Tag Archives: film

In Memorium: Olivia Hussey (1951–2024)

28 Saturday Dec 2024

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The world of cinema has lost one of its most unforgettable stars with the passing of Olivia Hussey. Known for her captivating performances and ethereal presence, Hussey’s career spanned decades, but it was her work in the horror genre that cemented her place in cinematic history. Her portrayal of strong, complex characters across a variety of films has left an indelible mark on both the industry and audiences alike.

Hussey’s notable role in Black Christmas (1974), directed by Bob Clark, remains one of the defining contributions to the horror genre. As Jess Bradford, a college student who becomes the target of a terrifying phone stalker during Christmas break, Hussey delivered a performance of quiet strength and vulnerability. Black Christmas would go on to become a cult classic, influencing generations of slasher films that followed, with Hussey’s chilling turn as one of its earliest heroines still resonating with fans.

Her talents transcended the genre, yet it was her return to horror that brought more unforgettable moments. In Psycho IV: The Beginning (1990), she portrayed Norma Bates, a character that brought fresh depth to the story of Norman Bates, brilliantly counterbalancing the legacy of the original Psycho films. Hussey’s portrayal imbued the role with nuance, adding a layer of sympathy to a tragic and infamous character.

In addition to these films, Hussey’s role in Turkey Shoot (1982) stands out as another testament to her versatility. This action-packed horror film saw her in a more physical, confrontational role, showcasing her ability to navigate both suspenseful terror and high-stakes action with grace and poise.

Hussey also made a memorable contribution to IT: The Mini-Series (1990), where she portrayed Audra Denbrough, the wife of Billy Denbrough (played by Richard Thomas). In this role, Hussey brought a grounded, emotional presence to the adaptation of Stephen King’s beloved novel, adding depth to the narrative and anchoring the emotional stakes of the story, particularly in her scenes alongside Thomas.

While her career spanned a wide variety of genres and roles, it was her contributions to horror that continue to influence and inspire. Olivia Hussey’s legacy in the world of film will not soon be forgotten. Her ability to convey fear, resilience, and vulnerability on screen has left an enduring impression on both her fans and the filmmakers who followed in her wake.

We remember Olivia Hussey not only for the characters she brought to life but for the profound impact she had on shaping the genre and the hearts of all who were fortunate enough to witness her performances.

Rest in peace, Olivia Hussey. You will be greatly missed.

  • Saul Muerte

Heretic: A Thought-Provoking Clash of Faith and Control

18 Wednesday Dec 2024

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In Heretic, theological debate takes centre stage, crafting a dense and dialogue-heavy narrative that explores themes of faith, gender, and control with a sharp eye. This cerebral approach eschews traditional horror or thriller beats for something far more introspective, building an almost claustrophobic sense of intellectual combat. While this bold stylistic choice is likely to alienate some viewers, it succeeds in setting the film apart as an ambitious and thought-provoking piece.  

Hugh Grant delivers a strong performance, skillfully embodying a man both charming and unsettling in his convictions. However, at times, his characteristic mannerisms seep into the portrayal, unintentionally breaking the fourth wall and pulling the viewer out of the moment. It’s a flaw that mars an otherwise compelling performance, yet one that never completely derails the film.  

Sophie Thatcher, in contrast, fully immerses herself in her role, bringing nuance and emotional weight to her character. Her scenes resonate deeply, anchoring the more abstract elements of the narrative with raw, relatable humanity. Meanwhile, Chloe East provides a spirited performance but finds herself hindered by a script that occasionally sacrifices her character’s integrity for plot convenience. Despite this, she still manages to shine in key moments, displaying the kind of talent that could thrive under better material.  

The Prognosis:

While Heretic is far from perfect, its willingness to tackle complex issues through layered dialogue and thematic depth makes it a rewarding watch for those willing to engage with its intricacies. It’s a film that dares to challenge the audience, even if it stumbles along the way.

