Tag Archives: horror

The Shuttered Room (1967): A Decent Attempt That Falters in Execution

29 Friday Nov 2024

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The Shuttered Room, based on a story attributed to H.P. Lovecraft and August Derleth, offers an atmospheric dive into the macabre, set against the backdrop of a crumbling New England mill town. Directed by David Greene, the film’s most notable strength lies in its brooding atmosphere and unsettling locale, which captures the decayed charm of its rural setting. Yet, while the tone and setting intrigue, the narrative struggles to rise above mediocrity, leaving audiences with an experience more evocative than substantive.

Central to the film is the electrifying performance of Oliver Reed as the menacing Ethan. Reed commands the screen with an unpredictable energy, adding a palpable edge of danger that keeps the audience engaged. His interactions with Gig Young, playing the stalwart husband Mike, and Carol Lynley as the haunted Susannah, highlight the clash between Reed’s raw intensity and the more subdued performances of his co-stars. Lynley brings an understated fragility to Susannah, effectively conveying her character’s torment and vulnerability, though her role is often overshadowed by Reed’s larger-than-life presence.

The film’s atmospheric strength is undeniable. Cinematographer Kenneth Hodges crafts a visually arresting aesthetic, juxtaposing the rustic beauty of the mill with its sinister underpinnings. The eerie sound design and haunting score further amplify the sense of unease. However, The Shuttered Room falters when it comes to its central plot. The narrative’s slow pacing and predictable developments prevent it from fully delivering on the psychological horror and suspense it hints at, leaving viewers yearning for a sharper, more cohesive story.

Ultimately, The Shuttered Room stands as a fascinating but flawed entry in 1960s horror. While it showcases an engaging Oliver Reed and an immersive atmosphere, the film’s inability to break free from its languid storytelling prevents it from achieving the impact it so clearly aspires to. For fans of moody, vintage thrillers, this is worth a watch—but don’t expect it to haunt your thoughts.

  • Saul Muerte

Your Monster – A Tale of Monsters Within and Without

24 Sunday Nov 2024

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Melissa Barrera’s undeniable star power is the cornerstone of Your Monster, a feature-length adaptation of Caroline Lindy’s acclaimed short film. For fans of Barrera (Scream, In the Heights), her magnetic screen presence alone may be reason enough to watch, as she brings depth and relatability to a tale rooted in personal struggle and societal neglect. As Lindy’s script expands from its original short-film premise, it wrestles with maintaining focus, resulting in uneven pacing, but Barrera keeps the emotional center intact, inviting viewers into the stormy psyche of her character.

Your Monster reimagines the archetypal Beauty and the Beast tale, twisting its romantic elements into a metaphor for mental health—a beast that both protects and consumes its host. For this reviewer, the premise evokes nostalgia for the 1980s TV series starring Ron Perlman and Linda Hamilton, though Lindy’s darker approach is very much a product of modern anxieties. The film’s strength lies in its exploration of neglected mental health, illustrating how inner demons, if left unaddressed, can fester into something monstrous. However, the film’s genre-blending between psychological drama and fantastical horror doesn’t always land, leaving the metaphor sometimes muddled. Still, with Barrera’s compelling performance and moments of heartfelt reflection, Your Monster offers a thoughtful, if flawed, glimpse into the monsters we create—and the possibility of taming them.

Visually, the film delivers an atmospheric experience that balances between eerie intimacy and fantastical surrealism. The titular monster’s design—a blend of shadow and human-like features—is both unnerving and strangely sympathetic, embodying the duality of its role in the protagonist’s life. Caroline Lindy’s direction demonstrates a strong grasp of mood and symbolism, though some of the film’s extended sequences veer into indulgence, stretching its central conceit thin.

The Prognosis:

Despite its flaws, Your Monster is a bold, heartfelt exploration of inner turmoil and resilience, buoyed by Barrera’s standout performance and a narrative that dares to wade into murky emotional depths. It’s imperfect but worth a watch for those seeking a horror story with a poignant emotional core.

