Tag Archives: occult

Movie review: Matriarch (2022)

22 Saturday Oct 2022

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Firstly Jemima Rooper deserves more recognition for her on screen performances and hopefully her upcoming role as Olivia Winfiled Foxworth in the series Flowers In The Attic: The Origin will lift her to loftier heights. Here she is ably supported by Kate Dickie (Game of Thrones, Raven’s Hollow) in a mother/daughter relationship that has turned sour across time. When these two actors combine, there is potential for strong calibre in the characters they portray.

It’s clear that Laura (Rooper) has unravelled beyond any hope of piecing things back together. Surviving on self-medication, be it alcohol or cocaine she tries to conceal the trauma band aid beneath her business-like veneer. Laura tries to connect with the outside world through a feeble attempt at a relationship but her advances are rejected as the mask slips away, revealing a darkness below. As she spirals out, Laura has an overdose but a mysterious black goo brings her back to life but for what purpose?

When she comes too, Laura believes gets a call from her estranged mother Celia (Dickie) and is compelled to return home. What she finds upon her return is something deeply entrenched in her small childhood town that oozes from British folklore and sinister occult practices.

The Prognosis:

Ben Steiner (director) tackles a paganistic tale about childhood trauma through an occult lens. 

There is plenty in the mix here from a vindictive, overbearing and narcissistic mother; an old flame; and the struggles of religion against pagan beliefs to tempt or sway the soul.

Whilst the story itself doesn’t offer anything new, both Rooper and Dickie bring weight to their roles, grounding the small town folk phenomena.

It is through their characters that the audience is pulled into the quagmire of tragic upheaval, where the mental scars run deeper than humankind can contain.

  • Saul Muerte

Matriarch is currently streaming on Disney Plus.

Movie review: The Long Night (2022)

13 Saturday Aug 2022

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Fear the darkness inside you.

This is the bold tagline that director Rich Ragsdale and his creative team wish to instil fear into their audience with for his feature debut behind the lens. 

In order to evoke any sense of trepidation however, you must first look at two essential ingredients; chemistry and atmosphere. Both of which are sadly lacking here. 

It takes a full 30 minutes of wading through our two leads Grace (Scout Taylor-Compton – Halloween) and her boyfriend Jack (Nolan Gerard Funk – Truth or Dare) struggling to connect on screen. 

Grace is driven by the quest to find the parents she has never known. Following an ominous lead, the couple end up at a remote house surrounded by curious totems, shrugged off as a Southern thing and there’s no sign of their host. 

It’s not until Jeff Fahey’s cameo however as local Wayne, that things heat up and some gravitas is brought to the screen. It’s brief but enough to shake Taylor-Compton’s performance a little and give her more substance to the character. 

It is not quite enough though to ground this movie and propel the action forward despite the sinister looking satanic cult that have encompassed the property. These figures seemingly rely on their menacing presence and the odd mysticism to generate apprehension, but beneath their outer shell is a vacant entity; a symbol of the film as a whole.

Having said that, the movie does boast some nice imagery in places, a signature of Ragsdale’s eye for detail from his days as a cinematographer. It also has a worthy snippet from Deborah Kara Unger, who is always a welcome addition.

The Prognosis:

The Long Night offers a painfully slow descent into a nightmare that struggles to find its roots in terror.
There are moments of promise but all of this is squandered by lack of substance or flair.

  • Saul Muerte

The Long Night is currently available on DVD and VOD (iTunes, Google Play, YouTube Store, and Fetch TV) and released by Eagle Entertainment Australia.

Movie review: Sator (2019)

23 Tuesday Feb 2021

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It’s clear to say that Sator was a labour of love for director Jordan Graham who would take six years to complete.
Apparently, this was due to budgetary limitations, and when you are the writer, director, and producer of your sophomore outing in the field, this is completely understanding. Being a lover of the craft, especially one where the vision is clear and the passion evident, I can only applaud Graham’s efforts.

The slow-paced, stylized depiction of Graham’s vision however will not suit everyone’s tastes, and perhaps consider it too “artsy”, especially for mainstream horror lovers.

Shot entirely in black and white, Sator emphasises both fields of being a low-budget film, but looking smart because of the association to ‘highbrow’ entertainment.

Essentially this film is a supernatural occult horror that uses the subject of a broken family as its heart, slowly being ripped apart by Sator, an entity that eats away at each of their souls before it can claim them.

With any known demonic force, it will find the weakest chain and begin to wear it down until it breaks loose and exposes the frailty of us all.

It may be laboriously slow in the manner of its delivery, but Graham’s depiction is masterful in places and the essence of it is incredibly strong and harrowing.

The choice of setting also cements this further as the family are based in a desolate forest, isolated from the real world with only each other to depend upon, but combined with this separated from reality.
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The Prognosis:

It’s said that isolation can lead to depression and dissolution will set in with doubts and self-loathing, all fodder for demonism to take hold and seep its way into the humanity mainstream, fracturing any hope of surviving.