  • Saul Muerte

A Howl of Sophistication: Revisiting Wolf (1994)

16 Monday Dec 2024

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Mike Nichols’ Wolf offers a refreshingly mature and layered take on the werewolf mythos, eschewing the usual gore-laden spectacle for a story steeped in psychological tension, power dynamics, and human frailty. Released in 1994, this film remains a unique entry in the genre, owing much to its stellar cast and Nichols’ seasoned direction.

Jack Nicholson commands the screen as Will Randall, a middle-aged book editor whose life takes a supernatural turn after a wolf bite. Nicholson’s performance brims with subtle menace, capturing Will’s transformation with restraint and depth. It’s a testament to his range that he can imbue the character with both primal ferocity and wry charm, making this a werewolf we root for as much as we fear.

Michelle Pfeiffer is magnetic as Laura Alden, bringing a sharp wit and vulnerability to her role as the love interest caught in the storm of Will’s transformation. Her chemistry with Nicholson elevates the film, adding a touch of sensuality to the story. James Spader delivers a delightfully slimy performance as Stewart Swinton, Will’s duplicitous protégé whose ambition sets him on a collision course with his boss. Christopher Plummer’s turn as the calculating Raymond Alden rounds out the cast, his gravitas lending weight to the corporate intrigue that simmers beneath the surface.

Nichols approaches the age-old tale of lycanthropy with a refined touch, framing the werewolf curse as an allegory for midlife crises and primal urges buried beneath layers of societal decorum. The film’s central themes of power, betrayal, and rediscovery are enhanced by its corporate setting, where the hunt for dominance plays out not in forests but in boardrooms.

The cinematography by Giuseppe Rotunno is striking, particularly the way he uses shadow and light to emphasise Will’s growing connection to the animal within. Ennio Morricone’s score complements the mood perfectly, adding an eerie elegance to the proceedings.

However, Wolf is not without its shortcomings. The pacing falters at times, and the climactic showdown, while entertaining, leans into genre tropes that feel at odds with the film’s otherwise restrained tone. Additionally, the film’s blend of horror and drama doesn’t always coalesce seamlessly, leaving some moments feeling disjointed.

Despite these flaws, Wolf remains a compelling and underappreciated gem. It’s a film that dares to take a sophisticated approach to a well-trodden myth, exploring the beast within with intelligence and style. For fans of Nicholson, Pfeiffer, or anyone seeking a thoughtful twist on werewolf lore, Wolf still has plenty of bite.

  • Saul Muerte

Blumhouse’s Afraid: A Cautionary Tale of Career and Genre Stagnation

14 Saturday Dec 2024

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Blumhouse Productions made its name with innovative horror films that struck a chord with audiences, often redefining the genre through clever storytelling and sharp commentary. Unfortunately, Afraid is a painful reminder of how far they’ve drifted from their golden years. Adding to the disappointment is the involvement of Chris Weitz, whose early career suggested he was destined for much greater things than this hollow misfire.

Weitz, once celebrated for his deft handling of comedies like American Pie and heartfelt adaptations like About a Boy, and even the ambitious yet divisive The Golden Compass, seems to have lost his way entirely. His association with Afraid begs the question: what happened? The film bears none of the charm, depth, or even technical polish of his earlier work. Instead, it’s a lifeless slog that fails to inspire fear, intrigue, or any emotional response beyond exasperation.

The premise—centered on the growing unease around artificial intelligence—has potential but is squandered on cheap thrills and half-baked ideas. Rather than offering a meaningful exploration of our AI-driven anxieties, Afraid merely skims the surface. Its portrayal of a bleak, AI-dominated future feels both uninspired and needlessly nihilistic. The film provides no real solutions, no glimmers of hope, and, frankly, no compelling reason for its existence.

Blumhouse’s hallmark has always been its ability to make the most of modest budgets, yet Afraid looks and feels like a bargain-bin effort. The production design lacks creativity, the dialogue is wooden, and the pacing is agonisingly slow. In a world where AI-themed horror can spark fascinating debates, this film opts for cheap scares and empty platitudes, leaving viewers frustrated and disengaged.

