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Nightwatch Demons are Forever: A Quirky Spin on Supernatural Thrills

15 Wednesday May 2024

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Opening Act: A Flashback to Nightwatch

Thirty years ago, Nightwatch captivated audiences with its bone-chilling narrative, courtesy of director Ole Bornedal. Now, with Nightwatch Demons are Forever, Bornedal returns to helm a sequel that pays homage to its predecessor while injecting fresh blood into the franchise.

The Coster-Waldau Effect: Nicolaj’s Reign Continues

Enter Nicolaj Coster-Waldau, the enigmatic leading man who once again takes center stage in this supernatural saga. Since his days as Jaime Lannister in Game of Thrones, Coster-Waldau has transcended mere stardom, evolving into an icon of intensity and intrigue. In Nightwatch Demons are Forever, he proves his mettle once again, delivering a performance that’s as captivating as it is complex.

A Cast of Characters: Rising Stars and Seasoned Veterans

Alongside Coster-Waldau, Nightwatch Demons are Forever boasts a stellar ensemble cast that elevates the film to new heights. From the mesmerizing presence of newcomer Fanny Leander Bornedal to the seasoned expertise of veteran actors like Sonja Richter and Ulf Pilgaard, each member of the ensemble brings their own unique flair to the screen.

A Slow-Burning Spectacle

From its opening frames, Nightwatch Demons are Forever taking a slow-boiler approach, gradually simmering as it dials up the tension. Director Ole Bornedal masterfully crafts a narrative that keeps viewers on the edge of their seats, balancing moments of eerie tranquility with pulse-pounding suspense.

As the plot unfolds, layers of mystery are peeled away, revealing a world where the line between the natural and supernatural is blurred beyond recognition. It’s a testament to Bornedal’s skill as a storyteller that even the most seemingly mundane moments are imbued with an underlying sense of dread.

The Prognosis:

In a genre often plagued by clichés and jump scares, Nightwatch Demons are Forever shines as a beacon of originality and innovation. With its quirky characters, offbeat humor, and slow-burning tension, it’s a film that lingers in the mind long after the credits roll. Prepare to be whisked away on a devilishly delightful journey into the heart of the supernatural!

  • Saul Muerte

Nightwatch: Demons are Forever will be streaming on Shudder from May 17th.

“Exploring the Cinematic Legacy: 10 Influential Films by Roger Corman”

13 Monday May 2024

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**Roger Corman: Master of Genre Cinema**

Roger Corman, the legendary filmmaker, producer, and mentor, is renowned for his prolific career spanning over six decades. With a keen eye for talent, a fearless approach to storytelling, and a knack for pushing the boundaries of genre cinema, Corman has left an indelible mark on the industry. Here, we explore ten influential films that showcase his visionary genius and enduring impact on the world of cinema.

**1. “House of Usher” (1960)**

Based on Edgar Allan Poe’s classic tale, “House of Usher” marked Corman’s foray into the realm of horror. With its haunting atmosphere, Gothic aesthetics, and psychological tension, the film set a new standard for the genre and established Corman as a master of cinematic terror.

**2. “The Little Shop of Horrors” (1960)**

A darkly comedic tale of a man-eating plant, “The Little Shop of Horrors” is a cult classic that showcases Corman’s ability to blend horror and humor seamlessly. Despite its low budget and limited resources, the film remains a beloved favorite among audiences worldwide.

**3. “The Masque of the Red Death” (1964)**

Another adaptation of Edgar Allan Poe’s work, “The Masque of the Red Death” is a visually stunning masterpiece that delves into themes of mortality, decadence, and the human condition. With its striking imagery and atmospheric storytelling, the film is a testament to Corman’s mastery of the Gothic genre.

**4. “The Wild Angels” (1966)**

Considered one of the defining films of the biker genre, “The Wild Angels” is a gritty, uncompromising exploration of counterculture and rebellion. Starring Peter Fonda and Nancy Sinatra, the film captures the anarchic spirit of the 1960s and remains a cultural touchstone to this day.

