Tag Archives: Horror movies

No Finish Line: The Long Walk Turns Minimalism into Masterpiece

22 Monday Sep 2025

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Sometimes when we get caught up reviewing all these films, it’s easy – all too easy – to forget that
as with a painter staring at a blank canvas; a director, when given their brief, is staring at a multitude
of choices in which to tell the story they have written (or in the case of The Long Walk; been given) .
And this particular story is the brainchild of writing grand master Stephen King. So, no presh.
Also throw in the fact that it involves walking, a ton of it, and you might think this is a film for a
novice (too inexperienced to know that this is an extremely tough assignment) or a black belt
filmmaker. Someone who knows enough to know that a movie that’s about walking in the open air
gives you nowhere to go. No immediate cutaways, no car chases, no love scenes to dictate changes
in pace etc.
Heck even your coverage choices are limited by how stylised (or not) you want to go about filming
men walking. And walking. And walking.
So what do you do? Well, there are a few things this pic leans on, and we’ll talk about those in a bit.
But first – some much-needed context for the 0.08% of you who have clicked on this article not
knowing what this movie is about.
Set in a dystopian alternative reality (around 1970’s ish – although the exact time period is never
stated, so I’m going off the novel, which was written in 1979) you soon realise that The Hunger
Games (and King’s own The Running Man) owe a lot to this idea.
Which is, you get people to WILLINGLY go through a trial of fire to get some nebulous sense of
financial freedom, and freedom from bondage.
In this particular case, you walk. As in you collate at a starting line, get assigned a number and you
walk. There is no finish line. Last man standing (and it is all men in this story. Young men, one from
each State of the U.S. – so 50 in total) wins. And wins big. Both in terms of $ and a wish…
The rule is you DO NOT stop. Evah. If you do for more than a few seconds you are given a warning.
If you fall below 3 miles an hour you are given a warning. More than 3 warnings in an hour and you
are executed there and then by one of the volley of military personnel keeping pace with you.
Water and rudimentary rations are given to the walkers, which prolongs their agony if anything.
Because stopping to relieve yourself or sleeping is counted as a warning/shootable offence. Taking a
pebble out of your shoe, bad weather, incredibly steep inclines…. you’d be surprised just how many
things can impede a good walk when halting is not an option.
And that’s what this review will do right now to get the always insightful Chris Dawes to give his take
on the movie. Over to you Chris!

Ok. So. In my view there are two types of Stephen King adaptations – The genre defining classic (The
Shining, Green Mile, Shawshank) and Dreamcatcher.

The Long Walk is the former.
It’s incredible – they have managed to make a minimalist, mid budget film about a bunch of people
walking through middle America deeply engaging.
Even the moments that you can see coming hit you, and hit you hard.
Everyone in this film is acting the shit out of it in the best possible way – I reckon this will be the
breakout movie for a bunch of the next generations’ Oscar winners.
It’s the kind of film that sits with you when it is over.
And boy howdy, do I love a Mark Hamill heel turn – I genuinely hated his character in a way I have
not often hated a film bad guy. Fucker managed to out-Darth Darth.
Glorious. No notes.
See this movie.

So, as you can see – mixed emotions from Chris there.
I kid.
As he touched upon, the best weapon this movie had at its disposal was casting. One way to get
around a story that has limitations in terms of setting is to make sure your actors are world class for
the roles they have been chosen to play. And for this trek, the filmmakers have nailed it.
When all you have is dialogue interspersed with ratcheting tension with each death, it helps that the
baseline words come from Stephen King. But when those words are delivered by young actors who
themselves are clearly gifted craftsmen, then you have the luxury of letting this movie do all the
heavy lifting for you.
And the tone from the outset is thrown down by the only real female member of the cast – Judy
Greer.
Now well and truly in the mother character phase of her career, her heartbreak as she bids farewell
to her son at the starting line hits a perfect balance. Not over-wrought to put you off the film before
it’s even started, but 100% grounded in a reality you can buy into. Because at this point of the
movie you don’t know the rules of The Walk, but in a great example of show don’t tell, you know it
can’t be good. So from the get-go you are intrigued and a little bit tense – the exact sort of tone you
want at the start of a flick like this.
So. Writing and acting. That’s how you make a dangerously simple premise work. [Allow time for
the world’s biggest d’uh].
But another thing that played in favour of this film was its unapologetic refusal to look away. The
way these men die is graphic, and that’s the point. A bullet does horrendous damage to a human
body. Powered metal explodes through bone and tissue and it doesn’t care how you look
when it does, and this film makes sure you SEE that, in all its factually visceral detail.

