim: Night Swim Struggles to Stay Afloat in Murky Waters of Horror”

23 Thursday May 2024

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Night Swim fails to make a splash in the horror genre, sinking beneath the weight of its own ambitions. Director Bryce McGuire’s debut feature struggles to maintain momentum, ultimately drowning in a sea of clichés and narrative inconsistencies.

The film’s premise, though initially intriguing, quickly loses its grip, failing to deliver on its promise of supernatural terror. What begins as a potentially compelling exploration of family dynamics and sinister forces lurking in suburbia devolves into a muddled mess of predictable scares and convoluted mythology.

One of the film’s major shortcomings lies in its inability to fully explore its central concept. Despite hints of a chilling backstory involving sacrifices and demonic entities, Night Swim never delves deep enough to provide a satisfying payoff. Instead, it treads water, recycling tired tropes without adding meaningful depth.

While the performances by Wyatt Russell and Kerry Condon are serviceable, their characters feel underdeveloped and fail to engage the audience beyond serving as vessels for jump scares.

The pacing suffers from a lack of tension, with scenes dragging on without purpose, leaving viewers feeling adrift rather than immersed in the narrative.

Even the technical aspects of the film fall short. While the underwater sequences are competently shot, they lack the immersive quality needed to captivate audiences.

The Prognosis:

Night Swim proves to be a forgettable addition to the horror genre. Despite moments of genuine tension, it ultimately fails to leave a lasting impression, leaving viewers longing for a more engaging and coherent experience.

  • Saul Muerte

“Exploring the Cinematic Legacy: 10 Influential Films by Roger Corman”

13 Monday May 2024

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**Roger Corman: Master of Genre Cinema**

Roger Corman, the legendary filmmaker, producer, and mentor, is renowned for his prolific career spanning over six decades. With a keen eye for talent, a fearless approach to storytelling, and a knack for pushing the boundaries of genre cinema, Corman has left an indelible mark on the industry. Here, we explore ten influential films that showcase his visionary genius and enduring impact on the world of cinema.

**1. “House of Usher” (1960)**

Based on Edgar Allan Poe’s classic tale, “House of Usher” marked Corman’s foray into the realm of horror. With its haunting atmosphere, Gothic aesthetics, and psychological tension, the film set a new standard for the genre and established Corman as a master of cinematic terror.

**2. “The Little Shop of Horrors” (1960)**

A darkly comedic tale of a man-eating plant, “The Little Shop of Horrors” is a cult classic that showcases Corman’s ability to blend horror and humor seamlessly. Despite its low budget and limited resources, the film remains a beloved favorite among audiences worldwide.

**3. “The Masque of the Red Death” (1964)**

Another adaptation of Edgar Allan Poe’s work, “The Masque of the Red Death” is a visually stunning masterpiece that delves into themes of mortality, decadence, and the human condition. With its striking imagery and atmospheric storytelling, the film is a testament to Corman’s mastery of the Gothic genre.

**4. “The Wild Angels” (1966)**

Considered one of the defining films of the biker genre, “The Wild Angels” is a gritty, uncompromising exploration of counterculture and rebellion. Starring Peter Fonda and Nancy Sinatra, the film captures the anarchic spirit of the 1960s and remains a cultural touchstone to this day.

**5. “The Trip” (1967)**

A psychedelic journey into the mind of a man on an LSD trip, “The Trip” is a visually stunning and emotionally intense exploration of consciousness and self-discovery. Directed by Corman and written by a young Jack Nicholson, the film is a landmark of the psychedelic era and a testament to Corman’s willingness to experiment with unconventional storytelling techniques.

**6. “Bloody Mama” (1970)**

Based on the true story of Ma Barker and her criminal family, “Bloody Mama” is a violent and unflinching portrayal of America’s dark underbelly. Starring Shelley Winters and Robert De Niro, the film is a raw and visceral exploration of crime, family, and the American Dream.

**7. “Death Race 2000” (1975)**

A dystopian vision of a future where death is entertainment, “Death Race 2000” is a cult classic that combines action, satire, and social commentary in equal measure. With its over-the-top violence and dark humor, the film remains a favorite among genre fans and cinephiles alike.