  • Saul Muerte

Your Monster will be screening in Australian cinemas nationwide from 28th Nov.

Night of the Big Heat (1967): A B-Horror That Fails to Sizzle

23 Saturday Nov 2024

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With the dynamic pairing of Christopher Lee and Peter Cushing at its core, Night of the Big Heat seems poised for greatness, especially for fans of mid-century British horror. Directed by Terence Fisher, a Hammer Films mainstay, the movie adapts John Lymington’s novel about an unexplained heatwave plaguing a small island off the British coast. From the outset, the setup brims with potential: the mysterious weather anomaly and its connection to extraterrestrial forces create an intriguing framework. However, despite the gravitas brought by Lee and Cushing, the film fails to rise above its status as a modestly entertaining B-movie.

The charm lies primarily in its retro appeal, with limited special effects and a tone that leans into the quirks of low-budget 1960s sci-fi horror. Christopher Lee’s authoritative portrayal of scientist Godfrey Hanson adds depth, even when the plot veers into absurdity, while Peter Cushing delivers his signature polish, albeit in a more understated role than usual. However, the movie is let down by a slow pace and underwhelming tension, as well as budget constraints that reduce the alien threat to little more than glowing orbs. The production’s ambition to create atmospheric horror feels stifled by its resources, though the oppressive heat and rural isolation add some unease.

Ultimately, Night of the Big Heat offers mild entertainment but fails to distinguish itself in the pantheon of 1960s genre cinema. For devoted fans of Lee, Cushing, or nostalgic B-horror, it holds some charm, but for broader audiences, it’s more of a lukewarm experience that may not burn bright but flickers enough for the curious viewer.

  • Saul Muerte

The Creep Tapes: Episode 3 (Jeremy) Review

22 Friday Nov 2024

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Shudder Original Series
Series Premiere Date: November 22, 2024

In “Jeremy,” The Creep Tapes continues its deep dive into unsettling territory with a narrative that centers on lust, shame, and deceit. The titular character Jeremy is a burgeoning YouTuber who hosts a show titled Gotcha!, dedicated to exposing controversial figures. His latest subject, a self-proclaimed priest, leads him directly into the orbit of Josef, the infamous serial killer from the series. What begins as a seemingly bold exposé unravels into a chilling game, with Jeremy’s curiosity and hubris placing him squarely in Josef’s sights.

Mark Duplass returns as Josef, delivering a character performance steeped in manipulative charm and sinister undertones. While it’s always intriguing to see Duplass breathe life into this calculating villain, the narrative risks becoming repetitive. Josef’s tactics, while terrifying, are increasingly predictable, stripping some of the tension that earlier episodes had so masterfully constructed. Jeremy’s arc, though compelling in concept, doesn’t quite break the mold, relying on familiar tropes of an unsuspecting victim lured by a dangerous predator.

Where the episode shines is in its exploration of themes. Lust and shame are woven into the fabric of Jeremy’s interactions with Josef, underscored by a theological backdrop that highlights the dangers of blind faith and deception. Unfortunately, these elements are undermined by uneven pacing and a lack of innovation in the series’ now-established formula.

At its halfway point, The Creep Tapes risks stagnation unless it takes bold narrative leaps to freshen Josef’s story. While “Jeremy” is a serviceable entry with moments of dread and intrigue, it doesn’t quite match the impact of earlier episodes. If the series can shift gears and surprise viewers, there’s hope it will regain its momentum.

