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In Memoriam: Paul Morrissey, Avant-Garde Visionary and Architect of a New Veil of Horror

29 Tuesday Oct 2024

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The world of cinema lost a fiercely original voice with the passing of Paul Morrissey, a director whose work left an indelible mark on the avant-garde and horror genres alike. Known for his collaboration with Andy Warhol and his raw, boundary-pushing features, Morrissey challenged conventions with creativity and daring, leaving behind a body of work that continues to resonate with audiences seeking art that refuses to conform.

Morrissey’s creative journey was most famously linked to Warhol’s Factory, where he worked closely with the pop art icon and brought to life films that blended high art and underground grit. His early collaborations with The Velvet Underground helped to shape the sound and tone of New York’s counterculture movement, making him an integral part of the era’s creative explosion. Morrissey’s vision was one of stark realism, fearlessly showcasing society’s edges with an unfiltered lens. His directorial work on films like Trash and Flesh blurred the line between art and life, marking him as a daring auteur willing to take on taboo subjects with unflinching honesty.

In the horror genre, Morrissey found a unique playground where he redefined the art of the grotesque and satirical. With Flesh for Frankenstein (1973) and Blood for Dracula (1974), he breathed new life into classic horror tropes, merging visceral, almost operatic storytelling with elements of shock, humor, and dark social commentary. His take on Frankenstein’s monster and Dracula was unlike anything audiences had seen: campy yet sophisticated, unapologetically violent yet brimming with wit. Morrissey’s vision was to create a “new veil of horror” for the big screen, where moral decay and societal hypocrisy played as much a role as blood and gore.

Flesh for Frankenstein and Blood for Dracula were groundbreaking in their use of 3D effects, visceral special effects, and Morrissey’s penchant for satire. His characters exuded an unusual charm amid their depravity, humanizing monsters and amplifying the absurdity of humanity. With his leads—Udo Kier as the eccentric, tragic Count Dracula and Joe Dallesandro as the rugged, unflappable antihero—Morrissey explored sexual and existential themes, presenting the horror of the human condition in a way that was deeply philosophical yet accessible through genre thrills. His films invited audiences to confront their own discomforts and curiosities in a way that horror cinema hadn’t previously dared.

Paul Morrissey’s impact on film goes beyond the work itself; he was a bridge between the worlds of art and cinema, pushing the boundaries of each to their limits. His legacy will be remembered for the creative courage he exemplified, his willingness to defy expectations, and his unapologetic embrace of both the beautiful and the macabre. Though he may be gone, Morrissey’s unique approach to storytelling will continue to influence filmmakers and inspire audiences, reminding us that horror, like art, is at its best when it dares to challenge, provoke, and uncover the darkest parts of the human psyche.

  • Saul Muerte

Christmas Carnage: Art the Clown Returns in Terrifier 3 with Dark Humor and Even Darker Gore

29 Tuesday Oct 2024

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With Terrifier 3, Damien Leone returns to the screen with another round of high-intensity slasher fare featuring Art the Clown. This time, however, Art trades in his usual Halloween night escapades for a yuletide twist, bringing a nightmarish take to the holiday season. In doing so, Leone melds Christmas cheer with dark humour and, unsurprisingly, his characteristic penchant for pushing practical effects to their bloody limits.

The film doubles down on what made its predecessors so distinct, using extreme gore and practical effects that make even seasoned horror fans squirm. Leone clearly revels in finding inventive—and unflinchingly gruesome—ways to dispatch his victims, pushing the boundaries of mainstream horror effects. This choice may not be to everyone’s taste; the Terrifier series is notorious for teetering at the edge of what’s acceptable in horror, and Terrifier 3 is no exception. Yet, Leone’s commitment to the practical, visceral nature of his effects keeps fans coming back for more.