**8. “Piranha” (1978)**

A suspenseful and thrilling creature feature, “Piranha” is a prime example of Corman’s ability to deliver big scares on a shoestring budget. Directed by Joe Dante and written by John Sayles, the film is a clever homage to classic monster movies while offering a fresh and exciting take on the genre.

**9. “Galaxy of Terror” (1981)**

A sci-fi horror extravaganza set in deep space, “Galaxy of Terror” is a cult favorite known for its imaginative visuals, gruesome effects, and eerie atmosphere. Directed by Bruce D. Clark and featuring a young James Cameron as the production designer, the film is a testament to Corman’s ability to nurture emerging talent and push the boundaries of genre filmmaking.

**10. “The Intruder” (1962)**

A powerful and provocative drama exploring themes of racism and prejudice in the American South, “The Intruder” is a departure from Corman’s usual genre fare but showcases his versatility as a filmmaker. Starring William Shatner in a career-defining role, the film is a searing indictment of social injustice and remains as relevant today as it was upon its release.

Roger Corman’s filmography is a testament to his visionary genius, his fearless experimentation, and his enduring impact on the world of cinema. From horror to sci-fi, from comedy to drama, Corman’s influence can be felt across a wide range of genres, and his legacy will continue to inspire filmmakers and audiences for generations to come.

  • Saul Muerte

“Roger Corman: Pioneering a Legacy of Innovation and Mentorship in Cinema”

“Roger Corman: Pioneering a Legacy of Innovation and Mentorship in Cinema”

13 Monday May 2024

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Roger Corman, a name synonymous with innovation, creativity, and a fearless approach to filmmaking, stands as a titan in the world of cinema. With a career spanning over six decades, Corman has left an indelible mark on the industry, shaping it in ways that continue to resonate with filmmakers and audiences alike.

Born on April 5, 1926, in Detroit, Michigan, Corman’s journey to becoming one of the most influential figures in film was marked by a passion for storytelling and an unwavering determination to defy convention. After studying engineering at Stanford University and briefly working as a naval officer, Corman found his true calling in the world of cinema. In 1954, he founded his own production company, American International Pictures (AIP), which would become synonymous with low-budget, high-concept films that pushed the boundaries of genre filmmaking.

Corman’s directorial debut came with the 1955 film “Five Guns West,” a low-budget western that showcased his ability to deliver compelling narratives with limited resources. However, it was his foray into the realm of horror that would solidify his reputation as a master of the genre. In 1959, Corman directed “House of Usher,” the first of many Edgar Allan Poe adaptations that would become his signature. With its atmospheric cinematography, haunting score, and chilling performances, “House of Usher” set a new standard for horror cinema and established Corman as a director to watch.

Throughout the 1960s, Corman continued to push the boundaries of genre filmmaking, directing a string of successful horror, sci-fi, and exploitation films that captured the imaginations of audiences around the world. From “The Pit and the Pendulum” to “The Wild Angels,” Corman’s films were marked by their bold storytelling, innovative use of special effects, and willingness to tackle taboo subjects.

But perhaps Corman’s greatest contribution to cinema lies not just in his directorial efforts, but in his role as a mentor to a generation of filmmakers who would go on to shape the future of the industry. Through his legendary “Corman School of Filmmaking,” Corman provided aspiring directors, writers, and producers with the opportunity to learn the craft of filmmaking firsthand, often under grueling conditions and tight deadlines. Alumni of the Corman School include some of the most celebrated names in Hollywood, including Francis Ford Coppola, Martin Scorsese, James Cameron, and Jonathan Demme, among others.

Corman’s impact on the film industry extends far beyond his own directorial efforts and the filmmakers he mentored. He was also a shrewd producer who understood the commercial appeal of genre films and the importance of delivering quality entertainment to audiences. Under his leadership, AIP became one of the most successful independent production companies of its time, churning out a steady stream of profitable films that captured the zeitgeist of the era.

In addition to his work as a filmmaker and producer, Corman has also been a tireless advocate for independent cinema, championing the rights of filmmakers to tell the stories they want to tell, free from the constraints of studio interference. He has been a vocal critic of the Hollywood studio system and has fought tirelessly to give independent filmmakers a platform to showcase their work.