**5. “The Trip” (1967)**

A psychedelic journey into the mind of a man on an LSD trip, “The Trip” is a visually stunning and emotionally intense exploration of consciousness and self-discovery. Directed by Corman and written by a young Jack Nicholson, the film is a landmark of the psychedelic era and a testament to Corman’s willingness to experiment with unconventional storytelling techniques.

**6. “Bloody Mama” (1970)**

Based on the true story of Ma Barker and her criminal family, “Bloody Mama” is a violent and unflinching portrayal of America’s dark underbelly. Starring Shelley Winters and Robert De Niro, the film is a raw and visceral exploration of crime, family, and the American Dream.

**7. “Death Race 2000” (1975)**

A dystopian vision of a future where death is entertainment, “Death Race 2000” is a cult classic that combines action, satire, and social commentary in equal measure. With its over-the-top violence and dark humor, the film remains a favorite among genre fans and cinephiles alike.

**8. “Piranha” (1978)**

A suspenseful and thrilling creature feature, “Piranha” is a prime example of Corman’s ability to deliver big scares on a shoestring budget. Directed by Joe Dante and written by John Sayles, the film is a clever homage to classic monster movies while offering a fresh and exciting take on the genre.

**9. “Galaxy of Terror” (1981)**

A sci-fi horror extravaganza set in deep space, “Galaxy of Terror” is a cult favorite known for its imaginative visuals, gruesome effects, and eerie atmosphere. Directed by Bruce D. Clark and featuring a young James Cameron as the production designer, the film is a testament to Corman’s ability to nurture emerging talent and push the boundaries of genre filmmaking.

**10. “The Intruder” (1962)**

A powerful and provocative drama exploring themes of racism and prejudice in the American South, “The Intruder” is a departure from Corman’s usual genre fare but showcases his versatility as a filmmaker. Starring William Shatner in a career-defining role, the film is a searing indictment of social injustice and remains as relevant today as it was upon its release.

Roger Corman’s filmography is a testament to his visionary genius, his fearless experimentation, and his enduring impact on the world of cinema. From horror to sci-fi, from comedy to drama, Corman’s influence can be felt across a wide range of genres, and his legacy will continue to inspire filmmakers and audiences for generations to come.

  • Saul Muerte

“Roger Corman: Pioneering a Legacy of Innovation and Mentorship in Cinema”

Movie review: Skeletons In The Closet (2024)

29 Monday Apr 2024

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When you see Terrence Howard, Cuba Gooding Jr, and Udo Kier on the credits listmon a film and you’d be forgiven for presuming that it would be a half decent entry, but Skeletons In The Closet is like the visual equivalent of hitting the snooze button on an old analogue clock. 

As the incredibly slow pace to the movie drags you desperately into its fold, we’re presented with a mother, Valentina (Valery M. Ortiz) and her husband, Mark (Howard) watch their lives fall apart, as if they were the combined metaphor of Job, continuously having their faith tested. Instead though, they are harbouring an evil presence that is sucking out the energy of their lives and inflicting a damning curse upon them. This starts with Mark losing his job after believing that he was actually up for a promotion, to their daughter Jenny (Appy Pratt) being diagnosed with terminal cancer. If that wasn’t bad enough Mark engages with a local crook based on ill advice from his brother (Gooding Jr). This inevitably leads to them putting the squeeze on the family and Mark’s logical leap to seek council from Madam Fortuna (Sally Kirkland), who just kicks the can down the road when she sees only disaster in the future. In steps the specialist Luc (Kier), who is even more mysterious and the potential threat or menace to what has been plaguing them for so long. All the while Valentina has been seeing visions of a pale woman dressed in white, haunting her every move.

Eventually we get to learn that one of them has a skeleton in their closet and must rid themselves of their curse with drastic consequences.

The Prognosis:

This is a slow and laborious possession that feels like we are shuffling off this mortal coil with the aid of a zimmer frame. 

