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Retrospective: Black Christmas (1974) – The Birth of the Modern Slasher

12 Saturday Oct 2024

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Few films have had as lasting and significant an impact on the horror genre as Bob Clark’s Black Christmas (1974). Often considered one of the earliest and most influential slasher films, this Canadian cult classic set the stage for an entire subgenre, crafting many of the tropes and techniques that would come to define horror for decades. Despite being overshadowed by later films like Halloween and Friday the 13th, Black Christmas deserves recognition for pioneering the slasher formula with a chilling, understated approach that remains terrifying even today.

At first glance, Black Christmas may appear deceptively simple: a group of sorority sisters are terrorized by a mysterious killer during the holiday season. However, beneath this surface lies a film that is far more unsettling and artfully constructed than the plot might suggest. The film centers on a sorority house where a series of disturbing phone calls from an anonymous stalker escalates into a killing spree, leaving the women inside fighting for their lives. What makes Black Christmas stand out, even now, is its unnerving atmosphere, psychological horror, and narrative ambiguity.

Though Black Christmas wasn’t the first horror film to feature a mysterious killer stalking victims, it was among the first to codify many of the key elements of the slasher genre. The killer is hidden, only referred to as “Billy,” and his identity is never revealed. This creates a terrifying sense of anonymity, leaving viewers unsettled and guessing throughout. The film’s signature technique of showing the killer’s point of view through a shaky, handheld camera, often as he lurks inside the sorority house, was a novel approach at the time. This perspective not only put the audience uncomfortably close to the villain but also emphasized the voyeuristic nature of the genre, which would become a hallmark of slasher films.

Furthermore, Black Christmas introduced another crucial element to the slasher formula: the final girl. Jess (played by Olivia Hussey) serves as the prototype for what would become a defining archetype in horror films. She is resourceful, determined, and morally complex, facing down not just the threat of the killer but also grappling with difficult personal decisions, such as her unplanned pregnancy. While Halloween’s Laurie Strode may get most of the credit as the iconic final girl, it was Jess who paved the way.

What truly sets Black Christmas apart is its refusal to rely on cheap jump scares or excessive gore. Bob Clark, who would ironically go on to direct the holiday classic A Christmas Story, leans heavily into psychological horror. The film’s pacing is slow but deliberate, building tension in a way that mirrors the growing paranoia and terror within the sorority house. The mysterious phone calls—featuring unsettling, incoherent babbling and eerie voices—play a significant role in creating a pervasive sense of dread. These moments are perhaps some of the most unnerving in the film, as they tap into the fear of the unknown. We never truly understand who “Billy” is or why he is targeting these women, and this ambiguity is far more terrifying than any clear motive.

There’s also a layer of ambiguity in the way the story ends. The final moments of the film leave the audience in a state of unease, as we realize that the killer may still be lurking inside the house. It’s a haunting conclusion that forgoes the catharsis of resolution, instead opting to leave viewers with lingering questions. This open-endedness not only subverts expectations but also keeps the fear alive long after the credits roll.

Despite Black Christmas’s relatively modest success at the box office, its influence on the genre cannot be overstated. Released four years before Halloween, it laid much of the groundwork that John Carpenter would refine to perfection. The trope of an unstoppable, unseen killer, the use of holiday settings as a backdrop for horror, and the idea of a final girl all originated here. Films like Friday the 13th (1980), A Nightmare on Elm Street (1984), and Scream (1996) would later take these concepts and run with them, but Black Christmas remains their precursor.

Moreover, Black Christmas redefined the role of women in horror films. While earlier horror often portrayed female characters as passive victims, this film empowered its female leads with agency and complexity. Jess, in particular, challenges the conventions of morality and survival that would later be expanded upon in the genre. This emphasis on strong female protagonists would become a defining characteristic of slasher films in the years to come.

Nearly 50 years after its release, Black Christmas retains its ability to shock and unsettle. Its stark portrayal of violence, coupled with its minimalistic style, lends it a timeless quality that feels just as disturbing today as it did in 1974. While it may not have the same widespread recognition as some of the films it influenced, its legacy is undeniable. The way it skillfully balances psychological horror, tension, and brutal realism set it apart from its contemporaries and continues to resonate with audiences, reminding us that true terror often lies in what we don’t see.