Roger Corman’s legacy looms large over the world of cinema. His films continue to inspire and entertain audiences, his mentorship has shaped the careers of countless filmmakers, and his advocacy for independent cinema has paved the way for a new generation of storytellers to follow in his footsteps. In an industry often driven by commercialism and conformity, Roger Corman stands as a beacon of creativity, originality, and the enduring power of the human imagination.

  • Saul Muerte

1960s Horror Retrospective: Black Sunday (1960)

06 Monday May 2024

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The Birth of Baza

As I began my retrospectives of the 1960s horror era, part of my excitement centred on the Master of Italian Italian Horror and pioneer in the Giallo scene, film director Mario Bava. He led the way and inspired so many filmmakers with his visual style, particularly for his use of colour that would leave a lasting legacy on the genre. This all started in earnest with his solo directorial debut, the Gothic horror starring Barbara Steele, Black Sunday. That’s not to say he was a stranger to the celluloid art, having crafted a career since the late 30’s in many guises that would lead him to becoming a cinematographer to harness his voice and vision, come the release of Black Sunday.

Loosely based on the short story Viy by Nikolai Gogol, that was a passion project of Bava and one he had a close liking to having told the story numerous times to his own children before they went to bed. It’s little wonder that his own son Lamberto Bava would follow in his father’s footsteps and direct horror films. 

Black Sunday is a tale of vengeance and retribution and is most predominantly remembered for its shocking opening scene. Asa (Steele) and her paramour, Javutich are accused of sorcery and sentenced to death. Part of their sentence involved being placed in bronze masks with spikes on the inside and having them hammered in place over their face.

Two centuries later her preserved corpse is reanimated and in order to be fully resurrected, Asa must possess the body of her look-alike descendant Katia. Will she succeed? Can love prevail?

Also starring John Richardson before he was cast in Hammer’s She, and One Million Years BC, as the love interest. Black Sunday is held in high esteem because of some of its imagery, such as the afore-mentioned opener and maggots crawling out of an eye socket in another scene, but it’s also the decision to shoot in black and white, monochrome with a richness to it that both arcs back to the films of Universal that had initially paved the way for horror on screen, but also bridges the gap to the future and how the genre would be shaped. It would launch Barbara Steele’s career, especially in horror for classic films such as The Pit and the Pendulum, and The Horrible Dr Hichcock. For Bava, he would mould his movies over the following decade and cement his name in history. 

– Saul Muerte

1960s Horror Retrospective: Psycho (1960)

25 Thursday Apr 2024

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If ever there was a movie that defined horror films and launched the genre to a new level, it is Alfred Hitchcock’s Psycho. So impactful was the film upon the popular consensus, that it would shift the perspective and inspire future filmmakers but upon its release it would not receive such high accolades, mainly directed at the melodramatic choices and these sensationalistic tendencies from Hitchcock were based purely on shock value, labelling Psycho as a gimmick.

The reason Psycho holds such a lofty position over 60 years since its release, is not just the shift in tone, whether it was the surprise murder of Marion (Janet Leigh) a third of the way through the movie, or the identity of Norman’s mother, but the psychological components that drive deep into the heart of the narrative. The stylised elements that Hitchcock adds to the film are the eloquent touches that allow these conceptual components to flourish.

Like Peeping Tom released earlier in the year, Psycho plays with the voyeuristic approach to the narrative, luring the viewer into the seemingly fragile Norman Bates (Anthony Perkins), a man traumatised by the emotional abuse of his mother. This is more noticeable when Bates removes the painting to look through a peephole at the unwitting Marion has she undressed. The male gaze and the seduction has never before been dallied with in a high-profile feature.

There are also strong symbolisms embedded throughout that entrench the foundations that it was built upon. Amongst the questionable character traits that keep the audience guessing, there are also twists and turns of vulnerability and exploitation that thread throughout. These executions on delivery would leave audiences feeling anxious or unease, daring to go where movies had feared or were unable to do so relaxed views on the Production Code; an act of self-censorship imposed by the industry. The fact that Psycho overshadowed Peeping Tom for broaching similar themes seems unjust, where one director would rise to prominence and be forever remembered for his film, whereas the other would be doomed to a fallen career as a  result.