And it’s not gratuitous either. But rather, the point. Because why would these men sign up for
something that has a 49 in 50 chance of killing you in a physically painful and undignified way?
Well – why would 12 districts send 2 young people each year to fight to the death for the
amusement of the rich masses?
And by extension… why would SO MANY people in a real-life election vote AGAINST their own best
interest?
Because the illusion those in power sell to those without is tantalising and intoxicating. It’s framed
in rules that THEY set, but if you play the game, you can be ONE OF THEM. One of US!
In this case, chances are 49 to 50 against, but the result is binary. It’s either yes, or it’s no. And most
of us think and feel – deep down – we are the lead character of our own story. And rules don’t apply
to lead characters! Lead characters stand out by going against the mainstream and beating the
odds. Lead characters are special and so are YOU! Despite something immutable as math saying
you’re not.
Plus changing an unfair status quo through revolution seems like a lot of hard work. Work that
mostly benefits those who come after you, as revolts usually kill a lot of instigators. Even successful
ones.
So why not choose a path that could immediately benefit YOU instead? Countless money AND a
wish?
So what if the odds are not in favour? If you want anything in life, anything that’s worth it, you gotta
work for it. Bleed for it.
Walk for it. Die for it.

The Prognosis:

Power is an illusion, but it doesn’t make it not real. And this film makes you feel that every step of
the way.
5 stars.

  • Antony Yee & Chris Dawes

“Scars and Scales: Monster Island Delivers Heart with its Horror”

21 Monday Jul 2025

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Directed by: Mike Wiluan | Starring Dean Fujioka, Callum Woodhouse | Premieres on Shudder & AMC+ July 25

In Monster Island, Shudder’s latest exclusive creature feature, wartime survival collides with Southeast Asian myth in a film that smartly blends old-school monster thrills with an unexpected emotional core. Inspired by Creature from the Black Lagoon and rooted in Malay folklore, the story drops a Japanese soldier and a British POW onto a seemingly deserted island following a submarine attack. But peace is short-lived, as the island is home to the Orang Ikan — a fearsome aquatic predator who’s as territorial as it is terrifying.

What sets Monster Island apart from many of its creature feature contemporaries is its willingness to slow down and explore the human side of horror. Rather than lean solely on blood and beasts, the film builds tension from cultural divides and post-traumatic wounds, forcing its two leads into a fragile alliance. Dean Fujioka and Callum Woodhouse bring depth and vulnerability to roles that could have been flat archetypes. Their chemistry makes the film’s central theme — that survival often means facing not just monsters, but your own past — all the more resonant.

Admittedly, the film’s ambition sometimes outpaces its resources. Pyrotechnic effects and digital enhancements can look rough around the edges, and the pacing dips during some mid-island soul-searching. But the film’s practical effects — particularly the creature design — are strong, evoking a rubber-suited charm without feeling dated. There’s enough gore to keep horror hounds engaged, but it never overpowers the human drama, and that balance is key to its charm.

The Prognosis:

While it might not revolutionise the genre, Monster Island shows there’s still plenty of room for creature features with a conscience. By grounding its mythological terror in real-world history and emotional stakes, the film claws its way out of B-movie cliché and into something far more sincere. For fans of wartime horror, international folklore, or just old-school monster mayhem with a pulse, this island trip is worth the ferry.

  • Saul Muerte

Clown in a Cornfield Juggles Gore, Heart, and Teen Angst—but Drops a Few Balls

13 Tuesday May 2025

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Eli Craig’s stylish adaptation of the Bram Stoker Award-winning novel lands some bloody punches, but struggles to balance slasher thrills, meta commentary, and character depth.