If the goal was to provoke thought or generate terror, Afraid misses on both counts. It’s a film that feels as lifeless as the machines it warns against, offering nothing to its audience and even less to the horror genre.

The Prognosis:

Blumhouse once showed promise as a bastion of modern horror, but with Afraid, they seem to be running on fumes. Combined with Weitz’s fall from grace, this film is a tragic testament to squandered potential. Hope may not exist in the world of Afraid, and after watching it, you’ll be hard-pressed to find any for its creators, either.

  • Saul Muerte

The Creep Tapes: Episode 6 (Mom (and Albert)) Review

13 Friday Dec 2024

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Shudder Original Series
Series Premiere Date: December 13, 2024

As The Creep Tapes bows out with its final episode, Mom (and Albert) delivers a potent blend of psychological unease and familial dysfunction. Taking the story back to Josef’s roots, this episode ventures into the unsettling realm of the family home, peeling back layers of his psyche while injecting a fresh dose of tension with the titular Albert—his mother’s new lover.

The shift in setting immediately distinguishes this episode. The familiar, impersonal backdrops of previous entries give way to the suffocating intimacy of a childhood home. It’s a place that should offer comfort but instead brims with latent tension. Josef’s arrival feels less like a homecoming and more like an invasion, with every exchanged glance and clipped remark between him and his mother steeped in unspoken history.

Enter Albert, a seemingly mild-mannered addition to the household, whose presence tips the power dynamics into dangerous territory. Played with an unsettling mix of charm and obliviousness, Albert becomes a lightning rod for Josef’s simmering rage and jealousy. Their interactions veer between awkward civility and veiled hostility, and as the cracks in Josef’s mask widen, it becomes clear that Albert is more than just an unwelcome guest in Josef’s eyes—he’s a symbol of everything Josef feels he’s lost.

The direction here is particularly sharp, leaning into uncomfortable silences and tight framing that captures the oppressive weight of these relationships. The episode’s tension builds methodically, leading to a climactic moment that is equal parts shocking and darkly comedic—a trademark of the series. The “titillating” conclusion, while provocative, feels earned in the context of the episode’s exploration of power, control, and Josef’s fractured psyche.

What makes Mom (and Albert) so effective is its ability to subvert expectations. Where previous episodes leaned heavily into Josef’s control over others, this installment strips him of his dominance, leaving him exposed and vulnerable. It’s a bold move for a finale, challenging the audience to reconsider their understanding of Josef while providing an unsettling endnote to his arc.

Final Thoughts:
Mom (and Albert) is a fittingly twisted send-off for The Creep Tapes, doubling down on the series’ psychological and emotional complexity. By juxtaposing Josef’s past with his present and introducing a disruptive force in Albert, the episode underscores the fragility of Josef’s carefully constructed persona. As the series concludes, it leaves us with a lingering sense of dread—and a morbid curiosity about what lies ahead for Josef.

  • Saul Muerte

The Creep Tapes Series are currently streaming Exclusively on Shudder and AMC+

40 Years of Fear: A Retrospective on Friday the 13th: The Final Chapter

13 Friday Dec 2024

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When Friday the 13th: The Final Chapter slashed its way into theaters in 1984, it was marketed as the definitive conclusion to Jason Voorhees’ reign of terror. Of course, hindsight reveals this “final” chapter was merely the midpoint of a sprawling franchise. Yet, even after 40 years, this fourth installment remains a fan favourite, celebrated for its heightened intensity, memorable characters, and pivotal role in shaping the series’ future.

Tommy Jarvis: A Hero is Born

A key reason The Final Chapter resonates so deeply with fans is the introduction of Tommy Jarvis, played by a young Corey Feldman. Tommy, a precocious horror enthusiast with a knack for special effects makeup, is a rare protagonist who feels as intriguing as Jason himself. Feldman brings an authentic mix of vulnerability and resourcefulness to the role, making Tommy an instantly iconic character.