There’s one thing to establish character, but another to make us care about the character enough by going deeper into their psychological make up. It’s as though the creatives chose to do neither here and be content on going, here look at their hardship… isn’t it bad? I wonder what is the root cause of this evil?

Unfortunately, the film is pretty woeful, and the care factor is zero for this incredibly below par snoozefest.

  • Saul Muerte

Skeletons In The Closet is streaming on Shudder from 3 May.

1960s Horror Retrospective: Psycho (1960)

25 Thursday Apr 2024

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If ever there was a movie that defined horror films and launched the genre to a new level, it is Alfred Hitchcock’s Psycho. So impactful was the film upon the popular consensus, that it would shift the perspective and inspire future filmmakers but upon its release it would not receive such high accolades, mainly directed at the melodramatic choices and these sensationalistic tendencies from Hitchcock were based purely on shock value, labelling Psycho as a gimmick.

The reason Psycho holds such a lofty position over 60 years since its release, is not just the shift in tone, whether it was the surprise murder of Marion (Janet Leigh) a third of the way through the movie, or the identity of Norman’s mother, but the psychological components that drive deep into the heart of the narrative. The stylised elements that Hitchcock adds to the film are the eloquent touches that allow these conceptual components to flourish.

Like Peeping Tom released earlier in the year, Psycho plays with the voyeuristic approach to the narrative, luring the viewer into the seemingly fragile Norman Bates (Anthony Perkins), a man traumatised by the emotional abuse of his mother. This is more noticeable when Bates removes the painting to look through a peephole at the unwitting Marion has she undressed. The male gaze and the seduction has never before been dallied with in a high-profile feature.

There are also strong symbolisms embedded throughout that entrench the foundations that it was built upon. Amongst the questionable character traits that keep the audience guessing, there are also twists and turns of vulnerability and exploitation that thread throughout. These executions on delivery would leave audiences feeling anxious or unease, daring to go where movies had feared or were unable to do so relaxed views on the Production Code; an act of self-censorship imposed by the industry. The fact that Psycho overshadowed Peeping Tom for broaching similar themes seems unjust, where one director would rise to prominence and be forever remembered for his film, whereas the other would be doomed to a fallen career as a  result.

That’s not to say that Psycho doesn’t deserve to have the recognition bestowed upon it, The performances by the film’s leads, Janet Leigh, Anthony Perkins and Vera Myles are at their most renowned and for good reason. Perkins’ flickers around with Bates’ personality casually swinging from likeable charm and gaining our sympathy to an unsettling picture of a man who is on the brink of reality. 

I’ve yet to remark on the score by Bernard Herrmann, whose jarring strings punctuate the now infamous shower scene in stark contrast to the muted, darker and intense scenes. The use of tension as it slowly wrenches up though Arbogast’s (Martin Barlsam) investigations and the pursuit of truth from Marion’s sister Lila (Leigh) and Sam Loomis (John Gavin), Marion’s lover drive our own hopes that our suspected protagonist will prevail before the veil is firmly drawn from before our eyes.

There are countless areas that I could wax lyrical on but these have been discussed on other platforms before, Needless to say, it takes place here (rightfully) for its entry into the 1960s horror retrospective. With three sequels, a dubious remake, and a TV series all centred around Norman Bates have further cemented its status and will forever be immersed in our collective psyche.

– Saul Muerte

1960s Horror Retrospective

The Flesh and the Fiend

Eyes Without A Face

Peeping Tom

1960s Horror Retrospective: The Flesh and the Fiends (1960)

20 Saturday Apr 2024

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Having journeyed through the rise and fall of Universal Classic Monsters during the early thirties and the passing of the baton to British Film production company Hammer Films in the mid-fifties, it’s time to switch my celluloid gaze upon the 1960s and the twists and turns that the decade would take in the name of horror. 

To begin, my focus falls upon a feature that at the time struggled to get deserved recognition, both in production and when it eventually hit the screens, but has since gone on to become a cult film in its own right.