Adapted from the 2020 novel of the same name by Adam Cesare. Clown in the Cornfield won the Bram Stoker Award for Best Young Adult Novel and was a prominent addition to the new wave of horror literature. Acquired by Shudder and pushed wider than one would expect for a Canadian teen slasher, the film has high aspirations and plenty to show for it.

Still grieving the loss of her mother, Quinn (Katie Douglas) has been transplanted from Philadelphia to the corn country town of Kettle Springs by her father, the new town’s doctor (Aaron Abrams). Hoping for a new start, they find the town, still stuck in the 90s, has a strange air about it. The adults all seem to have it out for the teens of the town, in particular the group lead by the Mayor’s son, Cole (Carson MacCormac). Much to the town’s chagrin Cole and his friends make internet horror videos, starring Friendo the Clown, the Factory and the Town’s Mascot. After one of their recent after hours shoots in the corn syrup factory, a fire mysteriously started and burned the whole thing down, putting half the town out of work and the teens in the crosshairs of a very angry clown.

A slasher lives and dies (and dies and dies) on its kills and in this teen slasher comedy Director Eli Craig brings his experience from the very fun Tucker & Dale vs Evil and the Adam Scott starring, Omen parody, Little Evil. While the killing is sparse to begin with, the violence ramps up towards the end in fun and inventive ways. There is a surprising amount of heart put into the film and the teen drama between the leads is engaging and affecting. One of the film’s weak points though is the supporting cast, the performances are held well but characters are so thinly drawn which only is highlighted because the leads have such life and depth to them.

Out of the whole Canadian cast, Kevin Durand is the biggest name here and really he’s more of a “Hey, I know that guy!” Durand plays the conservative Mayor obsessed with tradition and hard on the youth. While there isn’t a whole lot for him to do for most of the film’s run, there is one scene towards the end where he gets to really chew the scenery.

Together, Craig and cinematographer Brian Pearson (Final Destination 5, I Am Legend) bring a gorgeous look to the film, it’s probably one of the best looking teen horrors in a long while. Divorced from so many of the bad habits that have plagued the lower tier horror films of the last decade. The action is clear and you are always oriented in the scenes. I know this sounds like faint praise but there are so many slashers aimed at teens that just do not try and end up edited to pieces.

Unfortunately, the film suffers in the act of adaptation, too often you can feel a novel’s pacing and story squeezed into the brisk 96 minutes of the film’s run time. The tone fights with itself throughout flitting between classic slasher, meta comedy and teen drama, doing all three well when it’s happening on screen but all three never coalesce into a singular piece. Friendo never really gets the moments to elevate anywhere near to the likes of Jason or Freddy, or even Art the Clown for that matter. His design is not terribly interesting and the reveal of what’s really going on, while surprising at first, leaves the lore pretty thin and shallow to play in

The Prognosis:

The aspirations to be Scream for this generation are here; the mixture of horror and comedy, generational commentary, teenage cast. As an entry level slasher it does plenty right and with solid direction, inventive kills and charming performances but for more seasoned slasher lovers will be left wanting from Friendo the Clown.

  • Movie Review by Oscar Jack

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

Stopmotion”: A Haunting Journey into Grief and Imagination

27 Monday May 2024

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Streaming exclusively on Shudder and AMC+, Stopmotion premieres Friday, May 31st, offering viewers a chilling exploration of grief, creativity, and the tenuous divide between reality and imagination. Directed by Robert Morgan, this psychological thriller delivers a mesmerizing cinematic experience that lingers long after the credits roll.

At its heart, Stopmotion is a character study of Ella Blake, a talented stop-motion animator portrayed with captivating depth by Aisling Franciosi. Following the loss of her controlling mother, Ella grapples with inner demons while immersing herself in the creation of a dark and macabre puppet film. As her grip on reality begins to slip, the lines between her own life and the surreal world of her animation blur, leading to a terrifying battle for sanity.