  • Saul Muerte

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

Frankenstein Created Woman: Science Meets Soul in Hammer’s Boldest Frankenstein Entry Yet

16 Saturday Nov 2024

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By its fourth entry in Hammer’s Frankenstein saga, Frankenstein Created Woman veered into uncharted thematic territory, exploring the transference of the soul rather than focusing solely on the reconstruction of flesh. The film’s roots trace back to an abandoned concept for the Tales of Frankenstein television series, which was later resurrected as a collaboration between Hammer and Twentieth Century Fox. Loosely inspired by Roger Vadim’s And God Created Woman, the feature delved into theological and philosophical dimensions, examining identity, morality, and the repercussions of manipulating the human essence. This ambitious narrative shift elevated it among Hammer’s catalog and gained recognition from cinephiles such as Martin Scorsese.

Central to the film’s success is Peter Cushing’s commanding reprisal of Baron Frankenstein. Cushing’s nuanced performance lends gravitas to the morally ambiguous doctor, whose unrelenting pursuit of scientific discovery transcends ethical boundaries. Opposite Cushing is Susan Denberg as Christina, a woman resurrected with a fractured identity. The tragic duality of Christina and her lover Hans, whose soul is embedded within her, provides a poignant underpinning to the grotesque premise. Denberg, a former Playboy Playmate immersed in the vibrant “It” crowd of the 1960s, including Roman Polanski, brought an uncanny mix of fragility and menace to her role. To bolster the film’s appeal, she was featured in a high-profile publicity campaign, though her career in film was short-lived. With its innovative focus on the isolation of the soul and a revenge-driven narrative, Frankenstein Created Woman became a bold and emotionally charged addition to the Hammer canon.

  • Saul Muerte

The Mummy’s Shroud (1967): A Cursed Shroud, a Creature’s Wrath, and a Studio’s Farewell

16 Saturday Nov 2024

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As the third entry in Hammer’s Mummy series, The Mummy’s Shroud faced an uphill battle to live up to the studio’s past successes. Despite its chilling premise involving a cursed shroud and the inevitable vengeance it unleashes, the film struggled to achieve the tension and excitement expected from Hammer’s golden age. Its release coincided with the closing chapter of an era, marking the final Hammer production to be filmed at the iconic Bray Studios. Unfortunately, the lackluster performances of the lead cast diminished the impact of the film’s otherwise atmospheric storytelling.

One saving grace was the work of Hammer veteran Michael Ripper, whose performance as the beleaguered Longbarrow stood out amid the weaker portrayals of the principal characters. Ripper’s innate charm and subtlety helped maintain audience engagement, even as the narrative faltered. While some gory scenes were cut to meet censorship demands, the special effects used in the Mummy’s demise were exceptional for their time. The climactic disintegration scene became a technical highlight, showcasing Hammer’s ingenuity in visual effects design. Despite its shortcomings, the film retains nostalgic appeal and is notable for its craftsmanship, though it remains overshadowed by Hammer’s more compelling creature features. Released alongside Frankenstein Created Woman as part of a double bill, The Mummy’s Shroud paled in comparison, offering modest thrills but failing to achieve the same level of ambition or resonance.

  • Saul Muerte

Blood of the Virgins: A Lustful Bite of 60s Horror That Misses the Mark

14 Thursday Nov 2024

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Blood of the Virgins (1967) is an interesting attempt at vampire horror that stumbles through its narrative despite its atmospheric promise. Directed by Emilio Vieyra, the film tries to capitalise on the familiar gothic elements of betrayal, seduction, and the eternal curse of vampirism, but its low budget and muddled storytelling prevent it from fully sinking its teeth into viewers.

The film opens with Ofelia, who’s set to marry Eduardo but finds herself in a tangled web with her lover Gustavo. Despite some pre-wedding jitters, Ofelia goes through with the marriage, only for Gustavo to interrupt their wedding night with murder and a fateful bite, turning her into a vampire. Fast-forward to the 1960s, where a group of travellers takes refuge in a deserted lodge after their van breaks down. Ofelia reappears, now a tragic figure caught between the pull of seduction and her growing weariness with the vampire’s curse.