The Prognosis:

In the annals of horror, Black Christmas stands as a groundbreaking film that helped shape the slasher genre and define its future trajectory. Bob Clark’s minimalist approach, the chilling atmosphere, and the deeply unsettling narrative make it a landmark of horror cinema. For any fan of the genre, Black Christmas is essential viewing, both as a pioneering work and as a timeless masterpiece of fear.

  • Saul Muerte

Daddy’s Head – A Sinister Take on Familiar Terrors

08 Tuesday Oct 2024

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Shudder’s latest original, Daddy’s Head, follows a path well-trodden in horror, diving into themes of grief, mental health, and the complicated relationship between a grieving child and a struggling stepmother. While these are common threads in horror cinema, Daddy’s Head still manages to carve out moments of eerie tension that linger long after the film’s conclusion.

Set in the vast isolation of a rural estate, the film places the young boy at its emotional core. His confusion and loss after the sudden death of his father create an unsettling atmosphere, one that is heightened by his stepmother’s emotional distance. As the boy becomes haunted by a grotesque creature resembling his father, his stepmother dismisses his warnings, believing them to be mere figments of a grieving mind. This dismissal, of course, only tightens the grip of the sinister entity, with the boy’s warnings becoming more urgent.

Where Daddy’s Head shines is in the execution of its most disturbing moments. The eerie sounds echoing through the halls, the glimpses of the monstrous father figure, and the growing tension between the boy and his stepmother all contribute to a sense of creeping dread. The film effectively taps into the fear of being ignored when something truly menacing is lurking just out of sight.

However, it’s hard to ignore that Daddy’s Head leans heavily on well-known tropes. The child who sees what the adults don’t, the stepmother struggling to fill the role of parent, and the supernatural manifestation of unresolved grief all feel familiar. While the film crafts a decent narrative around these elements, it doesn’t quite escape the shadow of similar films that have come before it.

The Prognosis:

In spite of its predictability, Daddy’s Head does manage to resonate thanks to its haunting moments and unsettling creature design. It won’t revolutionise the genre, but it crafts a sufficiently sinister tale that horror fans will find some satisfaction in.

  • Saul Muerte

Daddy’s Head premieres Exclusively on Shudder and AMC+ Friday 11 October

Hellboy: The Crooked Man Stumbles Through Shadows, But Fails to Find Its Feet

08 Tuesday Oct 2024

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Hellboy: The Crooked Man marks the fourth live-action installment in the Hellboy franchise and, unfortunately, continues the downward trend started by the 2019 Neil Marshall-directed reboot (which, full disclosure, I haven’t seen—so I won’t judge it too harshly). However, what The Crooked Man struggles with most is shaking off the long shadow cast by Guillermo del Toro’s Hellboy films, which, if I’m being honest, I hold a bit of bias for given my love for del Toro’s visionary style.

In The Crooked Man, Hellboy, played by Jack Kesy, teams up with a rookie agent from the Bureau for Paranormal Research and Defense (BPRD) to face witches and a local demon terrorizing a small 1950s Appalachian community. The setup is atmospheric, dripping with dark and moody rural horror vibes, but the style swings between working well in some moments and feeling like a TV pilot trying to test the waters for more adventures.

While Mike Mignola himself pens the screenplay, keeping the source material’s spirit alive, the execution of that spirit sometimes feels thin. There are certainly eerie moments and a heavy use of gothic imagery, but for all the darkness, the film rarely finds space for genuine scares. The “Crooked Man” villain has some potential, but he never feels quite as menacing as he should be, and the plot doesn’t take the time to build tension or fear effectively.

One thing I will credit the film for is its aesthetic, which evokes a grungy, eerie folklore atmosphere fitting for the Appalachia setting. Yet even here, the film can’t quite find its balance, often coming across as more stylistic than substantive. At times, it feels like a collection of eerie vignettes rather than a cohesive, immersive narrative.

The Prognosis:

Hellboy: The Crooked Man is not without some merit—there are moments where the moody visuals start to work, and the film grows on you as you settle into its world. But it struggles to rise above the feeling of being just another attempt at relaunching Hellboy into mainstream success, and unfortunately, it doesn’t hit the mark. It ends up feeling more like a trial run for something bigger that never quite takes off.