Here Jordan Graham crafts a deeply dark and disturbing tale, which will resonate for some, or find the stylisations too much to bear and ultimately turn them off.

  • Saul Muerte

Movie review: The Wretched

18 Monday May 2020

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I gotta say that before I begin to cast my thoughts on the film, I am definitely not of the right demographic age-wise. The film is aimed primarily towards Gen Z and with that zest for life comes the rekindled imaginations of yester-year. 

Much like Disturbia did for the Millenials, The Burbs for the X Generation, and Rear Window did for the Baby Boomer generation, we have a protagonist predominantly placed in his home where he witnesses foul play going on next door. In this instance, we follow Ben, “a defiant teenage boy” who has been sent to stay with his father during the summer. His parents are currently going through a divorce which lends some weight as to why Ben has started to go off the rails. During his stay, Ben slowly discovers that all is not as it seems in this marina town, and not only that but appears to be possessed by some weird demonic witch like creature from the woods that we later learn to discover is a cross between Black Annis and the Boo Hag.

There are some genuinely decent moments in here for the hardened soul and the creature fx are believable enough to blend into the landscape, but the fear itself is often all too “twee” and never stirs the heart.

Despite this, the performances and characters are engaging enough for you to care about Ben’s plight with some decent twists in the mix, that on face value surprise and delight, but on closer inspection, doesn’t necessarily add up. Sometimes the MacGuffin is enough to change or suspend disbelief that you forgive its faults, but here they jar and the smoke and mirrors are left in plain sight, shattering any vague illusion that the director was hoping to achieve.

The Prognosis

Another sugar coated saccharine sweet horror film that lives in the shadows of exceptional movies without offering an ounce of originality.

If you like fluffy, light hearted horror, then by all means give this a whirl, but from this writer’s perspective, The Wretched struggles to lift itself above a mediocre horror… just.

  • Saul Muerte

Wretched is screening now until 18 July in Foxtel Store 

In selected Cinemas 25 June onwards – Cinema List below 

VICTORIA & TASMANIA
June 25 Nova Carlton, VIC
June 25 Wallis Mildura, VIC
June 25 Peninsula Cinemas Rosebud, VIC
June 25 Horsham Centre Cinema, VIC
June 25 Ararat Cinema, VIC
June 25 Metro Cinemas Bernie, TAS

NEW SOUTH WALES
July 2 Griffith Cinemas
July 2 Bathurst Metro Cinemas
July 2 Metro Cinemas Lake Haven
July 9 Laurieton Plaza Cinemas
July 9 Saraton Theatre Grafton

QUEENSLAND & NORTHERN TERRITORY
June 25 Alice Springs Cinema, NT
June 25 Cineplex Hawthorne, QLD
June 25 Cineplex Redbank, QLD
June 25 Cineplex South Bank, QLD
June 25 Cineplex Victoria Point, QLD
July 16, Malanda Cinemas, QLD

SOUTH AUSTRALIA
June 25 Wallis Mitchem, SA
June 25 Wallis Mt Barker, SA
June 25 Wallis Noarlunga, SA
June 25 Wallis Piccadilly, SA
June 25 Esperance Cinema, WA

Available to rent On Demand from 2 September 
via Google Play, Fetch TV, Microsoft &  Apple TV 

Movie review: Luz

09 Sunday Sep 2018

Posted by in Movie review, Sydney Underground Film Festival

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Luz is a film that is ultimately about demonic possession, but it certainly isn’t your typical window into the occult.
It is not some simple, paired down student project shot on a low budget, instead director Tilman Singer offers a minimalistic style reminiscent of playwright Bertolt Brecht and is set in a handful of isolated interior locations.
This adds to the harrowing and strange feeling that is carried throughout the film, all the more haunting for the powerful performances on display. Nora’s odd twitchy movements and the intensity of police psychiatrist Dr Rossini simply add more fuel to the stifled ambience.
Everything is incredibly stylised and each movement no matter how small is charged with emotion or reason. If anything, the minimalism forces the actors to bare their souls on screen that is ironic as the story centres around a demon, hell-bent on taking the soul of our lead, Luz.

The starkness of the décor coming straight out of the heart of the 70s adds to this sense of isolation and bewilderment. This coupled with the awesome retro soundtrack by Simon Waskow thrusts the viewer into a world far removed from their own and into a world of despair.

As the demonic presence homes in on its prey, the more potent the drama becomes and the free fall into madness becomes ever more present.

The short running time of 70 mins only compliments the movie more, keeping the story in a tight and succinct timeframe packing enough depth to the plot line whilst keeping the audience gripped.


The Diagnosis:

Singer manages to balance the highs and lows in a harmony of beautifully constructed cinematography and movement.
The performances are strong across the board and all the components tie together in an interesting and unique approach to demonic possession.

– Saul Muerte

Catch the screening of Luz at the Sydney Underground Film Festival.

Screening times and tickets available below:

SATURDAY 15TH SEPTEMBER – 12PM NOON
SATURDAY TICKET