Tommy’s climactic confrontation with Jason—a battle of wits and willpower—is one of the franchise’s most intense moments. His shocking decision to shave his head and impersonate a younger version of Jason to disorient the killer was both unsettling and ingenious, adding a psychological edge rarely seen in slasher films of the era. This pivotal moment not only cemented Tommy as a standout character but also set the stage for his return in later entries, making him a central figure in the saga.

The Turning Point

By the time The Final Chapter arrived, the Friday the 13th formula was well established: a group of teenagers ventures to Crystal Lake, where they meet gruesome ends at Jason’s hands. However, this installment elevated the franchise in several key ways.

Director Joseph Zito (The Prowler) brought a more polished aesthetic to the film, combining tense, atmospheric build-ups with visceral kill sequences. Tom Savini, returning to provide the special effects after his groundbreaking work on the original film, delivered some of the franchise’s most memorable gore. From Jason’s harpoon impalement to his shocking demise via machete to the face, the kills were as creative as they were brutal, solidifying Jason as an unstoppable force of nature.

The film also marked a tonal shift, balancing the campy thrills of earlier installments with a darker, more serious approach. This wasn’t just another Jason romp—it felt like the franchise was reckoning with its own legacy. The inclusion of Tommy Jarvis and his family introduced a level of emotional investment often absent from slasher films, giving audiences someone to root for beyond mere survival.

Jason’s (Temporary) Swan Song

Perhaps most notably, The Final Chapter marked the (temporary) end of Jason Voorhees as fans knew him. The film’s bold decision to actually kill off Jason in a conclusive and gruesome manner was a major gamble. For many fans, this death felt definitive, a fitting end to a character who had become synonymous with the genre. Of course, Jason would rise again, but this film gave him a sense of finality that added weight to his demise.

Fan Favorite Legacy

Decades later, The Final Chapter continues to stand out as one of the franchise’s most beloved entries. Its blend of suspense, gore, and character-driven storytelling has made it a benchmark for slasher sequels. For many fans, this installment represents the franchise at its peak—a perfect storm of horror elements that capture everything audiences love about Friday the 13th.

Final Thoughts

Friday the 13th: The Final Chapter may not have been the end of Jason Voorhees, but it was undeniably a turning point for the franchise. With the introduction of Tommy Jarvis, the escalation of gore and tension, and a climactic showdown that still leaves audiences breathless, this installment remains a testament to why Friday the 13th endures as a cornerstone of horror. Forty years later, it’s clear that The Final Chapter is anything but the end—it’s the moment Jason and his machete became immortal.

What’s your favourite memory or moment from this fan-favorite slasher? Let’s celebrate four decades of terror at Crystal Lake!

  • Saul Muerte

Surgeons of Horror podcast – Friday the 13th franchise: The Tommy Jarvis Years

The Godfather of Gore: Herschell Gordon Lewis and His Macabre Masterpieces

07 Saturday Dec 2024

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When it comes to the annals of horror cinema, few figures loom as large—or as unapologetically blood-soaked—as Herschell Gordon Lewis. Dubbed “The Godfather of Gore,” Lewis carved out a niche in the 1960s for his gleeful embrace of low-budget, high-shock filmmaking, pioneering the splatter subgenre that would influence horror for decades to come. While films like Blood Feast (1963) and Two Thousand Maniacs! (1964) are often cited as his most infamous works, his career is also punctuated by strange and memorable entries like Something Weird (1967), A Taste of Blood (1967), and The Gruesome Twosome (1967).

Something Weird (1967)

Among Lewis’s catalogue, Something Weird stands out for its sheer oddity. Mixing supernatural elements, psychedelic visuals, and a bizarre romantic subplot, the film defies easy categorisation. The story revolves around a disfigured man who gains psychic powers after a brush with death, only to become entangled with a witch who demands his love in exchange for restoring his looks.

Something Weird is less a traditional horror film and more a kaleidoscopic fever dream, complete with eerie electronic soundscapes and disjointed narrative turns. While the gore is comparatively restrained, the film’s weirdness compensates, making it one of Lewis’s most intriguing offerings. It’s a testament to his willingness to experiment, even if the result is more bewildering than terrifying.