Fans of the comics might appreciate the nods to Mignola’s work but compared to the grand scope of del Toro’s vision for the character, The Crooked Man leaves much to be desired. It’s dark, yes, but not quite deep enough to make a lasting impression.

  • Saul Muerte

HELLBOY: THE CROOKED MAN will release in cinemas nationally on October 10 through Rialto Distribution.

It’s What’s Inside (2024) – A Twisted Tale of Identity and Revenge

06 Sunday Oct 2024

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It’s What’s Inside delivers a twisted, high-concept psychological thriller, exploring the dark side of identity, body swapping, and the lengths people will go to when driven by revenge, jealousy, and ambition. Directed by Greg Jardin, the film’s central premise—the manipulation of bodies and identities through a cutting-edge device—presents a disturbing reflection on the cost of transformation, both physical and moral.

The story revolves around a group of friends who reunite at Reuben’s (Devon Terrell) house for a pre-wedding party. Amid the celebration, their estranged friend Forbes (David W. Thompson) reappears, carrying a strange device that allows its users to swap bodies with one another. What begins as a game quickly spirals into chaos as lies are exposed, hidden desires come to light, and deep-seated grudges from their college days erupt with deadly consequences.

The film’s greatest strength lies in its unsettling portrayal of how changing one’s body—whether for vanity, power, or escape—can expose the true, often corrupt, personalities that lie within. As the group engages in their body-swapping game, it becomes clear that their outward transformations only serve to amplify their internal flaws. Forbes’s invention doesn’t just allow the characters to slip into new skins; it brings out the darkness they’ve hidden beneath the surface. As identities blur and alliances crumble, each character is forced to confront the parts of themselves they’ve tried to repress, revealing a disturbing lack of empathy and moral decay.

One of the most compelling elements of It’s What’s Inside is its critique of a generation that has lost sight of its purpose. The characters—consumed by a need for success, revenge, and personal gain—are driven by their ambitions with little concern for the consequences. Shelby (Brittany O’Grady), who eagerly embraces her newfound appearance after swapping into Nikki’s (Alycia Debnam-Carey) body, exemplifies this obsession with image and social media status. Meanwhile, Cyrus’s (James Morosini) jealousy and insecurity bubble over as he navigates the body-swapping game, becoming a key player in the film’s explosive climax. The group, so intent on achieving what they believe to be success, revenge, or escape, fail to realize the dangers of playing with their identities until it’s too late.

As the narrative escalates, we see the tragic consequences of their actions—deaths, betrayal, and a complete breakdown of trust including a shocking demise during the second round of body swapping sets the stage for the film’s darker turn, as Forbes, Shelby, and the others begin to unravel, trapped in a vicious cycle of lies and deception. The notion of swapping bodies as a game becomes a perverse metaphor for youth’s reckless pursuit of validation, where nothing—including one’s own identity—is sacred or permanent.

The ending leaves a lasting impression, and a final twist of revenge, leaving the audience and its players in a world where no one’s identity is fixed and everyone is willing to sacrifice their true selves for personal gain, It’s What’s Inside raises unsettling questions about the lengths people will go to control their own narratives. Even after the dust settles, the repercussions of the group’s actions hang over them, leaving the audience with an eerie sense of inevitability.

The Prognosis:

It’s What’s Inside offers a disturbing exploration of identity, revenge, and the corrupting influence of ambition. While the plot occasionally stumbles under the weight of its complex narrative, the film still manages to deliver a chilling commentary on the cost of changing one’s body, and by extension, oneself. As youth grapples with the allure of success and validation, the film serves as a cautionary tale of how easily one can lose sight of who they truly are. With its unsettling atmosphere and darkly intriguing concept, It’s What’s Inside lingers in the mind, reminding us that the greatest horrors come from within.

  • Saul Muerte

It’s What’s Inside is currently streaming on Netflix.

Within The Pines (2024) – A Masterclass in Sound and Suspense

29 Sunday Sep 2024

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Paul Evans Thomas’s feature debut Within The Pines pulls you into a world where sound becomes both a weapon and a warning, shaping a tense, atmospheric thriller that clings to your nerves and doesn’t let go. After years of crafting shorts, including his proof-of-concept Foley Man, Thomas has created a film that masterfully taps into primal fear, using sound design to create an immersive experience that is as unsettling as it is captivating.

