Tag Archives: reviews

The Monkey (2025) – A Misfire That Claps to Its Own Beat

01 Saturday Mar 2025

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , ,

Osgood Perkins has built a reputation for moody, atmospheric horror (The Blackcoat’s Daughter, I Am the Pretty Thing That Lives in the House), crafting eerie slow burns that settle under your skin. So it’s baffling that his adaptation of Stephen King’s The Monkey swings so wildly in the opposite direction, embracing an oddly comedic tone that is both its saving grace and its Achilles’ heel.

The film follows twin brothers who, after discovering a cursed wind-up monkey, become entangled in a series of grotesque and improbable deaths. Decades later, the sinister toy resurfaces, forcing the now-estranged siblings to confront their past—and the murderous primate—before its deadly rhythm consumes them completely.

As someone who was deeply impacted by King’s short story during my formative years, this adaptation feels like a tonal misstep. While Perkins injects moments of dry, almost absurd humour that occasionally land (I’ll admit, I chuckled more than once), the film never fully commits to either horror or comedy, leaving it feeling strangely weightless. The sense of dread that should accompany a tale about an unrelenting, supernatural force is missing, replaced with an offbeat energy that doesn’t quite fit.

Visually, The Monkey does retain some of Perkins’ signature flair. There are pockets of eerie imagery, particularly when the toy is in motion, its drum banging in ominous slow motion as its glassy eyes seem to bore into the characters’ souls. However, the film’s pacing stumbles between moody horror and slapstick absurdity, undercutting its tension just as it starts to build. Instead of letting the horror breathe, it often pivots to a joke or exaggerated reaction, as if second-guessing its own scares.

The performances do their best to sell the concept, with the lead actors committing to the madness, but there’s a disjointedness to the storytelling that prevents any real emotional weight from forming. Without a stronger anchor—whether it be a grounded sense of familial trauma or a truly nightmarish atmosphere—the film lacks the staying power of both Perkins’ previous work and King’s original story.

With The Monkey, Perkins seems to be playing against type, but instead of reinventing the demonic toy subgenre, he fumbles it. The film claps along to its own beat, but much like the monkey itself, the rhythm grows tiresome—thumping away long after the terror has worn off.

  • Saul Muerte

The Dead Thing (2025) – A Haunting Descent into Obsession and the Unknown

09 Sunday Feb 2025

Posted by in Movie review

≈ 1 Comment

Tags

, , , , , , , ,

Shudder’s latest original, The Dead Thing, is a slow-burning, atmospheric descent into grief, trauma, and something even more unearthly. Directed with a steady, unsettling hand, this supernatural thriller refuses to play by conventional horror rules, opting instead for a creeping dread..

At the heart of the film is Alex (Blu Hunt, The New Mutants), a young woman adrift in a sea of meaningless encounters, numbed by her own detachment from the world. When a seemingly random dating app match leads her to Kyle (Ben Smith-Petersen, Mad Max: Fury Road), their connection is instant, electric—yet fleeting. The morning after, Kyle vanishes without a trace, leaving behind an aching absence that sends Alex spiraling into a desperate search for answers. What she uncovers is a chilling revelation that warps the boundaries of reality, dragging her into an inescapable cycle of obsession, dependence, and something far darker than she could have imagined.

Blu Hunt delivers a powerhouse performance, embodying Alex’s hollowed-out existence with eerie precision. Her portrayal of emotional disconnection makes her eventual unraveling all the more compelling, as she clings to Kyle in a feverish attempt to grasp at something—anything—real. The film’s hypnotic pacing mirrors her descent, pulling the viewer into a suffocating atmosphere of existential dread.

What sets The Dead Thing apart is its layered exploration of trauma, not just in the psychological sense, but in the way it fractures time, memory, and even space. The film flirts with the astrophysical, hinting at horrors that exist beyond human perception, yet tethered to the deeply personal. It’s an unnerving blend of body horror and cosmic unease, where love and terror become indistinguishable.

Director Elric Kane crafts a film that rewards patience. Those expecting conventional horror beats may find themselves frustrated, but for those willing to embrace its methodical pacing and brooding atmosphere, The Dead Thing delivers a uniquely unsettling experience. With haunting imagery, a skin-crawling score, and a gut-punch of an ending, it cements itself as one of Shudder’s most memorable releases in recent years.

The Prognosis:

A terrifying meditation on trauma and the lengths we go to feel alive again, The Dead Thing lingers like a half-remembered nightmare—one you might not want to wake up from.

  • Saul Muerte

The Dead Thing will stream on Shudder from Fri 14th Feb.