A Taste of Blood (1967)

Often referred to as Lewis’s attempt at a “classy” horror movie, A Taste of Blood is a sprawling vampire tale with surprising ambitions. Clocking in at over two hours, the film tells the story of John Stone, a businessman who inherits two bottles of brandy from his ancestor, none other than Count Dracula. After drinking the brandy, Stone becomes a vampire, seeking revenge on the descendants of those who killed Dracula.

While it lacks the frenzied gore of Lewis’s other works, A Taste of Blood compensates with its melodramatic tone and surprisingly involved storyline. The pacing drags in places, and its length feels at odds with Lewis’s usual snappy, exploitative style. Still, the film offers a fascinating glimpse of what might have been had Lewis pursued more traditional storytelling in his career.

The Gruesome Twosome (1967)

Returning to his roots with this lurid tale of scalp-harvesting, The Gruesome Twosome epitomises the gleefully grotesque aesthetic that earned Lewis his nickname. The plot revolves around a mother-and-son duo running a wig shop that sources its hair from murdered young women.

The film’s low-budget charm is evident from the opening scene—a bizarre monologue delivered by two talking mannequin heads—and its over-the-top violence is pure Lewis. While the effects are crude by today’s standards, they have a handmade quality that captures the spirit of exploitation cinema. The Gruesome Twosome is quintessential Lewis: shocking, campy, and unrelentingly bizarre.

Legacy of the Godfather of Gore

Herschell Gordon Lewis didn’t just create films; he created a movement. With his unapologetic approach to gore and exploitation, he pushed boundaries in ways that were both shocking and innovative. Films like Something Weird, A Taste of Blood, and The Gruesome Twosome showcase his range—from the surreal to the ambitious to the outright grotesque—cementing his place as a true pioneer in horror.

Though his work remains divisive, there’s no denying the impact of his vision. Lewis’s films opened doors for countless filmmakers who sought to blend shock and subversion into their storytelling. To this day, his bloody fingerprints can be seen across the horror landscape, reminding audiences that sometimes, it’s not about how polished a film is—but how unforgettable.

  • Saul Muerte

The Creep Tapes: Episode 5 (Brandt) Review

06 Friday Dec 2024

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Shudder Original Series
Series Premiere Date: December 6, 2024

Every great series has that pivotal episode, the one that redefines its boundaries and deepens its intrigue. For The Creep Tapes, Brandt is that turning point. Stripping back the usual framework of Josef manipulating his unwitting subjects, this episode flips the script by having the titular Brandt fail to show up. What unfolds is less an external game of cat-and-mouse and more an internal confrontation between Josef and his own monstrous psyche.

Without the usual dynamic to lean on, Josef is left alone in his hotel room, his performance faltering in the absence of an audience. Here, the episode takes an ambitious leap, inviting the audience into Josef’s fragmented mind. It’s a bold move, delving into the character’s warped psyche while still keeping us tethered to the unnerving energy the series thrives on. This shift could have easily derailed the show’s momentum, but it lands confidently on the right side of quality, balancing psychological horror with dark, surreal humor.

And then there’s Peachfuzz. The haunting specter of the wolf mask, once an external emblem of Josef’s menacing persona, now turns inward. As Josef stares into the mask, it’s no longer a tool of intimidation but a mirror reflecting the depths of his madness. These sequences are harrowing and hypnotic, offering the audience an uncomfortably intimate look at Josef’s inner demons.

But Brandt isn’t content with just brooding introspection. It delivers a killer blow in the final moments—one of pitch-perfect comic timing. The tonal shift is jarring in the best way, reminding us of the show’s ability to keep its audience off balance, laughing nervously even as the tension tightens.

With Brandt, The Creep Tapes continues to push boundaries, proving that it’s not afraid to take risks or challenge its own formula. This episode reframes Josef not just as a predator but as a deeply broken man wrestling with his own creation—a narrative pivot that keeps the series fresh and unsettling.