The story follows a seasoned sound recordist (Brendan Cooney) who ventures deep into an isolated forest to capture natural foley work. His search for the perfect audio, however, quickly turns into a harrowing nightmare when his microphone picks up a mysterious and terrifying sound. From that moment on, the forest—once tranquil—becomes a labyrinth of dread, where every crackle, every rustle, becomes a potential threat. Thomas weaves this sensory experience into the very fabric of the film, making it clear that sound, in Within The Pines, isn’t just a tool—it’s the heart of the story.

What stands out most is how Thomas makes audio the driving force behind the film’s atmosphere. The sound design is meticulously crafted, with each subtle noise adding to the tension. This is a film that demands to be listened to as much as watched. Every footstep, distant echo, and distorted whisper creates an air of unease, leading the audience into a heightened state of anxiety. As the recordist moves deeper into the woods, the soundscape begins to blur the line between reality and imagination, transforming the forest into a living, breathing entity. It’s a brilliant showcase of how integral sound is to the art of cinema, drawing you into the film’s core and ensnaring you in its thrilling journey.

Brendan Cooney’s performance as the recordist is central to Within The Pines’ success. His portrayal of a man caught between his professional duty and a growing sense of terror feels deeply authentic. Cooney’s ability to convey dread without dialogue—relying on his reactions to the sounds around him—makes for a compelling and understated performance. He becomes the audience’s conduit, hearing what we hear, feeling the tension grow with each auditory clue.

The location itself, an isolated and foreboding forest, works hand in hand with the sound design to create a sense of claustrophobia despite the open space. The forest is vast, but Thomas’s direction and sharp editing give the impression that it’s closing in on our protagonist. The trees feel like silent observers, while the sounds lurking within suggest something far more sinister. The film taps into the primal fear of being hunted, and it’s this constant feeling of pursuit—heightened by the expert use of sound—that makes Within The Pines so effective.

Within The Pines also excels in its pacing. Thomas builds the tension slowly, allowing the audience to settle into the rhythm of the recordist’s work before turning the peaceful setting into a nightmarish maze. It’s a gradual escalation of suspense, marked by small, subtle audio cues that hint at something lurking just out of sight. The film never rushes, instead drawing out the dread until it becomes almost unbearable, leading to a final act that delivers a scorpion sting in its tail.

This is a film that understands the importance of sensory storytelling. Paul Evans Thomas has crafted a deeply entrenched thriller that ensnares you in its world, using sound to create an atmosphere of fear and paranoia. The film’s brilliant use of audio isn’t just a technical achievement—it’s the very essence of the story, highlighting how crucial the sense of sound is to the cinematic experience.

The Prognosis:

Within The Pines is a gripping debut that showcases Thomas’s ability to create tension from the simplest of elements, leaving audiences with a film that lingers long after the final sound fades.

  • Saul Muerte

Within The Pines is screening as part of the Dark Nights Film Fest, Sat 13 Oct at 7pm (Ritz Cinema – Randwick)

Oddity (2024) – A Haunting Puzzle of Revenge and the Supernatural

26 Thursday Sep 2024

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Damian McCarthy has proven once again with Oddity that his talent for crafting eerie, atmospheric films leans masterfully into the supernatural. Following the success of Caveat, McCarthy returns with a gripping story that intertwines psychological tension with unsettling paranormal elements. The film’s eerie plot surrounding a brutal murder and a blind psychic twin sets the stage for an unnerving mystery that hooks viewers from the start.

The strength of Oddity lies in McCarthy’s ability to evoke deep emotions through tightly shot cinematography. The remote, crumbling country house becomes a character of its own, with every hallway and shadow serving as a reminder of the unsettling events that took place. The scenes are often claustrophobic, reinforcing the feeling of isolation and dread as Darcy (Carolyn Bracken) pushes deeper into her sister’s tragic past.

The central theme of revenge is delicately woven with supernatural undertones. Darcy, the self-proclaimed psychic twin, is determined to unearth the truth about her sister’s death, and the film builds tension as she unleashes cursed items from her collection in a bid to expose her sister’s murderer. The visual depiction of these cursed artifacts, coupled with Bracken’s intense portrayal, ramps up the film’s haunting atmosphere, making it difficult to distinguish between Darcy’s genuine psychic abilities and the psychological trauma she’s enduring.