That’s not to say that Psycho doesn’t deserve to have the recognition bestowed upon it, The performances by the film’s leads, Janet Leigh, Anthony Perkins and Vera Myles are at their most renowned and for good reason. Perkins’ flickers around with Bates’ personality casually swinging from likeable charm and gaining our sympathy to an unsettling picture of a man who is on the brink of reality. 

I’ve yet to remark on the score by Bernard Herrmann, whose jarring strings punctuate the now infamous shower scene in stark contrast to the muted, darker and intense scenes. The use of tension as it slowly wrenches up though Arbogast’s (Martin Barlsam) investigations and the pursuit of truth from Marion’s sister Lila (Leigh) and Sam Loomis (John Gavin), Marion’s lover drive our own hopes that our suspected protagonist will prevail before the veil is firmly drawn from before our eyes.

There are countless areas that I could wax lyrical on but these have been discussed on other platforms before, Needless to say, it takes place here (rightfully) for its entry into the 1960s horror retrospective. With three sequels, a dubious remake, and a TV series all centred around Norman Bates have further cemented its status and will forever be immersed in our collective psyche.

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

1960s Horror Retrospective: The Flesh and the Fiends (1960)

20 Saturday Apr 2024

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Having journeyed through the rise and fall of Universal Classic Monsters during the early thirties and the passing of the baton to British Film production company Hammer Films in the mid-fifties, it’s time to switch my celluloid gaze upon the 1960s and the twists and turns that the decade would take in the name of horror. 

To begin, my focus falls upon a feature that at the time struggled to get deserved recognition, both in production and when it eventually hit the screens, but has since gone on to become a cult film in its own right.

Directed by John Gilling (who would go on to call the shots for a few Hammer Films later in the decade) The Flesh and the Fiends would be a re-working of a previous feature called The Greed of William Hart penned by Gilling, but suffered at the hands of the British Board of Film Censors. The request that all references to the real-life murderers, Burke and Hare be removed would be rectified for TFATF, with the opening title displaying, “”[this] is a story of vice and murder. We make no apologies to the dead. It is all true.” 

Based on the macabre events set in the 1820’s when the 19th Century medical doctor, Robert Knox would purchase corpses for medical purposes from the afore-mentioned Burke and Hare. Knox, brought to the screen by another Hammer alumni, fresh from his rise to fame as Doctor Frankenstein, Peter Cushing, who noted the similarities between Knox and the Baron, “The minds of these exceptional men were driven by a single desire: to inquire into the unknown. Ahead of their time, like most great scientists, their work and motives were misunderstood.”

Cushing was magnificent in this role, even going to significant measures to enact the same droopy eye that Knox bore from contracting smallpox when he was young. 

Cushing is not the only standout though as both Burke and Hare are magnificently portrayed by George Rose and Donald Pleasance, adding some offbeat humour amongst the gruesome scenes, especially in some of the murders that take place. The finest example of this coming when Burke (Rose) suffocates Aggie (Esme Cameron) while Hare (Pleasance) is dancing a jig, perfectly juxtaposing the brutality on show.

Cinematographer Monty Berman also provides some striking images, a master pf black and white photography, he managed to capture the dank and dismal scenes in 19th Century Edinburgh. This along with Gilling’s knack to take the action scenes by the horns with his own unique bruteish fashion, is one that left a compelling mark on the genre, kick-starting the decade in style. While it was impactful in British cinemas, it went without a trace Stateside and was considered a failure. It does deserve greater recognition, outshone as it was by the likes of Hammer’s style and substance, The Flesh and the Fiends, the mood of the piece was a grim and tormentous affair.

– Saul Muerte

Movie Review: The First Omen (2024)

08 Monday Apr 2024

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You ever see a movie and think, who directed this?  Not in an incredulous “who the hell made this shit?” but in a genuine “why is this so good and suddenly not?” sort of way?

So much so, you immediately contemplate: “Did more than one person direct this?”

Thus we come to The First Omen.  The prequel (when is it NOT a prequel these days?) to the all-time 1976 classic The Omen.

Any feature film director, let alone a relatively new one, knows that the first few minutes of a film are incredibly important.  Impact is important.

And the best directors achieve Impact by directing well.  Subtle (and sometimes not so subtle) lens choices, camera angles, camera movement, framing, acting direction, editing decisions, sound design, music cues – the list goes on.

And the first thing The First Omen does is make good choices.  And when I say first thing, I mean the first things we see.