While the setup is promising and echoes classic vampire tales, Blood of the Virgins falters in its execution. The transition from Ofelia’s tragedy to the modern-day storyline is rough, leaving viewers with little investment in the new characters. The young travellers quickly fall into horror stereotypes, and their interactions feel shallow, making it hard to care about their fates as they encounter Ofelia. The central mystery surrounding the vampire’s motives and how the group will survive unfolds predictably, with suspense largely absent and horror scenes lacking bite.

Visually, Blood of the Virgins does manage to capture some atmospheric shots with moody lighting and a dreamy, surreal quality. However, it doesn’t do enough to maintain tension or provide any significant scares. Vieyra’s direction seems uncertain, as if torn between crafting a horror film and leaning into the film’s more exploitative elements. The horror never reaches the eerie or unsettling, instead landing in a kind of melodrama that drags down the pacing.

Ofelia, the story’s would-be tragic heroine, lacks the depth that might make her journey compelling. Her transformation and internal conflict about her cursed life could have added emotional weight, but they’re skimmed over in favour of a few romanticised seduction scenes that lack nuance. The attempt at sensual horror falls flat, feeling more like an obligatory nod to the eroticism associated with vampire lore than an organic part of the story.

While Blood of the Virgins holds some intrigue as a piece of Argentinian horror cinema from the 1960s, it ultimately fails to deliver as either a compelling vampire story or an effective horror film. It’s an uneven experience best suited for those curious about vintage Latin American genre cinema, but for most viewers, it’s likely to feel like a missed opportunity. Vieyra’s vision doesn’t quite come together here, leaving Blood of the Virgins feeling more like a hazy, half-formed nightmare than a film that truly haunts.

  • Saul Muerte

The Creep Tapes: Mark Duplass Returns in a Chilling New Series That Brings the Horror Home

12 Tuesday Nov 2024

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As horror fans know, some of the most unsettling scares don’t come from elaborate effects or high budgets—they emerge from intimate, character-driven stories that crawl under the skin. The Creep Tapes, a Shudder Original Series premiering on November 15, aims to deliver just that. Building on the spine-tingling foundation of the 2014 cult hit Creep, the series reunites the original creators, Mark Duplass and Patrick Brice, who brought us the disturbingly charming yet unnervingly unstable protagonist, Josef. With Duplass returning to the role of the enigmatic serial killer, this series promises an eerie experience that pushes boundaries and keeps audiences riveted.

The original Creep film thrived on its low-budget charm, turning a stripped-down, found-footage setup into an intensely unsettling experience. The series appears poised to follow suit, proving once again that horror doesn’t need lavish sets or CGI to get viewers’ hearts pounding. Here, the atmosphere is everything—raw, grainy footage brings a voyeuristic quality that makes each scene feel real, as if the terror is unfolding in the next room over. The simplicity of the setup—a videographer unknowingly documenting his own descent into darkness—creates a dread that builds with every frame. With The Creep Tapes, Shudder taps into the appeal of Creep and Creep 2, delivering a gritty, claustrophobic look into the killer’s mind that only becomes more menacing with each episode.

At the heart of this series’ potential is Duplass’s haunting performance. His portrayal of a maniac whose motives are as confusing as they are sinister is nothing short of mesmerising. Playing a predator who is both disarming and unhinged, Duplass infuses the character with a subtle, unpredictable menace that’s as charming as it is chilling. It’s this very duality that made the original film so effective, drawing audiences in with Josef’s unsettlingly friendly nature only to shatter any semblance of safety with his underlying menace. With Duplass back at the helm, viewers can expect an even deeper dive into this chilling character, one that will likely push The Creep Tapes into “must-watch” territory for horror fans seeking psychological tension and atmosphere over jump scares.

This new series amplifies the simplicity that made the original such a success. As each videographer steps into Josef’s twisted game, the narrative explores not only their harrowing experiences but the dangerously manipulative charms of the killer himself. The viewer becomes a silent observer, drawn closer and closer to the horrors unfolding on screen. And with Duplass and Brice’s creative control, fans can expect a series that honours the first two films while expanding the lore, providing more insight into the mind of this manipulative predator and his increasingly sinister tactics.

