Tag Archives: horror

Double Blind: Sleep is Deadly, But the Thrills Are Thin

18 Wednesday Dec 2024

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Double Blind offers a surprisingly good time for a film rooted in such a simple premise. The high-concept hook—”fall asleep, you die”—injects immediate tension into its tale of survival, but the execution struggles to maintain that initial promise. Director Ian Hunt-Duffy crafts a claustrophobic atmosphere within the confines of the medical facility, effectively trapping both the characters and the audience in an ever-worsening nightmare.

The ensemble cast, led by Millie Brady as the reluctant leader Claire, does their best to elevate the material. Brady delivers a strong performance, showcasing her ability to carry a film despite an often predictable script. Pollyanna McIntosh and Akshay Kumar lend some gravitas to the proceedings, but their talents are underutilised in roles that rarely rise above stock character archetypes. Abby Fitz and Brenock O’Connor add energy to their respective roles but are similarly boxed in by the film’s limited character development.

As the narrative unfolds, the film leans heavily on paranoia and infighting, a well-trodden path for ensemble survival stories. While some moments of tension hit their mark, the lack of depth in character motivations and relationships keeps the drama from fully resonating. The script’s attempt to introduce twists and moral dilemmas feels undercooked, and the pacing suffers as the story meanders between predictable deaths and a finale that lacks impact.

However, Hunt-Duffy deserves credit for making the most of the low budget. The film’s stark visual style and tight editing emphasise the characters’ mounting exhaustion and fear, creating a palpable sense of unease. Despite its flaws, Double Blind is not without its charms. It’s a modest thriller that entertains in bursts but fails to leave a lasting impression.

For fans of high-stakes survival horror, Double Blind offers a passable experience, but its lack of originality and thin characterisation keep it from standing out in an already crowded genre.

  • Saul Muerte

A Howl of Sophistication: Revisiting Wolf (1994)

16 Monday Dec 2024

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

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

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

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

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

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

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

  • Saul Muerte

Retrospective Review: Theatre of Death (1967) – Christopher Lee Commands the Stage in This Middling Horror Mystery

14 Saturday Dec 2024

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In Theatre of Death (1967), the world of the stage becomes a sinister arena where art and life collide, with the ever-reliable Christopher Lee taking centre stage. Directed by Samuel Gallu, this British horror-thriller delves into the macabre possibilities of theatrical performance, questioning where the boundary lies between scripted terror and real-life horror. While not one of Lee’s most celebrated features, it nonetheless showcases his enduring gravitas as a cornerstone of the horror genre.

The film follows a series of grisly murders in Paris that seem to be connected to the Theatre of Death, a dark and experimental troupe led by the imperious Philippe Darvas (Christopher Lee). As the no-nonsense director, Darvas is both feared and revered, commanding absolute loyalty from his performers. Yet when suspicions arise that he might be more than just a manipulative taskmaster, the line between performance and reality begins to blur, drawing the audience into a spiraling mystery.

As usual, Christopher Lee elevates the material with his magnetic presence. His portrayal of Darvas is sharp and domineering, filled with the sort of brooding intensity that makes him both menacing and captivating. Lee’s ability to imbue even the simplest lines with menace gives the film its strongest moments, ensuring that Darvas remains a figure of fascination—even when the plot begins to falter.

The film’s concept is intriguing, leaning heavily into the theatrical setting as a means of exploring horror. The imagery of actors rehearsing scenes of death and torture within the confines of the stage serves as a clever metaphor for the duality of performance and authenticity. Yet, despite its ambitious premise, Theatre of Death struggles to fully capitalise on its potential.

Samuel Gallu’s direction is serviceable but lacks the flair needed to make the film truly memorable. The pacing feels uneven, and while the murder mystery element offers some intrigue, it never reaches the level of nail-biting suspense the story demands. Similarly, the supporting characters, while adequately acted, fail to leave much of an impression, overshadowed by Lee’s towering performance.

