Straight off the bat, I have to proclaim that I am not a massive fan of the found footage genre. There have been some exceptions, primarily Spanish horror flick, [REC], and as much as it pains me, I’ve come to appreciate The Blair Witch Project over the years for how it’s simple storytelling and tapping into the wake of the internet boom.
Similarly, Host capitalises on the current social climate and the restrictions that COVID 19 has had on the Arts. Unlike the film Unfriendedwhich tried to harness the ever-changing social media landscape to project fear onto the screens, but ultimately falling short of expectations, Director Rob Savage, crafts a clever and creative script using the minimal amount of tools to his advantage, shooting everything through Zoom links and relying heavy on his cast to create the lighting, stunts, and visual effects needed to pull off the story and make it seem believable.
The narrative takes place with a group of friends meeting together via Zoom to initiate a seance, conducted by a medium, Seylan. It all seems innocent with some of the group not entirely taking it seriously, but as events play out, it soon takes a sinister turn with the group unwittingly calling in a demonic entity into their fold. Can they ward off this evil presence, or will it slowly and violently take them out?
The Prognosis:
Don’t be turned off by the remarkably short running time, Host packs in a lot into the story with great performances and strong characters. Not all of them are likeable, but that’s the point. You have to have a few that you wish to get their comeuppance and those that you genuinely hope to survive their ordeal. Savage has proved himself a compelling storyteller as a result, while taking a simple enough premise and weaving a delightfully dark tale with minimal tools at hand. It goes to show that you don’t need a lot to create a little bit of magic and by tapping into the social mainstream, breathe life into the found footage genre once more.
Jordan Peele’s follow up to his critically-acclaimed debut feature, Get Out has a lot of similarities to Lewis Carroll’s second outing with Alice as he not only puts a mirror up to American society and not only forces us to watch the horror as it unfolds but physically flips our perspective without us realising in an effective twist moment.
That’s not where there the similarity ends, as we also have some twins, a red queen, and placed is as pawns in our own game of chess. Only the colours are so blurred, it’s hard to know which side we should be on. We certainly should know and definitely root for our protagonists, but what if it’s revealed that we’ve been championing for the wrong side? Do we still pledge our allegiance?
Peele craftily weaves in all these images to subject his picture with pop culture images and references ranging from The Shining to The Lost Boys to C.H.U.D. and Michael Jackson and N.W.A. It’s a style that works in this instance as film and music have so shaped our worlds that we have become embedded in these Arts and in some cases schooled by them.
Essentially a home invasion turned country invasion, Us takes the audience on a journey where a family must unite in a bloody tale of survival, but in a world that is so fractured and broken, how can we truly know who to trust and survive without hiding behind the masks that protect us? Can we really join hands across the globe and save humanity from itself by building a wall of protest, or will it merely be viewed as an art installation with no real impact at all? Peele seems quite happy to leave that question unanswered.
The Diagnosis:
Peele is starting to make his mark on the film circuit with his second psychological horror and although it isn’t quite as impactful as Get Out, Us still offers an enjoyable, powerful punch.
For those questioning that opening statement from a website dedicated to the horror movie genre, here’s the thing… Stephen King is so immersed in my discovery of horror as a pre-adolescent male and he opened up my eyes into the world of darkness and the recesses of the human soul, whether it was through a possessed Plymouth Fury or a disturbed entity from the dawn of time that takes on the form of a killer clown. King’s universe easily slipped into the corners of my imagination and lit them up like wildfire, so to emulate these visions and project them onto the big screen would always be a tough sell for this writer.
Maybe I am warped by these Stephen King tinted spectacles that I use in every facet of my waking (and sleeping) life, but in this instance I feel that I have good reason to have the bar set high. King himself was reluctant to release his novel upon completion and described it as his darkest novel to date. The reason it was eventually published fell down to contractual reasons as King was short by one novel with his publishers and so The Creeds and their cat Church saw the light of day.