From the get-go the opening scene invokes the feel and tone of the first film.  The bleak overcast, almost oppressive pitch that made Richard Donner’s masterpiece a quintessential 70’s horror is replicated well here, and the Impact Moment that soon follows hits the mark with a promise that this could be more than a paint-by-numbers cash grab.

So what happens after that?

Well for one thing is starts to get a little too 70’s, in that after such a good start, you soon find yourself wondering where is this going?  In an attempt to set up tension (like all good horror films should) it delves into a usual set of characters that you spend valuable minutes deciding whether or not they’re a good-guy in disguise, or a bad-guy in disguise (FYI, you’re guesses will be right).

But the thread the film weaves as we follow its lead – a nun in waiting called Margaret Daino (played by Nell Tiger Free) as she bounces from one character interaction to another, is less rollercoaster and more nomadic.

And a lot of this has to do with direction.  Not that it gets terrible after the first scene.  In fact, it’s quite creditable.  BUT fine is a far cry from great.  And after a number of ok scenes, you do start to wonder “where are the cares and where are the scares?”

Now some of this may not partially (or even solely) be the fault of the director – production company and studio politics (read: interference) is a genuine thing.  But the good action callers know that once out of the blocks, you don’t let up.  Especially for this sort of film. 

Hence my opening tender: “Were different parts of this thing directed by different people”?

This is especially felt during one of the films more tentpole horror moments that the makers were no doubt hoping would be iconic, but is so over the top on paper, it was always going to require a deft hand to ensure it doesn’t fall into farce on screen.

But it does.  And so too the next scene, and the scene after that!  All are so unsubtly on the nose, it’s disappointing.

Having said that, there is a decent enough twist regarding the motivation of the antagonists (the people who want to see the Anti-Christ born) that lies outside of the moustache twirling motive “We are Satanists, so we are evil bahaha.  Derr”.

And the films end dovetails neatly into the events of the 1976 Richard Donner movie.  And when it does, it closes out with an interesting character still alive that promises much for The (presumably) 2nd Omen.

Mind you, how they’ll get that storyline to work without mucking up the timeline or logic of the current existing “sequels” is anybody’s omen.  Sorry, guess.

The Prognosis:

Promises much at the start, but lacks the strength of a true single-minded auteur at the wheel to guide it.  Still, it will be interesting to see if there’ll be an anti-anti-Christ installed for the next chapter.  Such an interesting idea would be a good sign.

  • Antony Yee

Movie Review: Winnie the Pooh: Blood and Honey 2

27 Wednesday Mar 2024

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One of the most hyped movies of 2023 came in Rhys Frake-Waterfield’s horror re-imagining of the classic children’s story Winnie The Pooh by A.A. Milne. This quite frankly butchered take would see the beloved honey loving bear join his friend Piglet on a bloody rampage through Hundred Acre Wood having been abandoned by Christopher Robin all these years and turning feral with extreme consequences. Despite the buzz, the film was critically panned receiving five Golden Raspberry Awards including Worst Picture. This did not stave off the masses though who were swarmed up by their own curiosity to see this version, making a significant profit, do much so that not only has a sequel been released but the promise of a universe of warped retelling of classic children’s tales has been thrown into the mix entitled Poohniverse. Already there has been titles such as Bambi: The Reckoning; Peter Pan’s Neverland Nightmare; and Pinocchio: Unstrung.

So what of the sequel?

Winnie The Pooh: Blood and Honey 2 was promised to be a crazier, more extreme take with a bigger budget to ramp up his vision.

One of the smarter decisions was to replace the actor Nikolai Leon with Scott Chambers (who recently impressed in Hammer’s Doctor Jekyll) as Christopher Robin bringing a lot more weight and vulnerability to the role.

If I have understood things correctly too, there’s a slight meta shift in perspective where although the events in the first film were true, it  is presented as a film within a film for the sequel here which picks up in the aftermath of that films success and the impact it is having on Christopher Robin’s social life. The people of Ashdown have turned against him and believe that he was responsible for the Hundred Acre Wood Massacre. Like Pooh, he has been ostracised from society and struggles to hold down a job as a result. He does however have a girlfriend, Lexy (Tallulah Evans) who willingly stands by his side throughout, and devout parents who share the burden of his struggles. What does come out in the tale is the disappearance of his brother some years ago which serves as a backdrop to his psychological breakdown and questionable character which added a little more depth to the proceedings.