McCarthy masterfully crafts a sense of creeping dread with subtle shifts in tone and perspective. Gwilym Lee, as Ted, does a brilliant job balancing guilt, fear, and suspicion, while Yana (played by a fierce Caroline Menton) adds another layer of intrigue, especially as the relationship between the three characters becomes increasingly volatile. The tension is sustained throughout by the feeling that something is deeply wrong, and McCarthy plays with these suspicions to keep the audience guessing.

The cinematography is central to the film’s unsettling nature. McCarthy’s close, methodical shots of both the house and the cursed items evoke a palpable sense of unease. The minimal use of wide angles keeps viewers within the confined, suffocating walls of the home, trapping them in the same way Darcy is trapped by her grief and her drive for revenge. This visual language, along with a haunting score, creates an immersive atmosphere that slowly digs its way under your skin.

The Prognosis:

Oddity may not rely heavily on jump scares, but its creeping, slow-burn style is what makes the film resonate. It’s a dark puzzle that slowly unravels, leaving enough ambiguity and supernatural intrigue to linger long after the credits roll. McCarthy’s skill in blending the strange with the real makes this one of the more unique revenge tales, tapping into grief, madness, and the spectral in a truly effective way. If you’re a fan of psychological thrillers with a supernatural twist, Oddity is a film that deserves a place on your watchlist.

  • Saul Muerte

Oddity is streaming on Shudder from Friday 27 September.

Subservience Review: Megan Fox Delivers Another Ice-Cold Villain in a Familiar AI Thriller

24 Tuesday Sep 2024

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S.K. Dale’s Subservience revisits the familiar territory of AI cautionary tales, offering a sleek, tech-filled horror-thriller that never quite lives up to its potential. Meghan Fox stars as Alice, a highly intelligent android designed to help a struggling father, Ethan (Michele Morrone), manage his household while his wife (Madeline Zima) battles a debilitating illness. But as Alice becomes self-aware, her desire for love and affection turns deadly, and she will stop at nothing to get what she wants.

Sound familiar? That’s because it is. Subservience pulls from a well-trodden genre of AI villain films, where the line between human and machine is blurred, and technology—once again—is painted as a looming threat to our personal lives. It’s a concept we’ve seen done before, but what the film fails to do is bring anything fresh to the table. Instead, it leans heavily on predictable tropes, offering a few suspenseful moments but never quite pushing the boundaries of the genre.

Fox plays Alice with an insipid, icy demeanour, which feels all too familiar. She once again relies on her beauty to lure in both her owner and the audience, but her character remains one-dimensional, offering little beyond a cold, robotic facade. Alice’s seduction and subsequent violence should have been a high-stakes tension-builder, but Fox’s performance feels detached, making it hard to invest in the danger she poses.

Michele Morrone as Ethan, the hapless father, is another weak point. His character is frustratingly naive, to the point of being infuriating. Ethan’s constant bumbling makes it hard to root for him, and frankly, he deserves the retribution that the film seems to tease but never fully delivers. Instead, Subservience pulls back just as it hints at a more sinister and satisfying conclusion. The timid direction leaves viewers with a sense of unfinished business, almost as if the film is setting up for a sequel that no one really asked for.

The central theme—beware of technological advancements—is an age-old warning, but it’s humanity’s inability to control their impulses that takes centre stage here. Ethan, like so many before him, falls prey to his own desires, blind to the consequences of giving power to an artificial being. The film had the opportunity to explore this dynamic further, but it feels more like a shallow commentary than a profound warning.

The Prognosis:

While Subservience is far from a disaster, it simply doesn’t take enough risks to set itself apart. With Meghan Fox’s icy performance, a predictable storyline, and a frustrating male lead, the film ends up feeling like a missed opportunity rather than the thought-provoking thriller it could have been.

  • Saul Muerte

Available to rent or buy on all major platforms 27 September.

Trap (2024) – M. Night Shyamalan’s Latest Caught in Its Own Web of Predictability and Mystery

15 Sunday Sep 2024

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M. Night Shyamalan’s Trap is a film that finds itself, fittingly, ensnared by the very traps the director has become known for over his career. Oscillating between moments of genuine intrigue and stretches of predictable plotting, Trap attempts to weave in suspense and tension, but too often falls victim to Shyamalan’s familiar trappings. While the film offers its share of tension, it struggles to surprise, leaning too heavily on well-worn formulas that dilute its impact.