During the 80’s when King was hitting his stride, Hollywood would snap up his novels, eager to put bums on cinema seats by trying to lure in his fans and to emulate his horror in celluloid form, so it was inevitable that Pet Sematary would also be adapted into film. Mary Lambert’s vision had haunted me in my youth from its depiction of the bed-riddled Zelda to Gage’s death and return from the grave. Another strength was that it was grounded in reality partly through the set design and scenery which was meticulously detailed and shot primarily in Maine, King’s hometown, which also added a level of authenticity to it. Having said all that though, it wasn’t flawless and watching it back now, it does feel dated, so when it was announced there would be a remake, there was a twinge of excitement at the prospect of what that would look like. Early talks were of how it would be more of an inspiration piece and take some alternate directions on its journey beyond the dead lands and back. This did not deter me though, as I was open to a fresh take on the narrative.
The results though left me wanting. Whilst I admired directors Kevin Kolsch and Dennis Widmyer’s bold attempts in adding an alternate skew, I didn’t mind the gender switch with Ellie’s untimely demise and resurrection, I found that the choices they made were more based on ‘what if we did this?’ or ‘why not do that?’ without any rhyme or reason behind decisions. What’s more, the film relied too heavily on jump scares rather than genuinely frightening moments. The overall tone of the piece was a mess and never resonated with me. For a story that is ultimately about death and grief, it was strangely lacking in powerful emotion from the characters.
Grief is such a powerful feeling and evokes a range of emotions from sadness to anger, and that void or emptiness where one wishes to be whole again is absent in this film. I wanted to experience that deep level of despair but it never materialised. In facet, death became more of a comical component in this film from the awkward conversation that Rachel and Louis have with Ellie and even Church’s presence is one that sparks horror.
There was a lot of promise at the beginning when we witness a procession for a dead dog led by a bunch of kids in creepy animal masks that sparks the imagery of an occult and the town of Ludlow, which would have a really interesting take, but this is never really touched on again, which is a real shame.
There are some standout performances from Ellie (Jete Laurence), the always magnificent John Lithgow as Judd, and I really enjoyed the character development of Rachel Creed portrayed by Amy Seimetz (You’re Next), which just fell short at the last hurdle. It would have been really interesting if she faced up to her fears of death by confronting it head on. And one of the creepiest moments was presented by Rachel’s sick-ridden sister, Zelda even if it did evoke some Samara-type behaviour in its delivery. The rest was just white noise.
The Diagnosis
A brave attempt at taking this story in a whole new direction, but falls flat on exposition. The horror was lacking and comical with the emotion completely stripped away, leaving an empty vessel that is soulless and inconsequential.
For more thoughts and discussions on Pet Sematary, check out our podcast below:
At the time of writing this article Halloweenhas made over $106 million dollars in Box Office sales and taken the second-best ever opening weekend of October and has become the best-ever film starring a lead actress over 55 years old.
It’s director David Gordon Green must be riding an all-time high at the moment, which is interesting as he was the original choice to direct the Suspiria remake which would have starred Isabelle Huppert, but due to a confliction of interests this vision fell through.
One can only wonder how his operatic nod to Dario Argento’s classic would have looked like. Instead Italian director Luca Guadagnino, who turned heads last year with his film Call Me By Your Name, picked up the mantle and collaborated once more with actress Tilda Swinton with his homage.
Now, a lot of people would have balked at the very idea of someone attempting to recreate a much-loved horror film, especially as Suspiria was so unique in style and content.
And yet, it’s because of this that you could argue that there is room to revisit the storyline and create something different for a new generation.
And with the trailer’s release earlier in the year, you could tell that Guadagnino was aiming to do jus that and develop a movie with the look and feel of it’s time and setting, 1977, Berlin.
It’s a fascinating time in German history as it was going through a huge discord and anarchy through political unrest, driving far-left militant organization, Red Army Faction (RAF) also known as the Baader-Meinhof Group to drastic measure involving bombing, kidnapping, and assassinations.