Performance Brilliance: Aisling Franciosi Dazzles

Franciosi’s performance is nothing short of spellbinding. She effortlessly navigates the complexities of Ella’s character, portraying her vulnerability, anguish, and descent into madness with haunting authenticity. Supported by a talented cast including Tom York and Jaz Hutchins, Franciosi brings Ella’s journey to life in a way that is both mesmerizing and deeply unsettling.

Influences and Vision: Robert Morgan’s Artistic Tapestry

Director Robert Morgan draws inspiration from a diverse array of influences, including Francis Bacon, Edgar Allan Poe, Jan Svankmajer, the Quay Brothers, David Lynch, David Cronenberg, Joel Peter Witkin, and Hans Bellmer. These influences are evident throughout Stopmotion, from its surreal imagery reminiscent of Jan Svankmajer to its nightmarish themes reminiscent of David Lynch and David Cronenberg.

A Mind-Bending Odyssey

Stopmotion unfolds as a haunting exploration of the power of art to both heal and destroy. As Ella’s creations take on a life of their own, the film delves into themes of obsession, identity, and the dangers of unchecked imagination. Director Robert Morgan expertly builds tension throughout, keeping audiences on the edge of their seats as Ella’s world spirals further into darkness.

Visually stunning and atmospherically rich, Stopmotion is a testament to Morgan’s directorial prowess. From its meticulously crafted stop-motion sequences to its hauntingly beautiful cinematography, every frame of the film is infused with a sense of unease and foreboding.

The Prognosis:

A Haunting Masterpiece
Stopmotion is a must-watch for fans of psychological horror. With its haunting visuals, mesmerizing performances, and thought-provoking narrative, it stands as a testament to the power of cinema to captivate and disturb in equal measure.

  • Saul Muerte

Stopmotion will be streaming on Shudder from 31st May

Movie Review: Hellhounds (2024)

25 Thursday Jan 2024

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Hell hath no fury like a woman and a biker scorned.

On paper Hellhounds is the stuff of a second rate horror novelists dream, building on a tried formula of werewolves and bikers. Throw in the mix a group of bounty hunters and some questionable members of the constituency and you’ve got a potboiler of a film.

Where one pack of werewolves bearing the films’ titular name, they are pitted against a fanatical order of werewolf hunters known as… wait for it… Silver Bullets. It’s comic genius.

That there though ends the line of fantasy and the reality when it sets in sadly lacks in meeting up to the premises potential. Not that you can squarely judge this on the dreams and aspirations writer, director Robert Conway places on his vision, but the budget and the effects are left wanting and the acting is too complacent to attach oneself to the films’ plot.

There are some moments of brutal exposition that can put the hairs on the end and the encounters albeit few and far between take some of the scenes and push them to the boundaries of what was possible given the restrictions. Ultimately though, this is a middle of the road affair without any real known destination.

The Prognosis:

This could have been so much more with a bit more thought and action placed behind it and admittedly some more bucks and better talent in front of the screen.

There are little to no scares and one can’t help but hope and wish that some practical fx were placed to rally up the lycanthrope factor.

  • Saul Muerte

Hellhounds is currently available on PRIME from to rent or buy.

Retrospective: Monolith Monsters (1957)

16 Sunday Oct 2022

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As 1957 drew to a close, so did Universal’s stories around monsters, giant creatures, and supernatural events in the science fiction realm.

It wasn’t that the production company was short on ideas, and Monolith Monsters is a testament to this, pushing the envelope away from the known and into the unknown. When a meteorite crashes and its material then grows to epic proportions once exposed to water and turns anyone that crosses its path to ash.

Grant Williams who had already starred in the successful The Incredible Shrinking Man would star as the everyman turned hero, Dave Miller. Dave happens to be the head of San Antonio’s geological office, so he’s a man with smarts and just might have the answer to saving humanity from these monumental blocks of stone.

Joining Millar is his girlfriend and teacher Cathy played by American singer Lola Albright who supported Frank Sinatra and Debbie Reynolds in The Tender Trap and was only a few years away from acting opposite Elvis Presley in Kid Galahad. For Monolith Monsters though the lead characters Dave and Cathy would use their combined knowledge along with college professor Arthur Flanders (Trevor Bardette) to find a solution to stop the threat expanding into their town.