  • Saul Muerte

The Creep Tapes Series are currently streaming Exclusively on Shudder and AMC+

The Creep Tapes: Episode 4 (Brad) Review

29 Friday Nov 2024

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Shudder Original Series
Series Premiere Date: November 29, 2024

The Creep Tapes elevates its game in Episode 4, Brad, with the arrival of Josh Ruben (Werewolves Within) as the eponymous character. Ruben’s charisma and comedic timing inject much-needed energy into the series, offering a fresh perspective on the psychological games orchestrated by Josef. As Brad, Ruben plays a failed director desperate for recognition, lured into Josef’s twisted narrative under the pretense of directing a career-defining documentary. This setup allows the episode to explore themes of vanity, ambition, and manipulation, making it one of the most compelling entries yet.

The premise—that Brad must document an already-committed murder—delivers on its chilling potential. The tension steadily builds as Brad’s ego clashes with his growing realisation of Josef’s true intentions. Ruben deftly navigates the arc of a man trapped between his aspirations and survival, delivering a performance that balances dark humor with genuine pathos. The interplay between Brad and Josef is electric, with Josef weaponising Brad’s desperation, pulling him deeper into his web of control.

Visually, Brad is one of the more cinematic episodes, with the mockumentary style heightening the sense of unease. The direction cleverly juxtaposes Brad’s dreams of grandeur with the gritty, unpolished reality of Josef’s sinister project. The episode excels in pacing, maintaining suspense while unraveling the layers of Josef’s plan. The cat-and-mouse dynamic reaches a thrilling crescendo, as Brad realises he must outsmart Josef to escape—not only with his life but his dignity intact.

However, the episode does stumble slightly in its resolution. While the tension is palpable throughout, the conclusion feels somewhat abrupt, leaving lingering questions and the moral underpinnings of Brad’s choices. Still, Brad stands out as a high point in The Creep Tapes, showcasing the series’ ability to delve deeper into the psychological and emotional complexities of its characters.

  • Saul Muerte

The Creep Tapes Series are currently streaming Exclusively on Shudder and AMC+

The Shuttered Room (1967): A Decent Attempt That Falters in Execution

29 Friday Nov 2024

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The Shuttered Room, based on a story attributed to H.P. Lovecraft and August Derleth, offers an atmospheric dive into the macabre, set against the backdrop of a crumbling New England mill town. Directed by David Greene, the film’s most notable strength lies in its brooding atmosphere and unsettling locale, which captures the decayed charm of its rural setting. Yet, while the tone and setting intrigue, the narrative struggles to rise above mediocrity, leaving audiences with an experience more evocative than substantive.

Central to the film is the electrifying performance of Oliver Reed as the menacing Ethan. Reed commands the screen with an unpredictable energy, adding a palpable edge of danger that keeps the audience engaged. His interactions with Gig Young, playing the stalwart husband Mike, and Carol Lynley as the haunted Susannah, highlight the clash between Reed’s raw intensity and the more subdued performances of his co-stars. Lynley brings an understated fragility to Susannah, effectively conveying her character’s torment and vulnerability, though her role is often overshadowed by Reed’s larger-than-life presence.

The film’s atmospheric strength is undeniable. Cinematographer Kenneth Hodges crafts a visually arresting aesthetic, juxtaposing the rustic beauty of the mill with its sinister underpinnings. The eerie sound design and haunting score further amplify the sense of unease. However, The Shuttered Room falters when it comes to its central plot. The narrative’s slow pacing and predictable developments prevent it from fully delivering on the psychological horror and suspense it hints at, leaving viewers yearning for a sharper, more cohesive story.

Ultimately, The Shuttered Room stands as a fascinating but flawed entry in 1960s horror. While it showcases an engaging Oliver Reed and an immersive atmosphere, the film’s inability to break free from its languid storytelling prevents it from achieving the impact it so clearly aspires to. For fans of moody, vintage thrillers, this is worth a watch—but don’t expect it to haunt your thoughts.

  • Saul Muerte