The climate was ripe for a dark evil to erupt, and in this instance it resides with a coven of witches in The Markos Dance Company, which too was going through a split faction between Helena Markos, the self-proclaimed Mother of Sighs and the company director, Madame Blanc, (both played by Swinton).
The story evolves through a series of Acts that opens with an unhinged Patricia Hingle (Chloe Grace Moretz) discloses to her psychiatrist Jozef Klemperer (another Swinton performance as the elderly Gent, a performance that sometimes amazes in just how powerful an actress she is, but on occasion distracts through the times that her character slips a little) about the secret sect.
Hingle quickly disappears from the scene, allegedly involved with the RAF movement. This opens the door for when our story truly begins, when American, Susie Bannion (Dakota Johnson) arrives at the dance company and quickly rises as Blanc’s protégé.
All the while, the dancers are unaware of what truly lurks behind the mirrored walls and beneath the dance floor and Professor Klemperer continues on his quest to find the missing Hingle (an effort that masks his own failings in never finding his wife during the outbreak of the second world war).
There are so many layers to this film that it’s easy to get lost in the narrative and fall under the spell that is cast with powerful performances from all the actors driving you deeper into the world as you spiral into the hypnosis.
This is strengthened further by the musical score supplied Thom Yorke, something of a masterpiece in his delivery and trance-like songs that perfectly accompany the atmosphere and direction of the movie.
Equally effective are the dance pieces that closely pull from the Martha Graham technique, using a psychoanalytical viewpoint on the medium depicting human struggles through every contorted and distorted action from the performer.
It’s a perfect accompaniment to the films narrative and proves a central tool to evoke the darkness beyond the known world.
American writer David Kajganich who wrote the screenplay for Suspiria openly admits that he is not a fan of horror movies and prefers to keep the drama grounded in reality. It’s a curious choice to take for a horror film, but one that speaks volumes to the final product on show.
There are some great moments in the movie that drive the drama forward in a fairly slow pace towards a fevered conclusion.
One moment that I found compelling was when the coven congregates around the dining table, providing small talk, but in the same instance offer a small window into their world and the synergy between them all.
The problem is the choice taken pulls as far from a horror as you could get with the exception of an absolutely phenomenal sequence when one of the dancers, Olga has her body twisted and contorted in a gruesome fashion that is so relentless on the screen, that you can’t help but squirm in your seat.
The timing of this delivery is hopeful too and leads you on a hopeful journey that the movie is going to go dark and harrowing, but it never comes.
By the time the finale arises, the left-of-centre change in direction is a little jarring and feels remiss and leaves any horror fan wanting.
The Diagnosis:
It’s a slow-burn movie that grinds its way to a stumbled conclusion.
The drama is gritty and realistic with some stunning performances and dramatic dance sequences that hook you in, but rather than set you ablaze in a fury of emotion, it peeters out to a mere whimper.
Back in 2013 Art the Clown was first introduced to our screens in all his shocking glory as part of Damien Leone’s horror anthology, All Hallows’ Eve.
Thanks to Dread Central, Terrifier was given a limited theatrical release, but this unfortunately didn’t include Australian shores.
Instead, Terrifier came across my bloody and broken radar through the horror vine thanks to some tuned in people after my own heart.
It harkens back to the days of video stores when you come across a gem of a movie, enticed by the vhs cover, in this case gloriously shoving the fucked up clown front and center. It’s his movie after all and boy does he own it.
In some ways it feels like Leone decided to let go of the leash and let his twisted creation run amok without a moments hesitation. The end result is sheer bloody mayhem that would turn those with a weak disposition into a quivering wreak and no doubt reaching or should I say retching into their vom bag.
All this should send the hardcore horror fans into a state of ecstasy at the mere thought of a horror film that isn’t afraid to go dark and push the boundaries of taste in the gore department. No doubt most of you are already aware of this movie.
For those yet to be imitated, Terrifier starts off with a television journalist interviewing one of Art’s victim, scarred beyond recognition but has lived to tell the tale.