Directed by John Gilling (who would go on to call the shots for a few Hammer Films later in the decade) The Flesh and the Fiends would be a re-working of a previous feature called The Greed of William Hart penned by Gilling, but suffered at the hands of the British Board of Film Censors. The request that all references to the real-life murderers, Burke and Hare be removed would be rectified for TFATF, with the opening title displaying, “”[this] is a story of vice and murder. We make no apologies to the dead. It is all true.” 

Based on the macabre events set in the 1820’s when the 19th Century medical doctor, Robert Knox would purchase corpses for medical purposes from the afore-mentioned Burke and Hare. Knox, brought to the screen by another Hammer alumni, fresh from his rise to fame as Doctor Frankenstein, Peter Cushing, who noted the similarities between Knox and the Baron, “The minds of these exceptional men were driven by a single desire: to inquire into the unknown. Ahead of their time, like most great scientists, their work and motives were misunderstood.”

Cushing was magnificent in this role, even going to significant measures to enact the same droopy eye that Knox bore from contracting smallpox when he was young. 

Cushing is not the only standout though as both Burke and Hare are magnificently portrayed by George Rose and Donald Pleasance, adding some offbeat humour amongst the gruesome scenes, especially in some of the murders that take place. The finest example of this coming when Burke (Rose) suffocates Aggie (Esme Cameron) while Hare (Pleasance) is dancing a jig, perfectly juxtaposing the brutality on show.

Cinematographer Monty Berman also provides some striking images, a master pf black and white photography, he managed to capture the dank and dismal scenes in 19th Century Edinburgh. This along with Gilling’s knack to take the action scenes by the horns with his own unique bruteish fashion, is one that left a compelling mark on the genre, kick-starting the decade in style. While it was impactful in British cinemas, it went without a trace Stateside and was considered a failure. It does deserve greater recognition, outshone as it was by the likes of Hammer’s style and substance, The Flesh and the Fiends, the mood of the piece was a grim and tormentous affair.

– Saul Muerte

Retrospective: The Tunnel (2011)

19 Friday Apr 2024

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It’s hard to believe that it’s been 13 years since The Tunnel was released and broke new ground in the process. It’s been well documented how the creative team were seeking new ways to both fund and distribute their feature film. It was a bold enterprise that would be distributed through BitTorrent, exposing the film to millions for free, which some people in the industry found reprehensible. Furthermore, writer/producer partners Julian Harvey and Enzo Tedeschi would venture into enterprising means to seek funding by selling individual frames of the film for $1 before the cameras had even started rolling.

What is clear and fundamental to their success however was the passion, dedication, hard work and talent that was on display. All of which was the driving force for success as Tedeschi states, The Tunnel would provide him with the means to build his career upon. And while that declaration stands true, the fact that  each crew member was able to lean into their talents, whether it is Harvey and Tedeschi’s skills as not only storytellers but a deft hands in the editing room to spin a yarn with descent effect; or utilising a camera guy as one of their performers, Steve Davis, a talent in both areas; one he would leverage off a collective group of equally talented actors, Bel Delia; Andy Rodoreda; and Luke Arnold, each with their own unique take on their characters, and the collaboration of the troupe to support and strengthen one another lifts their performance off the screen. There’s also Julian and Enzo’s knack at keeping an eye on the bigger picture, combined with a focus on the finer details to work alongside Tedeschi plus keeping the film on track, especially when it started to escalate and gain traction fast.

It helps that The Tunnel also had a proficient director in Carlo Ledesma to provide the glue and unite all these elements together in order to make the film a reality.

What they established together was a defining moment, not just for Australian cinema but on a global scene too. They fought against the odds in what was deemed a controversial move at the time. The resistance was great, but they stood strong in their quest and produced a film that still stands strong today.

Yes, there have been advancements in technology in a relatively short space of time since its release, and in many ways the landscape remains the same, but the breakthrough The Tunnel created was a significant shift in filmmaking mentality and provided opportunity for other creatives to think outside of the box and seek alternative ways for their creativity to shine through.