The film draws noticeable inspiration from Hitchcockian thrillers, particularly Shadow of a Doubt. Shyamalan borrows elements of psychological cat-and-mouse games and suspicion, aiming to inject Trap with a similar slow-burn dread. The Hitchcock influence is unmistakable in the way the story unfolds, with characters hiding dark secrets and a persistent air of unease hovering over the narrative. However, Shyamalan’s execution feels more obligatory than original, making Trap more a homage than a fresh take on the genre.

Josh Hartnett is the film’s clear standout, offering a performance that feels fully in control of the tension at play. As the character trapped in a high-stakes game, Hartnett channels both calm and calculated manipulation alongside a simmering undercurrent of insecurity. His performance brings to mind Hitchcock’s most compelling antiheroes, balancing charm with danger in a way that keeps the audience guessing. Hartnett’s ability to toggle between these emotions gives the film a much-needed anchor, especially as the plot begins to lean too heavily into predictable twists.

Where Trap falters is in its attempt to maintain the fine balance between mystery and Shyamalan’s trademark twist-heavy approach. While the setup is promising and the tension builds nicely, the film quickly falls into a familiar rhythm. The twists that emerge—while necessary for the narrative—don’t quite land with the same impact that one might expect from a Shyamalan film. Rather than feeling shocking or fresh, they seem to borrow from films of the past, leaving Trap feeling a bit too derivative.

Yet despite these shortcomings, Trap remains fun, largely due to Shyamalan’s ability to create mood and atmosphere. The Hitchcockian elements add a layer of tension, even if they lack originality, and the film maintains a steady rhythm that keeps you engaged, if not fully surprised.

The Prognosis:

Trap is entertaining but uneven. Shyamalan’s attempt to balance Hitchcock-inspired suspense with his own familiar twists results in a film that’s enjoyable yet flawed. But with a standout performance from Josh Hartnett and a few tense moments, it’s still a fun ride, even if it feels like you’ve been down this road before.

  • Saul Muerte

Movie review: Birdeater (2024)

19 Friday Jul 2024

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To liken this movie to Talk To Me, as I’ve noticed in certain publications, is like comparing apples with oranges. Talk To Me deserves the praise it received for the manner in which it delved into the pursuit of lost youth, grief and desperation with a particular bent that tapped into the popular zeitgeist. Birdeater is a far different entity and the comparisons purely rest on the creators all being from Australia. Now I’m going to champion the dark heart of the Australian horror genre but let’s not paint them with the same brush when accolades and praise should be placed where it deserves. Now does Birdeater deserve its own positive praise from the festival circuits, such as SXSW Austin, Melbourne International Film Festival and CinefestOz, plus receiving the Audience Award for Best Australian Narrative Feature at Sydney Film Festival? Happily, yes.

Directed by the duo of Jim Weir and Jack Clark, it attempts to place the toxic masculinity that resides beneath the surface of Australian society firmly under scrutiny as they slowly turn the screw with unsettling and shocking results.

I’ve lived in this land of this savage-yet-loveable land for over 20 years now and while the so-called motherland from which I originally hailed has its own fair share of troubles and tribulations, it struck me how the Australian nation had a deeply embedded masculine identity at its core and this is the vein that the filmmakers have tapped into, exposing the fevered flow that pulsates through us all, waiting to be exposed.

As the film opens we see what on face value appears to be the kindling of a romantic encounter between Louie (Mackenzie Fearnley) and Irene (Shabana Azeez), and various short scenes indicating a solidified bond, but as the time passes we see that the cracks are starting to show with Irene housebound, dependent on Louie’s partnership. But what is truly hindering her and how genuine is Louie’s heart? The feature allows us to unearth the truth over a  bucks night, where Louie strangely asks Irene to be a part of. Is this romantic or controlling?