We also learn of Art’s disappearance from the morgue, setting up the notion that he is on the loose.
With a shock moment unleashed, the story picks up proper with two female characters, Tara and Dawn who are stranded in the city after their car has a flat tyre.
The warped journey as only just begun though as they encounter Art at a dodgy kebab shop, who takes a shine to Tara before marking his territory.
Feeling rightfully unnerved, the girls seek out rescue from Tara’s sister Vicky, who they entice out to be their saviour.
But will she make it to them in time, or will Art unleash his next canvas using their mutilated bodies?
The Diagnosis:
Terrifier is balls to the wall gross out fun that isn’t for the faint of heart. Sure, there are some shaky moments throughout but this makes the movie all the more gritty. For those eager to delve into a world of gore and brutality, Art the Clown is your perfect remedy.
Okay. There are some people who will watch this movie and instinctively think that it’s a pile of artistic wank within the first few minutes, but for those who stick it out through the admittedly slow pace will find themselves lured into a fantastical journey, that leaves you entranced by the sheer bloody beauty that is depicted on screen.
Italian director Panos Cosmatos’ sophomore outing is an attack on the senses that is delivered in a trance-like state, enamoring you by its beauty of rich colours and kaleidoscopic fluidity. This false-sense of sedateness is doubled further with the deep dialogue between kindred couple Red Miller (Nic Cage) and Mandy Bloom (Andrea Riseborough) which lends itself to the hippy-life that they lead in the remote northern wilderness.
Enter cult leader Jeremiah Sand awesomely portrayed by Linus Roache, oscillating between delusional insanity and vulnerability sublimely. From a chance encounter with Mandy, Jeremiah like the audience is intoxicated and feels compelled to delve further into her mystery, so he brings his entourage of devotees and sadistic fucks to rip apart this idyllic sanctuary and claim Mandy for his own. The problem is that perfection doesn’t exist and when Mandy doesn’t meet his expectations, Jeremiah wants to tear it up and destroy everything. By severing open the guts of peace and bliss, Jeremiah unwittingly sours the land of milk and honey and from that moment on, the turmoil and angst that has been contained, pours forth in a devastating form that has no means of slowing down until the balance is restored once more.
The depredation is the trigger for Red to resort to his base instincts and exact pure bloody hell and revenge on Mandy’s tormentors. This dark and twisted journey that Red undertakes is filled with pure anarchy and hatred that it feels only an actor like Cage can portray. The beauty of his performance though isn’t from his stereotypical over-the-top exuberance but in the stifled and restrained approach that he plays his role, which is a testament to both Cage’s acting prowess and Cosmatos’ direction. By ever so slowly dialing up the heat, Red reaches the pique of frenzy at the right moment in the film to make it both believable and a delight to see.
The diagnosis: Beware of your strive for beauty and perfection. Slice it open and you get a reign of anarchy and destruction.
Cage taps into the life of a man who has his whole world savagely ripped wide open and ventures out on a path for vengeance and fury, delivering one of his finest performances to date.
It’s a visually stunning movie with an amazing cast including a welcome cameo from Bill Duke in the midst of the mind-fuckery that goes on.
Whilst it’s not for everyone, this movie will delight many in its unique style and approach to the celluloid form.
When director Todd Sheets set about fulfilling his dream passion project of filming a practical effects werewolf movie (that was reminiscent of the classic movies of yesteryear such as The Howling or An American Werewolf in London) via an Indiegogo crowd funding, he hardly expected it to gain the massive traction that it finally generated.
The interest and backing from like-minded individuals keen to see a film produced similar to the ones they grew up loving with an old school mentality approach even gained interest from Indiegogo, citing the campaign as a benchmark in crowd sourcing.
The movie is ultimately a B-movie horror, but that term isn’t necessarily something to look down upon, as Bonehill Road is elevated by Sheets’ choice as both writer and director.
The creature effects are impressive and trigger the perfect amount of nostalgia along the way, but it’s the heart of the story that is it’s strongest point and the journey that our two leads, Emily and her daughter Eden are forced to go through in their fight for survival.