– Saul Muerte

The Tunnel is currently streaming on Shudder and thankfully you can also get an insight into how the creative team pulled together and embarked on their intrepid journey with a fantastic behind the scenes documentary, The Tunnel: The Other Side of Darkness; also currently streaming on Shudder.

Movie Review: The Exorcists (2024)

27 Wednesday Mar 2024

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When The Exorcist: Believer was released by David Gordon Green courtesy of Blumhouse Productions it intended to ride the coattails of one of the greatest horror films of all-time for a modern audience, but go “bigger”. This proposal would include two possessed kids but furthermore, three exorcists of differing backgrounds to take on the demon at hand. Needless to say, it bombed.

Now comes The Exorcists which too arcs back towards William Friedkins’ iconic feature and tries to go bigger with a trio of exorcist experts, the elite of their field, brought together by a father who needs their help to purge his daughter of the demon that has consumed her. 

What the exorcists uncover though is a far darker entity lurking beneath the female frame which it currently hosts. To add some more supposed weight to the mix, there’s even a quartet of kids that have broken into the mausoleum to awaken the dead through a spiritual seance. This decision would also lead them on a dangerous path that would weave with the exorcists’ plight. With the ante dialled up to 666, the trio of exorcists must now unite along with Doctor Olivia Beckett (Kayla Fields) and Sister Caroline (Denise Duff) to oust the demon, but they may not last their ordeal.

The Prognosis:

The Exorcists struggles to gain any momentum in its search for an identity. This is all the more evident when tied to the shackles of its inspiration. The grip is loose and the details are equally left to drift without any real focus other than to keep on coasting on a lacklustre cleansing. Its saving grace is casting Doug Bradley aka Pinhead from the Hellraiser franchise as the wisened Father Patrick Ryland, who is compelled to help one last time and amend the past from a failed exorcism. As great as Bradley is, he can only be as good as his counterparts and the script to support his talent, both of which fail him. Instead we must settle on his deliverance and pray for the ending to come.

  • Saul Muerte

Movie Review: Winnie the Pooh: Blood and Honey 2

27 Wednesday Mar 2024

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One of the most hyped movies of 2023 came in Rhys Frake-Waterfield’s horror re-imagining of the classic children’s story Winnie The Pooh by A.A. Milne. This quite frankly butchered take would see the beloved honey loving bear join his friend Piglet on a bloody rampage through Hundred Acre Wood having been abandoned by Christopher Robin all these years and turning feral with extreme consequences. Despite the buzz, the film was critically panned receiving five Golden Raspberry Awards including Worst Picture. This did not stave off the masses though who were swarmed up by their own curiosity to see this version, making a significant profit, do much so that not only has a sequel been released but the promise of a universe of warped retelling of classic children’s tales has been thrown into the mix entitled Poohniverse. Already there has been titles such as Bambi: The Reckoning; Peter Pan’s Neverland Nightmare; and Pinocchio: Unstrung.

So what of the sequel?

Winnie The Pooh: Blood and Honey 2 was promised to be a crazier, more extreme take with a bigger budget to ramp up his vision.

One of the smarter decisions was to replace the actor Nikolai Leon with Scott Chambers (who recently impressed in Hammer’s Doctor Jekyll) as Christopher Robin bringing a lot more weight and vulnerability to the role.

If I have understood things correctly too, there’s a slight meta shift in perspective where although the events in the first film were true, it  is presented as a film within a film for the sequel here which picks up in the aftermath of that films success and the impact it is having on Christopher Robin’s social life. The people of Ashdown have turned against him and believe that he was responsible for the Hundred Acre Wood Massacre. Like Pooh, he has been ostracised from society and struggles to hold down a job as a result. He does however have a girlfriend, Lexy (Tallulah Evans) who willingly stands by his side throughout, and devout parents who share the burden of his struggles. What does come out in the tale is the disappearance of his brother some years ago which serves as a backdrop to his psychological breakdown and questionable character which added a little more depth to the proceedings.