A particular highlight is the cameo performance from William Schallert as a benign meteorologist, happily carrying out his day without the slightest notion of the impending danger that is facing humankind. Also keen viewers will note a young Troy Donahue in one of his earlier roles playing a dynamite expert.

Whilst noted for its production design and special effects plus some noteworthy performances Monolith Monsters suffers with execution. It presents a unique story but fails to manifest or produce anything out of this grain of salt idea. As such the sands of time have been unkind over the years, left as a forgotten relic from a decade of dwindling success.

– Saul Muerte

Monolith Monsters is currently available as part of a double feature blu-ray with The Deadly Mantis at Umbrella Entertainment.

Retrospective: Tarantula! (1955)

30 Saturday Jul 2022

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Universal Pictures would follow up their 1955 science fiction feature This Island Earth, with another larger than life science horror tale.

This time the focus would be a monster creature feature and developing one of humanity’s greatest fears, the spider, more specifically the tarantula. It would take on one of the popular themes of the time, by increasing the size of creatures (or in some cases, shrinking the humans)  to maximise the threat factor on screen. 

Set in the fictional town of Desert Rock, Arizona, Tarantula! Is essentially your science gone wrong, film, and picks up with a deformed man emerging out from the vast landscape before dying. The man in question was biological research scientist Eric Jacobs, and we later find out that it was his research that was his own undoing. 

Our lead protagonist and local town doctor, Matt Hastings (John Agar) is intrigued by Jacobs’ strange deformity and is compelled to find out the truth. His investigations naturally lead him into danger when he finds out just how life threatening Jacobs’ research has gone. The research laboratory is in the back of beyond, where Jacob’s colleague Professor Gerald Deemer (Leo G. Carroll – Strangers on A Train, North By Northwest) resides and appears to be continuing with the experiments. It also turns out that part of the formula that is being tested on the animals in the lab, speeds up the growth rate, including the titular Tarantula who escapes following the initial fire outbreak and is now growing at an alarming rate and consuming all the local cattle… before taking a fancy to human flesh!

It’s all b-movie material with close ups of the victims as the tarantula descends upon them and they meet their end.

Of course it wouldn’t be a 50s sci fi horror without a love interest thrown into the mix, which is where lab assistant and student, Stephanie Clayton (Mara Corday) enters the scene and into the spider’s lair, so to speak, to become the damsel in distress but with smarts.

By the film’s conclusion, humanity has to resort to some heavy duty firepower to rid the world of this menacing creature, and it comes from the Air Force, carrying napalm and piloted by a certain cameo by Clint Eastwood.

  • Saul Muerte

Tarantula is currently available at Umbrella Entertainment as part of a double bill blu-ray with The Incredible Shrinking Man.

Movie review: On The 3rd Day (2021)

05 Tuesday Jul 2022

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Daniel de la Vega’s latest feature, On the 3rd Day finds its place on Shudder’s Exclusive and Original platform. While it does serve up some fairly predictable choices, there is certainly some appeal in the manner that de la Vega chooses to weave his tale.

The centrepoint of catharsis stems from the moment when Cecilia and her son Martin are involved in a car accident. Cecilia was in the throes of escaping her abusive husband when the catalyst occurred. The story picks ups three days later with Cecilia trying to piece the puzzle along with now trying to find her son; absent since the car crash.

Who was responsible?

Who is this mysterious elderly religious man, hellbent on his own quest and the other party in the collison. Is this coincidence or divine reckoning that has brought these two together only to counter against one another towards the film’s climactic reveal?

The further Ceclia digs into her lost days, the more of the past she uncovers with brutal truths exposed.

The air of intrigue that hangs in the air of Cecilia’s character is the main draw card here and Mariana Anghileri’s portrayal of our protagonist is a big draw card as she delicately dapples with strength and vulnerability. It is this balance of emotional range that allows the audience to play along with the poetry of the piece and despite its obvious movements, is captivating all the same.

The Prognosis:

On the 3rd Day treads a foreseeable trail but in this case it’s not the destination that is its selling point but the journey it takes us on.
Celia’s plight and dedication to find out the truth of the mystery carries our own intrigue with careful deliberation to hook us in and deliver a satisfying tale.