Art’s shift to the holiday season brings a fresh layer of dark irony, with the contrast between holiday warmth and Art’s merciless brutality. Lauren LaVera returns as Sierra, delivering a performance that brings much-needed gravitas and weight. In a landscape drenched in Art’s unhinged humor—delivered with menacing glee by David Howard Thornton—LaVera provides a grounded presence that strengthens the emotional stakes. She holds her own against the increasingly chaotic energy of Art, continuing her trajectory as a worthy foil and survivor in Leone’s slasherverse.

Adding to the film’s appeal are the entertaining cameo appearances by Clint Howard, Daniel Roebuck, Chris Jericho, horror effects icon Tom Savini, and Jason Patric. Each brings a tongue-in-cheek quality to their scenes, adding a sly wink to horror fans who appreciate genre legends popping up in unexpected places. Savini’s presence, in particular, feels like a nod to horror’s dedication to practical effects, grounding Leone’s splatterfest in the legacy of horror cinema. These cameos lighten the mood at crucial moments, balancing out the unrelenting gore and further amplifying the film’s dark humor.

The Prognosis:

For fans of the series and die-hard horror aficionados, Terrifier 3 delivers. It’s bold, unapologetically over-the-top, and manages to stick to its roots while injecting a fresh, sinister seasonal twist. As divisive as it may be for some viewers, Terrifier 3 captures the raw spirit of horror with plenty of festive frights and fan-favourite faces, making it a holiday slasher like no other.

  • Saul Muerte

Overshadowed but Unforgettable: Stir of Echoes Haunts 25 Years Later with Bacon’s Gripping Descent into the Supernatural

26 Saturday Oct 2024

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Released mere weeks after The Sixth Sense, David Koepp’s Stir of Echoes didn’t get the attention it might have otherwise garnered, overshadowed by the cultural juggernaut of Shyamalan’s film. Yet Stir of Echoes is a worthy supernatural thriller in its own right, deserving of renewed appreciation, especially for its unsettling atmosphere and committed performances by Kevin Bacon and Kathryn Erbe. Bacon’s portrayal of Tom Witzky, a blue-collar worker with newfound psychic abilities, anchors the film with emotional depth and an unflinching intensity that makes Tom’s haunting experiences feel palpable and raw. Erbe’s subtle performance as Tom’s wife, Maggie, complements this perfectly, grounding the narrative with compassion and skepticism, making her a compelling counterbalance to Tom’s unraveling.

Richard Matheson’s Influence on Horror and the Supernatural

At the core of Stir of Echoes is the source material by Richard Matheson, one of the 20th century’s most influential horror writers. Known for works that often blend psychological horror with speculative elements, Matheson’s narratives explore the ordinary disrupted by the extraordinary. Matheson’s storytelling roots run deep in science fiction and horror, most notably with I Am Legend, which redefined post-apocalyptic vampire lore, and Hell House, which took haunted house stories to terrifying new depths. His ability to weave supernatural horror into mundane suburban life, as he does in Stir of Echoes, continues to influence countless films and series that explore the terrors lurking within the familiar.

Matheson’s 1958 novel A Stir of Echoes was, in many ways, ahead of its time, diving into themes of hypnotism, mind control, and the thin veil separating reality from the supernatural. His approach in Stir of Echoes places existential dread at the forefront, turning the “suburban nightmare” into something tangible and deeply disturbing. Koepp’s adaptation modernises these elements, leaning into themes of suppressed trauma and the dark secrets that lie beneath everyday life, creating a reflective parallel to Matheson’s work that resonates with contemporary audiences.

A Closer Look at Stir of Echoes

The film’s story kicks off with Tom Witzky, whose life changes dramatically after a hypnotism session by his sister-in-law, Lisa (Illeana Douglas). What begins as a party trick unlocks a hidden part of Tom’s psyche, leaving him with disturbing visions of a young girl’s ghost and exposing him to a series of harrowing supernatural encounters. Unlike The Sixth Sense, which largely revolves around unraveling a single mystery, Stir of Echoes focuses on the psychological toll that comes from glimpsing beyond the veil, with Bacon’s visceral performance encapsulating Tom’s struggle as he becomes more and more unhinged by the visions that refuse to relent.