For those looking for horror that strips away Hollywood polish to reveal something raw, The Creep Tapes may be a dark horse that leaves a lasting impression. In an age of sleek, glossy productions, Duplass’s Josef reminds us that horror is sometimes most potent when it’s uncomfortably close, blurred, and right in your face. Prepare for The Creep Tapes to lure you in and make you question if you’re ever truly alone—on or off camera.

  • Saul Muerte

The Creep Tapes – Shudder Original Series premieres exclusively on Shudder and AMC+ from Friday 15 November

– Saul will be posting weekly ep reviews each week, so keep your eyes peeled.

Dark Desires and Eternal Shadows: Revisiting Interview with the Vampire’s Seductive Legacy

11 Monday Nov 2024

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Neil Jordan’s Interview with the Vampire (1994) is a lush and lavish exploration of eternal life, where the shadows of New Orleans and Paris are as inviting as they are haunting. Adapted from Anne Rice’s celebrated novel, the film is a powerful blend of gothic romanticism, bloodlust, and erotic tension, but its leading men—Tom Cruise as the charismatic vampire Lestat and Brad Pitt as the tormented Louis—remain a point of contention to this day. With Rice’s novel as its beating heart, Jordan’s adaptation brought a nuanced, sensuous exploration of love, horror, and longing that has endured for nearly three decades, despite those famously bold casting choices.

Jordan’s direction underscores the sensuality that made Rice’s novel iconic. The story is imbued with themes of lust and longing, extending beyond mortal desire into a deep, predatory hunger that consumes its characters, literally and emotionally. Cinematographer Philippe Rousselot bathes the world in warm, seductive lighting that makes the vampire’s nocturnal existence a beautiful nightmare. The story’s vampire leads are creatures driven by a desire that is both deeply romantic and undeniably grotesque, elevating the traditional horror elements of vampirism into something more profound and captivating.

The two vampire leads are captivating in their own way, but critics were polarized by the casting of Cruise and Pitt as Lestat and Louis. For Rice, Lestat was an iconic antihero, an exuberant villain with a touch of madness and charisma that commands the screen. Cruise, already a megastar, seemed an odd choice for the role, and while his performance is flamboyant and committed, it doesn’t always capture the layered, dark humour or philosophical weight of Lestat. Pitt, as the brooding Louis, offers a more subdued, sorrowful portrayal, but at times it veers into passivity, making the character feel too reserved to fully connect with Lestat’s extravagance. In that sense, while Cruise and Pitt deliver star power and charisma, it’s arguable that they miss some of the existential torment and depth that Rice imbued in her protagonists.

Even so, Interview with the Vampire shines when it focuses on the delicate, almost familial connection between the vampires. The introduction of the child vampire Claudia, portrayed by an astonishingly talented Kirsten Dunst, injects a fresh dynamic into the film. Claudia’s tragedy, as a woman trapped in a child’s body, intensifies the film’s exploration of love, loss, and identity, with Dunst’s performance stealing many of the film’s most powerful moments. Claudia’s frustration with her unchanging form and her love-hate relationship with Louis and Lestat elevate Interview beyond a typical vampire tale into a complex character study of immortality’s price.

In the end, Interview with the Vampire is a mesmerizing, albeit imperfect, gothic romance—a film that drips with atmosphere and raw emotion. Jordan’s vision, although sometimes hindered by casting choices, remains a powerful cinematic translation of Rice’s narrative, filled with seduction and existential dread. In fact, its occasional missteps in casting have ironically become part of its charm. Whether or not Cruise and Pitt were ideal as Lestat and Louis, their portrayals have carved a unique place in the pantheon of vampire lore.

Decades later, Interview with the Vampire holds its place as a defining piece of 1990s horror, a moody, romantic, and darkly beautiful portrait of an eternal struggle with mortality and morality. It’s a film that leaves you transfixed by its dark allure and makes you ponder what it truly means to live forever.