In Memorium: Olivia Hussey (1951–2024)

28 Saturday Dec 2024

Posted by in In Memorium

≈ 5 Comments

Tags

, , , , ,

The world of cinema has lost one of its most unforgettable stars with the passing of Olivia Hussey. Known for her captivating performances and ethereal presence, Hussey’s career spanned decades, but it was her work in the horror genre that cemented her place in cinematic history. Her portrayal of strong, complex characters across a variety of films has left an indelible mark on both the industry and audiences alike.

Hussey’s notable role in Black Christmas (1974), directed by Bob Clark, remains one of the defining contributions to the horror genre. As Jess Bradford, a college student who becomes the target of a terrifying phone stalker during Christmas break, Hussey delivered a performance of quiet strength and vulnerability. Black Christmas would go on to become a cult classic, influencing generations of slasher films that followed, with Hussey’s chilling turn as one of its earliest heroines still resonating with fans.

Her talents transcended the genre, yet it was her return to horror that brought more unforgettable moments. In Psycho IV: The Beginning (1990), she portrayed Norma Bates, a character that brought fresh depth to the story of Norman Bates, brilliantly counterbalancing the legacy of the original Psycho films. Hussey’s portrayal imbued the role with nuance, adding a layer of sympathy to a tragic and infamous character.

In addition to these films, Hussey’s role in Turkey Shoot (1982) stands out as another testament to her versatility. This action-packed horror film saw her in a more physical, confrontational role, showcasing her ability to navigate both suspenseful terror and high-stakes action with grace and poise.

Hussey also made a memorable contribution to IT: The Mini-Series (1990), where she portrayed Audra Denbrough, the wife of Billy Denbrough (played by Richard Thomas). In this role, Hussey brought a grounded, emotional presence to the adaptation of Stephen King’s beloved novel, adding depth to the narrative and anchoring the emotional stakes of the story, particularly in her scenes alongside Thomas.

While her career spanned a wide variety of genres and roles, it was her contributions to horror that continue to influence and inspire. Olivia Hussey’s legacy in the world of film will not soon be forgotten. Her ability to convey fear, resilience, and vulnerability on screen has left an enduring impression on both her fans and the filmmakers who followed in her wake.

We remember Olivia Hussey not only for the characters she brought to life but for the profound impact she had on shaping the genre and the hearts of all who were fortunate enough to witness her performances.

Rest in peace, Olivia Hussey. You will be greatly missed.

  • Saul Muerte

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

13 Friday Dec 2024

Posted by in episode review

≈ Leave a comment

Tags

, , , , , , , , ,

Shudder Original Series
Series Premiere Date: December 13, 2024

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

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

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

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

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

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

  • Saul Muerte

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

The Creep Tapes: Episode 5 (Brandt) Review

06 Friday Dec 2024

Posted by in episode review

≈ Leave a comment

Tags

, , , , , , , , ,

Shudder Original Series
Series Premiere Date: December 6, 2024

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

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

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

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

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

  • Saul Muerte

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

The Creep Tapes: Episode 4 (Brad) Review

29 Friday Nov 2024

Posted by in episode review

≈ Leave a comment

Tags

, , , , , , , , ,

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 Creep Tapes: Episode 3 (Jeremy) Review

22 Friday Nov 2024

Posted by in episode review

≈ Leave a comment

Tags

, , , , , , ,

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+

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

12 Tuesday Nov 2024

Posted by in Uncategorized

≈ Leave a comment

Tags

, , , , , , , , ,

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.

Piper: A Chilling Premise, but a Hollow Tune

06 Wednesday Nov 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , ,

The Piper brings Elizabeth Hurley back to the screen in a horror-thriller inspired by the chilling folklore of the Pied Piper. Directed by Anthony Waller (An American Werewolf in Paris), the film follows Liz (Hurley) and her daughter Amy (Mia Jenkins) as they attempt to start fresh in a small town in Germany. But as they settle in, an ominous force begins to stir—one that seems directly connected to Liz’s hidden past. The Piper, an ancient and vengeful entity, targets those who have wronged others, taking the children of those who bear guilty secrets. With Amy’s life in danger, Liz must confront both her past and the supernatural presence haunting her.

The film’s premise, rooted in the legendary Pied Piper tale, holds immense potential for a dark, psychological exploration of guilt and consequence. This is, after all, a story that has haunted generations with its chilling reminder of the cost of broken promises. Yet The Piper barely scratches the surface of the folklore’s psychological depth, opting instead for a more traditional supernatural thriller approach. Despite Hurley’s commendable performance, the film lacks the ambition to make full use of its unsettling premise, leaning on predictable scares and tired horror tropes rather than delving into the disturbing implications of the story.