And then there’s the neglected Pooh, who having lost his friend Piglet in the last movie, is joined by Tigger, a frenzied and wild beast; and deviously maliciously wise Owl who is the brains of the macabre outfit (another descent change from the predecessor). The trio have also been impacted by the first films release and are being hunted as a result. They want to seek revenge and destroy the citizens of Ashdown and embark on a bloody rampage.

The Prognosis:

It’s bigger, bloodier and unhinged as Frake-Waterfield endeavours to expand upon and lift the lid on his newfound success. In some ways its smarter too with its directorial choices but too often we’re left in swampy territory as the storyline trudges along. It’s almost like the score composer realises this too, delivering anarchic, pulsating sounds whenever Pooh and the gang go on atrack, as though to wake the audience out of their slumber.

Bigger does not necessarily mean better, as the movie still rests on the premise of the bloody re-imagining without focusing on the bones in which to form a descent structure.

– Saul Muerte

Movie Review: Imaginary (2024)

08 Friday Mar 2024

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Is Blumhouse starting to lose its killer shine?

Having launched the first Paranormal Activity feature back in 2009, the production house built by Jason Blum hit its stride through the 2010’s with Insidious; Sinister; Get Out; Happy Death Day and a whole heap of genre features that tapped into the modern cinema-going audience. With a blend of old school horror fused with trendsetting twists on classics, Blumhouse made a significant mark. We’re now 15 years on and the machine that was churning out feature upon feature for the next generation in horror cinephiles to lap up and it would appear that the cogs are starting to rust from grinding out sublime movies that upon scrutiny are starting to pale in comparison to groundbreaking, thought-provoking films that built up the reputation of Blumhouse Productions. This slump could be traced back to David Gordon Green’s curious direction for the Halloween trilogy; one that could be a metaphor for the Blumhouse catalogue thus far, come out swinging and hitting hard, before trickling into unnecessary padding, before a shambolic, misguided outcome that degrades the name that initially made a franchise great. 

That’s not to say there have been some nuggets of gold in the mix, with The Black Phone and M3GAN proving to be a hit with the box office, (the latter being only the start of last year) but when the outlet is great, doesn’t necessitate that the quality will match and we get the mishits of Insidious: The Red Door; The Exorcist: Believer; Five Nights at Freddy’s; and (the as yet-not-watched by this writer) Night Swim. 

So, where does that place things for their latest venture, Imaginary that was released this week? A tale of a blended family, each member hosting a traumatic past move into Jessica’s (DeWanda Wise) childhood home in a vain attempt to put their tragic history behind them. All this changes though when the youngest step daughter, Alice (Piper Braun) finds an old teddy bear in the basement that she takes on as an imaginary friend. What appears to be an innocent childhood play experience comes into question when some dark turns are taken, leading the family into a journey that will test their strength. 

On paper, this concept is a solid one and Director Jeff Wadlow (Truth or Dare; Fantasy Island) spends some quality time building on character; something that directors and creatives are prone to neglect for the sake of pace and drama. It’s a shame then, that all the build up is for nought as he is let down by poor performances, some downright wet in places. This would be borderline forgivable if it wasn’t for the fact that the storyline is equally weak and let down by shoehorning in recogniseable moments from signature movies in the past such as Beetlejuice; Labyrinth; and Child’s Play. There’s one thing to make nods to creativity that has inspired, but before too long it becomes obvious that you are drowning in unoriginality. 

While this may be another misfire for Blumhouse, all is not lost and this could very well be the lull before another hit comes along, especially with Leigh Whannell’s The Wolf Man, and sequels to the psychotic killing doll M3GAN 2.0 and The Black Phone 2. Time will tell.

The Prognosis:

Imaginary by name but sadly not in the telling. Jeff Wadlow once again directs a lacklustre turn from behind the lens and a downward turn for Blumhouse. No originality and one that seems content in coasting along rather than creating a unique voice for the horror genre. Is the modern production giant resting on its namesake? One can only muse for now.

  • Saul Muerte

Imaginary is currently screening at cinemas nationwide.