They flee from an abusive husband/father only to jump out with the pan and into the fire when they encounter a murderous psychopath who has a number of women tied up in his home. In this one moment, Bonehill Road turns from your typical werewolf flick to a story about female empowerment. A genius stroke from Sheets as it makes the movie not only contemporary and relevant in todays climate, but also cuts to the pointy end of sexual oppression that is so often overlooked in the news and media. The women must bond together in their suffering and rise up against the constant wave of male dominance in order to survive. It’s a shame then that the Gramps character has to make an entrance to help initiate a rescue. It may have been cool to have a gender swap here to and have Granny coming in to aid, and leverage off the classic wolf story, Little Red Riding Hood a touch. Then again, that road has already been travelled to a degree with Neil Jordan’s A Company of Wolves, so who am I to judge?
When the werewolves do come and they do as a pack, as our victims are hold up inside the house, they attack from every where, heightening that feeling of societies judgement and vitriol towards victims of sexual and domestic violence comes crashing through the walls with no direction or safety on the apparent horizon.
Throw in the casting of a name in the horror circuit with Linnea Quigley (Return of the Living Dead) as one of the fellow kidnapped victims and Sheets provides some further leverage in bringing in a wider fan base to Bonehill Road, proving that not only is he one of the most likeable directors in the business but also one of the smartest.
The Diagnosis:
Todd Sheets brings a bout of old school werewolf horror to the B movie scene packed with practical effects, and offers a strong heart that beats with purpose offering a fresh take on a tried and tested genre.
There are some movies that you can tell will look like turds when they’re released based on the trailer alone, and then there comes the cataclysmic eruption of shit that movies like Slender Man offer that grossly under-estimate your initial reservations.
If you’re thinking I may be coming across a little harsh, then think again. Slender Man fails to deliver a single ounce of originality which is ironic considering the slightness of the ‘boogey man’s name.
This is the problem when you try to create a feature length story based on a creepypasta internet meme. It’s like the producers got together and said “Hey, that would make a great movie”, then sealing the deal without actually considering what that concept may look like in the 93 minutes that ended up in the theatrical cut.
Once greenlit it seems the screenwriter decided to steal from every possible horror movie trait going and try to cobble this together out of… out of fucking nothing!!!
The film plays on the paranoia that supposedly brings about when you watch any of the viral videos on the net, and shock horror he enters your mind and… does what exactly? It’s never really clear, but once he does, you’re fucked. All this sounds eerily familiar to the Samara shenanigans in Ring.
The quartet of girls that the movie revolves around evoke the Slender Man from his slumber but have little to offer in the mix either with incredibly 2-dimensional characters leaving us with little care factor. The cast should be able to deliver with Joey King promising once more, but like her role in Wish Upon, falling short again; The Affair’s Julia Goldani Telles also provides appeal based on her previous role, but we’re left wondering who’s journey we’re supposed to be following, which ordinarily might seem clever, but ends up as a complete muddle. Even the promise of Annalise Basso (Ouija: Origin of Evil, Oculus) ends up being woefully underused.
The Diagnosis:
Honestly, this was a painful watch. No originality. No real concept. And a boogeyman that just didn’t scare. Avoid if you can.
They promised you big, and big we got, but probably not necessarily what the producers were hoping for.
The BIG question lies in two classification rating. Whilst they strive to appease a wider market with an M rating, those hungry for some blood, guts, and full-on gore will be sorely disappointed. The Meg shark never really scares or shocks the audience and on more than one occasion appears happy to just swim around waiting for the humans to plan time-consuming methods to either tag or destroy the beast.
The movie does spend a hell of a long time building up some backstory to the main protagonists so that the audience will hopefully give a damn about their outcome but a lot of the time leans towards a predictable conclusion.