In addition to its nuanced approach to horror, the film builds a pervasive sense of dread through practical effects, shadows, and silence, a testament to Koepp’s restrained direction. The sound design, paired with moments of sudden dissonance, immerses viewers in Tom’s increasingly fractured mind. The sequences where Tom attempts to excavate the buried secrets—both literally and figuratively—of his neighborhood carry a claustrophobic intensity. The film feels close and personal, less focused on bombastic scares and more on disturbing, slow-building tension.

Bacon, Erbe, and the Unseen

Kevin Bacon’s role as Tom is undoubtedly one of the film’s greatest assets. His portrayal combines simmering rage, desperation, and vulnerability, making Tom’s journey toward self-destruction both tragic and captivating. As Tom dives deeper into his haunting visions, Bacon’s performance brings a rawness that makes the supernatural seem plausible, showcasing his ability to convey terror and fascination in equal measure. Kathryn Erbe’s Maggie is the calm counterpoint, her steady pragmatism holding the family together as Tom slips further away from reality. The chemistry between Bacon and Erbe creates a believability and sympathy for their family’s plight, grounding the supernatural elements in a relatable human connection.

Koepp’s Stir of Echoes ultimately deserves its place in the conversation around late ‘90s horror for its skillful blend of supernatural and psychological themes. While it may have arrived at an inopportune moment, in the shadow of a cultural phenomenon, its thematic depth and compelling performances keep it from fading into obscurity. Twenty-five years on, it’s a chilling reminder of Richard Matheson’s timeless influence and the potency of horror grounded in the most familiar places.

  • Saul Muerte

Azrael (2024): A Silent Scream That Fizzles Out

22 Tuesday Oct 2024

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“Azrael,” the latest action-horror from E.L. Katz, delivers a premise that sounds intriguing on paper—an eerie world devoid of speech, where a brutal female-led cult relentlessly hunts an escaped prisoner. Add the ever-captivating Samara Weaving into the mix, and expectations for some gripping, visceral action naturally rise. But while the film presents a brave, somewhat daring attempt to create a unique atmosphere, it ultimately falls short of delivering anything with real substance.

Weaving, known for her sharp intensity in past roles, undoubtedly carries the weight of the film on her shoulders. Her portrayal of Azrael, a woman fighting tooth and nail for survival, does bring some much-needed energy to the screen. When the action finally arrives, it’s clear that Weaving is skilled at kicking butt. Yet even her talent can’t save the film from its sluggish pace and lack of depth. It takes an eternity for the narrative to shift into gear, and by the time it does, the payoff feels disappointingly underwhelming.

The lack of dialogue is clearly intended to enhance the atmosphere, creating an unsettling and immersive world where silence is a weapon. However, the film’s over-reliance on this stylistic choice backfires. Without any meaningful verbal exchanges, the story begins to feel as barren as the film’s haunting wilderness setting. What could have been a tension-building device instead results in a narrative that often drags, leaving the audience feeling disconnected.

Visually, the film does have its moments. The desolate landscapes and stark imagery evoke a sense of isolation, and the concept of a voiceless world initially adds an eerie, unsettling layer. But these strengths aren’t enough to compensate for the weak character development and the rather predictable plot. The film meanders, and when it finally hits its stride in the action department, it’s too little, too late. Weaving is given far too few opportunities to shine, and the action sequences, though well-choreographed, lack the punch needed to make a lasting impact.

The Prognosis:

“Azrael” is a film with plenty of ambition, but it’s an example of how high-concept ideas require more than just a strong lead actor to succeed. It’s a brave effort from Katz, but without a stronger narrative core and more compelling action, it simply doesn’t have the gravitas to pull off the trick. Samara Weaving may be kicking butt, but even her powerful presence can’t elevate this film beyond its mediocre execution.

  • Saul Muerte

Azrael will stream on Shudder from Fri 25th Oct.