  • Saul Muerte

Smile 2: A Relentless Cycle of Horror with Few New Twists

11 Monday Nov 2024

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So here we are reviewing another sequel, and how long will we go this time before referring to the SOH list of what makes a good sequel?
Well for a start, Smile 2 does the right thing by starting soon after the last film, which (if you remember) ended with the lead character’s ex-boyfriend/cop friend Joel (played by Kyle Gallner) watching her self-immolate.
So, by the rules established from the first movie, that means the Smile Curse has been passed onto him.
And the opening of this new instalment deals with that, as we discover Joel at the end of his 6-day run (the length of the curse before the Smile Demon has to kill its host and choose another victim).
Having been put through the wringer that this creature puts you through, Joel’s course of action is very predictable in a: if-you’re-gonna-go-down-take- somebody-with-you kind of way.
From here we discover this film’s protagonist, Skye Riley (played by Charlie’s Angels / Aladdin’s Naomi Scott). A mega popstar who’s half Lady Gaga, half Britney Spears (at the time she was conceived by writer / director Parker Finn, that’s who he had to go off as inspiration, although today the only parallel you immediately think of is Tay Tay).
With the demon latched onto her, what ensues is 2 hours of the same sort of relentless trauma the original film’s lead – Rose Cotter – suffered through.
And that’s where we hit the crux of it all. The film’s spirit (as set by its predecessor) is to put the lead through relentless hell. Till she loses. And then the hell passes on to another for the next film.
It’s a cliché production line approach that one expects from this sequel, but hopes will have the courage to break. Or at least warp.

Spoiler alert, it doesn’t. But it does end with a twist that is both daring and limiting in terms of where it leaves off for Smile 3.
But that’s for that review. This is Smile 2, and essentially what this film does well – very well in fact – is exactly what it did the first-time round (see above re: hell).
There’s a nice old skool rhythm to Finn’s directing. Whether it be his audacious use of the pan function on his tripod head, or pretentious use of wide-angle lenses, or the gratuitous use of 70’s style GFX for the opening titles (all of which – as cinematic storytelling devices go – seem to be making a bit of
a comeback lately. Especially in other medium to small budget horrors like Barbarian and The Black Phone etc).
But does all this make Finn a leader or a follower?
All we know is that the afore mentioned thing this movie does well is also its prison.
For this Demon has an invincibility to it that makes it all so… pointless. There is nothing anyone can try to defeat it. And even then, they only start trying AFTER they chew up most of the movie runtime wondering if they are going crazy, believing they are not going crazy, and figuring out what is making them go crazy.
And even then, once they try stuff, there’s nothing this creature can’t defeat with a flick of the lazy writer’s wand…. Ie: “It was all in your head”.
For anything approaching a plan or a way to combat it is basically an illusion conjured by the demon itself to give you false hope, so why bother? Even the method that Scott’s Riley tries to beat the creature this time round feels eerily similar to the first film. So straight away you know it’s not gonna work.
And spoiler alert, when it doesn’t, you do feel decidedly annoyed. Because, as with the golden rule of writing (where the protagonist has to make the hard choice) you, as a storyteller HAVE to give your protagonist (and therefore your audience) hope. Otherwise there are no stakes, and instead what you are watching is porn.
Which is fine. Who doesn’t love porn? But porn is not great story-telling.

In terms of performance – Scott does a good job of portraying a mega star under the sort of strain unique to individuals who are also a living breathing multimillion-dollar brand.
And in her case, she is also combating a personal trauma in the form of a tragedy that takes place before the film (when do lead characters NOT have a harrowing event defining their backstories these days?)

The Prognosis:

Smile 2 has earned a lot at the box office and is a critical hit because admittedly it is a very good horror film. It’s just not a good film.
Oh, and also, Jack Nicholson’s son has a small part in it. Smile if you can pick him.

  • Antony Yee