Elizabeth Hurley brings a strong presence to the role of Liz, infusing her character with a mother’s desperation and guilt as she fights to protect her daughter. However, the script leaves her limited opportunities to elevate Liz into a more complex character. Mia Jenkins as Amy also shines in moments, adding a believable vulnerability to the role, though the character dynamics feel somewhat shallow. While the performances provide the film with glimmers of emotional depth, they can’t fully compensate for the lack of a compelling narrative arc or the film’s underwhelming exploration of its themes.

Where other films have managed to take inspiration from the Pied Piper and shape it into something uniquely sinister, The Piper seems hesitant to truly commit to its darker edges. Atom Egoyan’s The Sweet Hereafter comes to mind as a film that used this legend to explore community tragedy and moral ambiguity, grounding its horror in real human suffering. In contrast, The Piper remains content to skim the surface, favoring formulaic supernatural scares over any meaningful exploration of redemption or the consequences of guilt. This lack of thematic depth ultimately weakens the film, leaving it feeling more like a missed opportunity than a fresh take on folklore horror.

Visually, The Piper offers some well-composed shots that attempt to capture the haunting atmosphere of its German setting. Waller’s direction, while competent, seems restrained here, missing the stylistic ambition that might have heightened the film’s tension. Known for his work on An American Werewolf in Paris, Waller has a knack for creating eerie atmospheres, yet The Piper doesn’t quite capture that sense of dread on the same level, and the setting feels underutilized as a backdrop for horror.

Ultimately, The Piper doesn’t manage to live up to the potential of its inspiration, feeling more like a generic supernatural thriller than a fresh horror tale. Hurley’s return to the screen, bolstered by a solid supporting cast including Tara Fitzgerald and Robert Daws, is enjoyable, but it’s not enough to make this a standout. For fans of the Pied Piper legend hoping for a film that taps into the unsettling aspects of the myth, The Piper may feel like a missed chance, delivering a predictable story without the depth or innovation that could have made it memorable.

The Prognosis:

The Piper leaves viewers with a familiar yet unremarkable tale of vengeance from beyond, one that struggles to evoke the eerie, cautionary spirit of its source material. For those looking for a fresh twist on classic folklore, this film falls short, leaving the true horror of the Pied Piper myth waiting for a more ambitious interpretation.

  • Saul Muerte

Piper is available for Home Entertainment from 6th November.

Azrael (2024): A Silent Scream That Fizzles Out

22 Tuesday Oct 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , ,

“Azrael,” the latest action-horror from E.L. Katz, delivers a premise that sounds intriguing on paper—an eerie world devoid of speech, where a brutal female-led cult relentlessly hunts an escaped prisoner. Add the ever-captivating Samara Weaving into the mix, and expectations for some gripping, visceral action naturally rise. But while the film presents a brave, somewhat daring attempt to create a unique atmosphere, it ultimately falls short of delivering anything with real substance.

Weaving, known for her sharp intensity in past roles, undoubtedly carries the weight of the film on her shoulders. Her portrayal of Azrael, a woman fighting tooth and nail for survival, does bring some much-needed energy to the screen. When the action finally arrives, it’s clear that Weaving is skilled at kicking butt. Yet even her talent can’t save the film from its sluggish pace and lack of depth. It takes an eternity for the narrative to shift into gear, and by the time it does, the payoff feels disappointingly underwhelming.

The lack of dialogue is clearly intended to enhance the atmosphere, creating an unsettling and immersive world where silence is a weapon. However, the film’s over-reliance on this stylistic choice backfires. Without any meaningful verbal exchanges, the story begins to feel as barren as the film’s haunting wilderness setting. What could have been a tension-building device instead results in a narrative that often drags, leaving the audience feeling disconnected.

Visually, the film does have its moments. The desolate landscapes and stark imagery evoke a sense of isolation, and the concept of a voiceless world initially adds an eerie, unsettling layer. But these strengths aren’t enough to compensate for the weak character development and the rather predictable plot. The film meanders, and when it finally hits its stride in the action department, it’s too little, too late. Weaving is given far too few opportunities to shine, and the action sequences, though well-choreographed, lack the punch needed to make a lasting impact.

The Prognosis:

“Azrael” is a film with plenty of ambition, but it’s an example of how high-concept ideas require more than just a strong lead actor to succeed. It’s a brave effort from Katz, but without a stronger narrative core and more compelling action, it simply doesn’t have the gravitas to pull off the trick. Samara Weaving may be kicking butt, but even her powerful presence can’t elevate this film beyond its mediocre execution.

  • Saul Muerte

Azrael will stream on Shudder from Fri 25th Oct.