The main criticism is primarily focused on Jonas’ (Jason Statham) plight. The film set up shows Jonas needing to make a critical decision during a deep sea rescue, which ultimately leaves two of his comrades to die. The issue I found is that we aren’t really ever introduced to these two characters or their relationship with Jonas for this blow to have any devastating impact. This ain’t no Maverick / Goose moment.
Instead we rely on Statham’s angst at this supposed ordeal as he grimaces and tries to pull his best pensive expression.
The result leaves Jonas all washed up and resorting to drink.
So, when an experimental science expedition uncovers an unexplored underwater terrain, which inadvertently sets The Meg free, who should be could back into action to rescue those trapped in perilous depths? None other than our friend Jonas.
There’s some weak plots thrown into the midst, with Jonas’ ex being one of the survivors in need of rescue, but there’s enough of a twist to push the love interest in a different direction before falling prey to a predictable path.
To the writers’ credit though, there is enough interest in the characters to keep you interested… just. And the cast is solid enough to ground some of those characters.
Ultimately though, this is a Statham movie, so it’s not going to ground-breaking but it is going to be entertaining.
The Diagnosis:
Naturally some people will want to compare this movie to Jaws, the Titan of shark movies, but as big as you will make the shark, the result will always fall under the giant shadow that Spielberg’s classic still holds. And no blatant rip-off beach sequence is going to elevate anyone’s belief in that stat, although I did love the inflatable water walking balloon and Pippin the dog for comic value.
Not Statham’s finest hour but worth the plunge all the same.
You could probably count Killer Pig movies on one hand, and leading that charge would be Australian B-Movie brilliance, Razorback that established a firm cult following back in 1984.
So when I heard that director Chris Sun would be ensuing his middle-of-the-road, but promising feature, Charlie’s Farm with homage (of sorts) to the rampaging boar, my heart fluttered with anticipation and glee at the thought of such a premise.
I was also intrigued as to how Sun would present said hog throughout the feature and hats off to the effects team, who pull off an impressive animatronic beast to entice you in, whilst the directive is to go with CGI more towards the films climax.
It’s just a shame that Sun chose not to tease out the creatures full presence a bit longer, as it kind of takes away from the scares and you’re left relying on character development to pull you along as a result. (More on that in a moment.)
It has a promising start though, with a glimmer in the pre-credit sequence and then its lower jaw is all that is visible in the next kill scene.
Much to Sun’s credit too, he has some great pulling power in his casting, enticing Bill Moseley (House of 1,000 Corpses, The Devil’s Rejects) back to work with him as patriarchal family man, Bruce.
Also returning to collaborate with Sun is Megaman himself, Nathan Jones as Bernie, the larger than life Uncle and is used to great effect when squaring off against the beast.
Joining the cast is a who’s who of Australian actors, notably John Jarratt (Wolf Creek) and Roger Ward (Mad Max) who offer one of the more comical moments in the movie, riffing off each other in true larrikin style.
In addition, there is also Chris Haywood (Quigley), and 90’s pop icon Melissa “Read My Lips” Tkautz, but its actually a cameo turn from Steve Bisley (Jim Goose – Mad Max) as town drunk Bob, that almost steals the entire movie with a brilliant performance that captivates the audience.
Ultimately though, Boar strides onto the screen with its tusks bared emanating its predecessors in the Ozploitation scene and Sun throws as much blood and guts to accentuate this style in the feature and fans of this genre won’t be disappointed when these moments are thrust in the audiences faces.
It’s a shame then that the film suffers from the dialogue on display.
Too often the audience is left feeling adrift in vacant and vapid conversations that have no place in the movie and pulls the movie down as we’re left dragging our hooves. Personally it felt that either the conversations or camera shots were left too long.
My attention drifted, and the curiously long running time became hard to bear, as I was willing for the film to reach its conclusion.
Some people may forgive the choices made in edit, (which on occasion left the movie feeling like a first cut, rather than a polished movie), and thrive on the gore element, but for this reviewer it kept throwing me out of the picture.
The Diagnosis:
All guts, no glory for Chris Sun’s fourth outing in the director’s chair.