Salem’s Lot (2024): Fangs, but No Bite

18 Friday Oct 2024

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When you hear Stephen King’s Salem’s Lot is getting a new adaptation, there’s an immediate buzz for horror fans. After all, the 1979 miniseries set a high bar with its chilling atmosphere, notable moments, and David Soul’s iconic portrayal of Ben Mears. Sadly, this latest version tries to sink its teeth into King’s vampiric tale but lacks the vitality to make a lasting impression.

Directed by Gary Dauberman (Annabelle Comes Home), the 2024 Salem’s Lot promises a fresh, modern take on King’s story of a small town overtaken by ancient evil. There are fleeting moments of intrigue that tease the potential of the film, scenes where the atmosphere and menace feel tangible. These moments, however, are not enough to redeem an adaptation that feels strangely bloodless for one of King’s most terrifying novels.

The film suffers from an inability to give its cast anything meaningful to work with, despite the rich source material. The ensemble is solid on paper, but in practice, none of the actors have enough depth to bring the story to life. Even with characters like Ben Mears (played by Lewis Pullman) and the sinister Straker (played by Bill Camp), there’s a frustrating lack of emotional resonance. The result is a series of performances that feel flat, as though the cast was given little to sink their teeth into—despite King’s novel offering plenty of opportunities for real emotional and psychological heft.

Visually, the film often falls into familiar traps, delivering dark, moody settings without offering much innovation. There are glimmers of suspense, but the scares never truly land. It feels like the film is playing it too safe, rather than embracing the gothic horror and creeping dread that made Salem’s Lot so beloved. What we get instead is a product that looks slick but lacks any real heart—a soul-less retread of familiar territory. (Yes, David Soul, pun intended.)

The biggest disappointment is how the adaptation squanders King’s brilliant narrative about small-town evil and the creeping rot of corruption. Rather than leaning into the novel’s rich themes and psychological terror, the film relies too heavily on surface-level spooks. It lacks the depth that made both King’s novel and the 1979 miniseries so enduring. The filmmakers seem content with a pale imitation of the original, rather than delivering something that truly bites.

The Prognosis:

Salem’s Lot (2024) is a missed opportunity. It does just enough to lure you in, but leaves you feeling unsatisfied, much like the pale, lifeless creatures it tries to evoke. For diehard fans of King’s work, it may hold some interest. For everyone else, it’s a lesson in how even the most powerful stories can end up feeling anemic when the right spark is missing.

A fitting metaphor for this latest entry: like a vampire with no blood to drain, it ultimately fails to live.

  • Saul Muerte

Strange Darling: A Thrilling Puzzle That Teeters on Its Twists

16 Wednesday Oct 2024

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JT Mollner’s Strange Darling is a thriller that takes an intriguing approach to a familiar narrative, using a fractured, nonlinear structure to elevate its suspense. Set in rural Oregon, this tense cat-and-mouse game stars Willa Fitzgerald and Kyle Gallner, whose performances help keep the film grounded, even as the plot contorts and shifts like the twisted mind of the serial killer at its core. The use of six chapters to recount a serial killer’s spree, told out of order, adds a fresh spin on the genre but doesn’t entirely escape the trappings of its narrative gimmick.

One of the film’s strongest aspects is its storytelling device. The nonlinear arrangement keeps the audience on edge, forcing us to piece together events as they unfold out of sequence. This fractured perspective works well to heighten the sense of disorientation and paranoia, placing us in the characters’ shoes. Mollner’s script is tightly knit, allowing for moments of true tension and chilling revelations, and the shifts in perspective between the man and the woman engaging in this deadly game of pursuit add emotional depth to the thrills.

Giovanni Ribisi’s cinematography on 35mm film elevates the tension further. The grainy texture and moody visuals enhance the atmosphere, creating a haunting backdrop for the chaos that unfolds. Rural Oregon comes to life as a cold, isolated landscape—perfectly suited for the grim events that take place.