  • Saul Muerte

Movie review: X (2022)

22 Tuesday Mar 2022

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Last week I joined up with fellow Surgeon Myles Davies to watch Ti West’s latest turn behind the camera with his seventies inspired horror slasher flick, X.

A couple of days later, my colleague fired up the following tweet to cast his judgement before the world.

But what prompted this response from our slasher surgeon guru?

What compelled him to go Cujo frothing crazy?

Was he merely spouting foreign tongue, possessed by Satan’s work?

Or was there a method to the madness and perhaps people should sit up and take note of his prophecy?

Well, let’s throw the beast onto the mortician’s slab and dissect the film to get to the heart of it.

It’s been about six years since West sat in the directors chair for a feature length movie, and his subject of choice is a love song to the late sixties and early seventies with the infusion of sex and slasher horror.

There are obvious nods to the porno scene that had infiltrated the movie Plex with films such as Debbie Does Dallas, opening to dorr for adventurous and risky filmmakers to make their mark with cheap, low budget, guerrilla style approach to the medium.

Similarly the slasher scene was starting to raise its head, notably through The Texas Chain Saw Massacre, directed by Tobe Hooper and from which West draws the bulk of his inspiration from.

West is clearly a man who knows his field though with suitable nods to Hitchcock’s Psycho, Kubrick’s The Shining, and even early 80s horror flick Alligator. 

X follows a group of young filmmakers intent on making an adult movie that could launch them to stardom; whether it was through escapism, to be famous, or for the money. Leading the stakes with that certain X factor is Maxine Minx (Mia Goth), a stripper and pornographic film actress. Joining her on their filming expedition is her boyfriend and producer Wayne (Martin Henderson), fellow actors Bobby Lynne (Brittany Snow), and Jackson Hole (Kid Cudi), Director RJ (Owen Capbell), and his girlfriend Lorraine (Jenny Ortega). 

Their choice of location happens to be a farmhouse in Texas (of course) and much like its inspiration, there’s more than meets the eye from its occupants, but not necessarily how you would expect… an elderly couple. Pearl (also Goth) is unwilling to let go of her sexuality just because of her age; and Howard (Stephen Ure) who will stop at nothing to satisfy her needs, but time may not be on his side. 

There is a fine line between pleasure and pain, and all it takes is one simple flip to turn our intrepid pioneers in filmmaking to be pushed into a world where they may not return from. Once the characters and setting take hold, West then lets loose with a slasher frenzy of delight, painting his celluloid brush with the artistic style and grace that the genre lends its name from, dabbing from a palette of iconic horror visuals to stimulate the audience with.

X is more than a homage to films of yester-year though as West immediately lures us in with the style from the era, both visually and auditorily, scintillating the senses. As he subjects us to the charm of the movie, West then pulls us in further with rich characterisation, who on face value appear to be stereotypes of the decade, but beneath the surface are more than their appearance depicts.
In fact, West’s masterstroke is in forcing the viewer to look beneath the surface of these characters, delving deep into their personalities and forcing their true selves to the fore.
The biggest component that Wast dapples with is the social stigma that age has on society, and how sex can diminish when time plays its part on us all. Does age damage the psyche? When we are left with our souls, and our body begins to fail us, what makes us worthy then when we aren’t able to let go of our sensuality?

The Prognosis:

So what is the conclusion?
Is this as Myles states, a potential contender for horror film of the year?

Ti West serves up a beautifully shot movie that sparks nostalgia and awakening to the slasher genre. The performances, especially from Mia Goth in her dual role are an absolute delight.
And the slow burn tension that flicks with humour and horror is perfectly balanced throughout the film. Plus the use of age and fear of ageism in the wake of losing one’s sexuality as the central theme is a bold but rewarding one.

West has always proved to be a quiet achiever from the mumblegore movement, but deserves more praise for his efforts.

X has just elevated his profile further and with the promise of turning the movie into a trilogy and a prequel called Pearl due later in the year, West could very well have made the best horror film of the year. Stay tuned 2022.

  • Saul Muerte