And then there’s the neglected Pooh, who having lost his friend Piglet in the last movie, is joined by Tigger, a frenzied and wild beast; and deviously maliciously wise Owl who is the brains of the macabre outfit (another descent change from the predecessor). The trio have also been impacted by the first films release and are being hunted as a result. They want to seek revenge and destroy the citizens of Ashdown and embark on a bloody rampage.

The Prognosis:

It’s bigger, bloodier and unhinged as Frake-Waterfield endeavours to expand upon and lift the lid on his newfound success. In some ways its smarter too with its directorial choices but too often we’re left in swampy territory as the storyline trudges along. It’s almost like the score composer realises this too, delivering anarchic, pulsating sounds whenever Pooh and the gang go on atrack, as though to wake the audience out of their slumber.

Bigger does not necessarily mean better, as the movie still rests on the premise of the bloody re-imagining without focusing on the bones in which to form a descent structure.

– Saul Muerte

Movie Review: Imaginary (2024)

08 Friday Mar 2024

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Is Blumhouse starting to lose its killer shine?

Having launched the first Paranormal Activity feature back in 2009, the production house built by Jason Blum hit its stride through the 2010’s with Insidious; Sinister; Get Out; Happy Death Day and a whole heap of genre features that tapped into the modern cinema-going audience. With a blend of old school horror fused with trendsetting twists on classics, Blumhouse made a significant mark. We’re now 15 years on and the machine that was churning out feature upon feature for the next generation in horror cinephiles to lap up and it would appear that the cogs are starting to rust from grinding out sublime movies that upon scrutiny are starting to pale in comparison to groundbreaking, thought-provoking films that built up the reputation of Blumhouse Productions. This slump could be traced back to David Gordon Green’s curious direction for the Halloween trilogy; one that could be a metaphor for the Blumhouse catalogue thus far, come out swinging and hitting hard, before trickling into unnecessary padding, before a shambolic, misguided outcome that degrades the name that initially made a franchise great. 

That’s not to say there have been some nuggets of gold in the mix, with The Black Phone and M3GAN proving to be a hit with the box office, (the latter being only the start of last year) but when the outlet is great, doesn’t necessitate that the quality will match and we get the mishits of Insidious: The Red Door; The Exorcist: Believer; Five Nights at Freddy’s; and (the as yet-not-watched by this writer) Night Swim. 

So, where does that place things for their latest venture, Imaginary that was released this week? A tale of a blended family, each member hosting a traumatic past move into Jessica’s (DeWanda Wise) childhood home in a vain attempt to put their tragic history behind them. All this changes though when the youngest step daughter, Alice (Piper Braun) finds an old teddy bear in the basement that she takes on as an imaginary friend. What appears to be an innocent childhood play experience comes into question when some dark turns are taken, leading the family into a journey that will test their strength. 

On paper, this concept is a solid one and Director Jeff Wadlow (Truth or Dare; Fantasy Island) spends some quality time building on character; something that directors and creatives are prone to neglect for the sake of pace and drama. It’s a shame then, that all the build up is for nought as he is let down by poor performances, some downright wet in places. This would be borderline forgivable if it wasn’t for the fact that the storyline is equally weak and let down by shoehorning in recogniseable moments from signature movies in the past such as Beetlejuice; Labyrinth; and Child’s Play. There’s one thing to make nods to creativity that has inspired, but before too long it becomes obvious that you are drowning in unoriginality. 

While this may be another misfire for Blumhouse, all is not lost and this could very well be the lull before another hit comes along, especially with Leigh Whannell’s The Wolf Man, and sequels to the psychotic killing doll M3GAN 2.0 and The Black Phone 2. Time will tell.

The Prognosis:

Imaginary by name but sadly not in the telling. Jeff Wadlow once again directs a lacklustre turn from behind the lens and a downward turn for Blumhouse. No originality and one that seems content in coasting along rather than creating a unique voice for the horror genre. Is the modern production giant resting on its namesake? One can only muse for now.

  • Saul Muerte

Imaginary is currently screening at cinemas nationwide.

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.