Fitzgerald and Gallner shine in their respective roles, with Fitzgerald balancing vulnerability and menace in a way that keeps her character unpredictable. Gallner’s performance carries a weight of darkness that lingers, making their dynamic a crucial point of the film’s success. The supporting cast, including veteran actors Barbara Hershey and Ed Begley Jr., add credibility and presence to the film, even in smaller roles.

However, the film’s nonlinear presentation becomes a double-edged sword. While it cleverly pulls the rug out from under the audience multiple times, it also leans heavily on this trick. The twist-heavy narrative begins to feel more like a puzzle box of shocks rather than a cohesive tale with deeper thematic resonance. It’s effective in its moments, but as the story moves toward its conclusion, the reliance on narrative twists somewhat diminishes the emotional impact.

Though its reliance on twists may occasionally feel like a crutch, Strange Darling captivates with its gripping performances and inventive structure. It’s a thriller that keeps you guessing and pondering long after the pieces have fallen into place.

  • Saul Muerte

MadS – A Mesmerizing, One-Shot Descent into Chaos

15 Tuesday Oct 2024

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MadS, premiering on Shudder Fri Oct 18th, delivers a unique and haunting cinematic experience, thanks to its audacious one-shot technique. The film tells a harrowing end-of-the-world story through a slow, decaying unraveling of both its characters and their reality. With its seamless visual style, MadS manages to capture a gripping narrative that is both unsettling and unnervingly intimate.

The story follows Romain, played by Milton Riche, a teenager who tests a new drug from his dealer before heading out for a night of partying. Things take a surreal and nightmarish turn when he picks up an injured woman on the way home. As the night spirals out of control, reality begins to fracture, plunging both Romain and the audience into a world of escalating chaos. This disorienting experience is heightened by the film’s single-take format, which immerses viewers directly in the action.

What sets MadS apart is how it masterfully manages its pacing. The one-shot technique could have easily felt gimmicky, but here, it enhances the story’s deeply unsettling atmosphere. The slow unraveling of Romain’s night—and his sanity—feels organic and relentless, with each moment of dread lingering uncomfortably long. The film’s technical precision allows every interaction and event to build tension, which only increases as Romain’s relationship with his girlfriend Anaïs (Lucille Guillaume) begins to fray under the weight of the night’s growing horror.

Milton Riche’s performance as Romain is both raw and captivating. He skillfully portrays Romain’s descent into fear and confusion, making the character’s unraveling feel authentic and deeply affecting. His gradual shift from casual indifference to desperate panic drives the film’s emotional core. Lucille Guillaume, playing Anaïs, brings a grounded intensity to her role, offering a fragile yet determined counterbalance to Romain’s increasingly erratic behavior.

The film’s technical prowess extends beyond its performances, as the one-shot approach works in tandem with moody lighting and a haunting soundscape to amplify the film’s surreal atmosphere. The unbroken, continuous shot offers no escape from the mounting tension, leaving viewers trapped alongside Romain as he navigates dark streets, ominous encounters, and the looming threat of an unseen, pervasive force.

While MadS dips into abstract and surreal territory, leaving parts of its story open to interpretation, this ambiguity works in its favor. The film thrives on its ability to create discomfort and uncertainty, making every moment feel unpredictable and charged with menace. Its dreamlike quality makes the viewer question what is real and what is the product of Romain’s altered state, adding to the growing sense of helplessness.

At its core, MadS is about the fear of losing control—over oneself, one’s reality, and the future. This exploration of chaos and disintegration, both personal and external, is captured in every frame, making it a haunting and thought-provoking film.

The Prognosis:

MadS delivers a chilling and captivating one-shot experience. Its unique style, unsettling performances, and slow-burn tension make it a standout feature on Shudder. For fans of immersive, psychological horror, MadS is a must-watch, offering a powerful reflection on the fragility of reality when chaos takes hold.

  • Saul Muerte

MadS will be streaming on Shudder from Fri 18 Oct

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.