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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+

The Crow Remake: A Hollow Imitation That Fails to Soar

29 Friday Nov 2024

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The original The Crow (1994) was a lightning-in-a-bottle masterpiece, combining poetic tragedy, raw emotionality, and an iconic aesthetic that cemented its place as a cult classic. In stark contrast, the 2024 remake feels like a soulless shadow, lacking any semblance of the mythos or gravitas that made its predecessor soar. Under Rupert Sanders’ direction, the film struggles to find its footing, opting for a bloated backstory and needless embellishments that ultimately dilute its essence.

At the heart of the issue is the misguided focus on Eric Draven (Bill Skarsgård) and Shelly’s (FKA Twigs) relationship. Rather than allowing their love to haunt the narrative as a poignant undercurrent, the remake drowns the story in flashbacks and overwrought melodrama. This obsession with fleshing out their past not only drags the pacing but also misses the point of the original’s mythic simplicity. In doing so, the remake becomes a pale, lifeless interpretation—an empty vessel devoid of the soul and pathos that defined its core.

The term for something that lacks mythos is anemic, and that word encapsulates Skarsgård’s portrayal of Eric Draven. While the actor has delivered magnetic performances elsewhere (It, Barbarian), here he’s saddled with a character stripped of depth or nuance. His Eric is all façade—a slick veneer of gothic aesthetics with nothing substantive beneath. Without material that allows him to explore Eric’s torment, grief, and vengeance, Skarsgård’s performance is reduced to a hollow pantomime of what Brandon Lee immortalised.

Visually, the film occasionally nods to the original’s atmospheric brilliance but never matches its haunting beauty. The action sequences feel stale, the villains cartoonish, and the film’s tonal identity shifts awkwardly between brooding melodrama and half-baked action thriller. By attempting to expand the lore and tinker with the narrative, Sanders inadvertently strips The Crow of its primal, mythic power, leaving an insipid rehash of what was once a deeply moving story of love, loss, and redemption.

The Prognosis:

This Crow doesn’t soar—it flaps clumsily and crashes, a sad reminder that not all stories demand a retelling.

  • 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

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

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.

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

In Memoriam: Tony Todd – A Towering Icon of Horror

09 Saturday Nov 2024

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The horror community has lost one of its most towering presences with the passing of Tony Todd, a beloved actor whose rich, resonant voice and formidable on-screen presence made him unforgettable. Known for his role as Candyman—the haunting figure who lured audiences into a story of terror, racial injustice, and folklore—Todd’s portrayal captured a timeless menace and a tragic allure that few others could have achieved. His work across film, television, and stage influenced generations, earning him a reputation as one of horror’s most enduring icons.

Born in Washington, D.C., Todd trained at the Eugene O’Neill National Theatre Institute, honing the craft that would make his performances powerful and deeply felt. Though he appeared in a wide range of genres, his lasting impact lies in the horror world. His breakthrough role in Night of the Living Dead (1990) positioned him as a new face in horror, but it was Candyman in 1992 that immortalized him. Directed by Bernard Rose and based on a story by Clive Barker, Candyman intertwined urban legend with societal themes, giving Todd a platform to bring depth to a character as sympathetic as he was terrifying.

Todd’s Candyman wasn’t merely a ghost story villain; he was a symbol of betrayal and vengeance, embodying the horrors of systemic injustices. His physical presence and chilling, honeyed voice gave Candyman a gravitas that turned what could have been a simple slasher film into a commentary on the cyclical nature of violence and despair. The hook-handed specter went on to haunt audiences for decades, and Todd reprised the role in sequels, keeping Candyman’s legend alive.

Beyond Candyman, Todd’s talents continued to bring richness to horror through roles in the Final Destination series, Hatchet, and countless other features. His versatility was evident in every role he played, from supernatural harbingers to resilient survivors, imbuing each character with a weight and intensity that horror fans revered. Todd’s impact also extended into television, with memorable appearances in shows like The X-Files, 24, and Star Trek, showcasing his range and enduring appeal across genres.

Tony Todd’s legacy is more than his roles; it is the dedication he showed to his craft and the connection he fostered with fans. He was a frequent presence at horror conventions, meeting admirers with genuine warmth and appreciation. His influence on horror has left an indelible mark, as has his kindness and humility in life.

As we mourn the passing of Tony Todd, we remember him not just as the boogeyman of our nightmares, but as a gifted actor and a cherished figure whose spirit will forever echo in the halls of horror. His voice, deep and unyielding, will always haunt the genre he helped define.

  • Saul Muerte