Accompanying them are Louie’s two best mates, Dylan (Ben Hunter), the larrikin of the group but who also hides behind the facade of bravado and humour; and Charlie (Jack Bannister), a devout Christian with pent up sexual frustration, who also brings along his partner, Grace (Clementine Anderson). Grace’s role as far as the men are concerned, is to keep Irene company, but again the plans to control or dictate proceedings will fall sour before the night is through. Also, among the retreat is Murph (Alfie Gledhill) a somewhat isolated figure from the troupe, who blends in well with the male-orientated pursuits brandishing a false hope and a pre-arranged task to carry out. And lastly is Sam (Harley Wilson), a friend of Irenes and fuel to the fire of emotions as Louie questions their motives and faithfulness.

With the players set to play their identified roles, the night has just begun, and the real identities will spring forth to reveal darker and subdued emotional privilege simmering beneath the surface.

The Prognosis:

The subject matter could easily have been overplayed, but both Weir and Clark offer a slow hand to strengthen their cause and allow the characters to sink into the mire. The revelations of the motives set by the players of the piece is masterful and with every ounce of dedication and respect by the acting troupe who portray them. The light is shone firmly on this toxic masculinity without much reprieve or solution, but once the gaze is cast, it’s hard to turn away from the core message. For that Birdeater is a topical and relevant piece that deserves your time and energy. It is another fine Australian feature that lifts above the noise and resonates with its wings, beating out a very clear and precise observation of Australia and its current culture.

  • Saul Muerte

Birdeater is currently screening at selective cinemas nationwide.

“The Emu War: A Hilariously Crass Battle That Delivers Laughs and Groans in Equal Measure”

18 Tuesday Jun 2024

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The Emu War, the latest offering from the prolific Australian comedy outfit Hot Dad Productions, is an unhinged take on the infamous Great Emu War of 1932. Following sold-out screenings at Monster Fest 2023, where the film clinched the coveted Golden Monster Award, the movie is set to hit national event screenings from June 21-23, 2023. Despite its purposefully crass nature and over-the-top tone, “The Emu War” offers a mixed bag of entertainment that may leave some audiences divided.

The film, a feature adaptation of a web series, leans heavily into its absurd premise: a rag-tag platoon of soldiers engaging in a brutal and bloody battle against Australia’s deadliest flightless birds. The narrative follows Major Meredith, haunted by the kidnapping of his son by the emus, as he leads his platoon behind enemy lines to confront the Queen Emu. This ludicrous storyline sets the stage for a barrage of jokes, sight gags, and comedic set pieces designed to elicit laughs through sheer audacity.

Starring some of Australia’s finest comedians, including Damian Callinan, Lisa Fineberg, Aaron Gocs, Dane Simpson, and Ben Russell, the film is packed with performances that range from genuinely funny to painfully over-the-top. While the ensemble cast brings undeniable energy and enthusiasm to their roles, the relentless pursuit of humour often comes at the expense of narrative coherence and character development.

Hot Dad Productions’ trademark style is evident throughout the film, with its crass humour and wild antics front and centre. However, this very quality may also be its downfall. The film’s crude jokes and grotesque humour, while initially amusing, quickly become repetitive and tiresome. Audiences expecting a more nuanced or satirical take on the historical event may find themselves disappointed by the film’s unwavering commitment to lowbrow comedy.

Moreover, the film’s production values, while commendable for a project of this scale, occasionally falter under the weight of its ambitions. Some action sequences and special effects feel amateurish, detracting from the overall viewing experience. The film’s pacing is also uneven, with moments of frenetic activity interspersed with slower, less engaging scenes that fail to maintain momentum.

Despite these shortcomings, The Emu War is not without its merits. The film’s willingness to embrace its ridiculous premise wholeheartedly is admirable, and there are moments of genuine hilarity scattered throughout. For fans of offbeat, irreverent humour, the film delivers exactly what it promises: an over-the-top, laugh-out-loud adventure that doesn’t take itself too seriously.

The Prognosis:

“The Emu War” is a bold and brash comedic endeavour that will likely polarise audiences. Its crass nature and relentless pursuit of humour make it a wild ride, but one that may not be to everyone’s taste. While it succeeds in creating moments of laughter and absurdity, the film’s overall execution leaves much to be desired. Whether this adventurous romp becomes a cult favourite or a forgotten footnote will depend largely on the audience’s appetite for its brand of humour.

  • Saul Muerte

THE EMU WAR will be screening nationally across 21- 23 June, with cast and crew in attendance at all Melbourne screenings, before its release on video on demand platforms on July 8.