That said, the film does have its strengths. The atmospheric use of the theatre itself is a standout feature, with its shadowy corridors and moody lighting adding an air of Gothic unease. The murders are suitably macabre, even if they don’t push the boundaries of what the genre had to offer in the late 1960s.

The Prognosis:

Theatre of Death is not the strongest entry in Christopher Lee’s illustrious career, but it’s an enjoyable curiosity for fans of his work and the era’s horror films. Its exploration of the theatrical world as a backdrop for terror adds a unique flavor, even if the execution doesn’t quite match the ambition. With Lee’s commanding performance at its heart, the film is worth a watch—just don’t expect it to leave a lasting impression.

  • Saul Muerte

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

14 Saturday Dec 2024

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

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

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

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

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

The Prognosis:

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

  • Saul Muerte

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

13 Friday Dec 2024

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Shudder Original Series
Series Premiere Date: December 13, 2024

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

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

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

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

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

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

  • Saul Muerte

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

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

13 Friday Dec 2024

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

Tommy Jarvis: A Hero is Born

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

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

The Turning Point

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

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

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

Jason’s (Temporary) Swan Song

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

Fan Favorite Legacy

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

Final Thoughts

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

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

  • Saul Muerte

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

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

07 Saturday Dec 2024

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

Something Weird (1967)

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

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

A Taste of Blood (1967)

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

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

The Gruesome Twosome (1967)

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

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

Legacy of the Godfather of Gore

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

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

  • Saul Muerte

The Creep Tapes: Episode 5 (Brandt) Review

06 Friday Dec 2024

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Shudder Original Series
Series Premiere Date: December 6, 2024

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

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

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

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

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

  • Saul Muerte

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

Roddy McDowall Brings Life to the Lifeless in It! (1967)

05 Thursday Dec 2024

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In the pantheon of 1960s horror cinema, It! (1967) is less a towering monolith and more a crumbling relic, notable more for its quirks than its craft. Directed by Herbert J. Leder and starring the ever-compelling Roddy McDowall, the film is a largely forgettable take on the age-old golem under control story. Despite its shortcomings, McDowall’s eccentric performance breathes a glimmer of life into what might otherwise have been a plodding exercise in horror tropes.

The plot is simple, perhaps too much so: McDowall’s character, Arthur Pimm, discovers a golem—a hulking, indestructible creature bound by supernatural forces—and sets about using it to satisfy his ambitions. As is typical for the subgenre, things spiral out of control, with the golem proving as dangerous to its master as it is to his enemies. The beats are predictable, with little in the way of innovation to distinguish It! from earlier iterations of the golem legend.

What does elevate the film, however, is McDowall’s signature flair. As Arthur, he leans into the character’s unhinged qualities, delivering a performance that teeters on the edge of camp without ever fully succumbing to it. His manic energy provides the film with a pulse it sorely needs, and his interactions with the golem often border on absurd, imbuing the proceedings with a strange, almost comedic undercurrent. It’s a testament to McDowall’s talent that he can command the viewer’s attention even when the script gives him so little to work with.

Visually, It! is serviceable but uninspired. The golem itself is a hulking, imposing presence, though the film rarely exploits its potential for genuine terror. Instead, the creature feels more like a prop than a fully realized character, a missed opportunity in a film that could have used a stronger antagonist.

For all its faults, It! remains a curious artifact of its time, a low-budget horror film that leans heavily on its star to carry the weight of its thin premise. While the film’s narrative and pacing leave much to be desired, McDowall’s performance provides just enough intrigue to keep the viewer from completely disengaging.

Ultimately, It! is a middling effort, an uninspired retelling of a familiar story that offers little new to the genre. Still, for fans of Roddy McDowall or those with a soft spot for obscure 1960s horror, it’s worth a watch—if only for a glimpse of McDowall’s eccentric genius.

  • Saul Muerte

The Creep Tapes: Episode 4 (Brad) Review

29 Friday Nov 2024

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Shudder Original Series
Series Premiere Date: November 29, 2024

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

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

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

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

  • Saul Muerte

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