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Piper: A Chilling Premise, but a Hollow Tune

06 Wednesday Nov 2024

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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

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“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.

MadS – A Mesmerizing, One-Shot Descent into Chaos

15 Tuesday Oct 2024

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MadS, premiering on Shudder Fri Oct 18th, delivers a unique and haunting cinematic experience, thanks to its audacious one-shot technique. The film tells a harrowing end-of-the-world story through a slow, decaying unraveling of both its characters and their reality. With its seamless visual style, MadS manages to capture a gripping narrative that is both unsettling and unnervingly intimate.

The story follows Romain, played by Milton Riche, a teenager who tests a new drug from his dealer before heading out for a night of partying. Things take a surreal and nightmarish turn when he picks up an injured woman on the way home. As the night spirals out of control, reality begins to fracture, plunging both Romain and the audience into a world of escalating chaos. This disorienting experience is heightened by the film’s single-take format, which immerses viewers directly in the action.

What sets MadS apart is how it masterfully manages its pacing. The one-shot technique could have easily felt gimmicky, but here, it enhances the story’s deeply unsettling atmosphere. The slow unraveling of Romain’s night—and his sanity—feels organic and relentless, with each moment of dread lingering uncomfortably long. The film’s technical precision allows every interaction and event to build tension, which only increases as Romain’s relationship with his girlfriend Anaïs (Lucille Guillaume) begins to fray under the weight of the night’s growing horror.

Milton Riche’s performance as Romain is both raw and captivating. He skillfully portrays Romain’s descent into fear and confusion, making the character’s unraveling feel authentic and deeply affecting. His gradual shift from casual indifference to desperate panic drives the film’s emotional core. Lucille Guillaume, playing Anaïs, brings a grounded intensity to her role, offering a fragile yet determined counterbalance to Romain’s increasingly erratic behavior.

The film’s technical prowess extends beyond its performances, as the one-shot approach works in tandem with moody lighting and a haunting soundscape to amplify the film’s surreal atmosphere. The unbroken, continuous shot offers no escape from the mounting tension, leaving viewers trapped alongside Romain as he navigates dark streets, ominous encounters, and the looming threat of an unseen, pervasive force.

While MadS dips into abstract and surreal territory, leaving parts of its story open to interpretation, this ambiguity works in its favor. The film thrives on its ability to create discomfort and uncertainty, making every moment feel unpredictable and charged with menace. Its dreamlike quality makes the viewer question what is real and what is the product of Romain’s altered state, adding to the growing sense of helplessness.

At its core, MadS is about the fear of losing control—over oneself, one’s reality, and the future. This exploration of chaos and disintegration, both personal and external, is captured in every frame, making it a haunting and thought-provoking film.

The Prognosis:

MadS delivers a chilling and captivating one-shot experience. Its unique style, unsettling performances, and slow-burn tension make it a standout feature on Shudder. For fans of immersive, psychological horror, MadS is a must-watch, offering a powerful reflection on the fragility of reality when chaos takes hold.

  • Saul Muerte

MadS will be streaming on Shudder from Fri 18 Oct

Retrospective: Black Christmas (1974) – The Birth of the Modern Slasher

12 Saturday Oct 2024

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Few films have had as lasting and significant an impact on the horror genre as Bob Clark’s Black Christmas (1974). Often considered one of the earliest and most influential slasher films, this Canadian cult classic set the stage for an entire subgenre, crafting many of the tropes and techniques that would come to define horror for decades. Despite being overshadowed by later films like Halloween and Friday the 13th, Black Christmas deserves recognition for pioneering the slasher formula with a chilling, understated approach that remains terrifying even today.

At first glance, Black Christmas may appear deceptively simple: a group of sorority sisters are terrorized by a mysterious killer during the holiday season. However, beneath this surface lies a film that is far more unsettling and artfully constructed than the plot might suggest. The film centers on a sorority house where a series of disturbing phone calls from an anonymous stalker escalates into a killing spree, leaving the women inside fighting for their lives. What makes Black Christmas stand out, even now, is its unnerving atmosphere, psychological horror, and narrative ambiguity.

Though Black Christmas wasn’t the first horror film to feature a mysterious killer stalking victims, it was among the first to codify many of the key elements of the slasher genre. The killer is hidden, only referred to as “Billy,” and his identity is never revealed. This creates a terrifying sense of anonymity, leaving viewers unsettled and guessing throughout. The film’s signature technique of showing the killer’s point of view through a shaky, handheld camera, often as he lurks inside the sorority house, was a novel approach at the time. This perspective not only put the audience uncomfortably close to the villain but also emphasized the voyeuristic nature of the genre, which would become a hallmark of slasher films.

Furthermore, Black Christmas introduced another crucial element to the slasher formula: the final girl. Jess (played by Olivia Hussey) serves as the prototype for what would become a defining archetype in horror films. She is resourceful, determined, and morally complex, facing down not just the threat of the killer but also grappling with difficult personal decisions, such as her unplanned pregnancy. While Halloween’s Laurie Strode may get most of the credit as the iconic final girl, it was Jess who paved the way.

What truly sets Black Christmas apart is its refusal to rely on cheap jump scares or excessive gore. Bob Clark, who would ironically go on to direct the holiday classic A Christmas Story, leans heavily into psychological horror. The film’s pacing is slow but deliberate, building tension in a way that mirrors the growing paranoia and terror within the sorority house. The mysterious phone calls—featuring unsettling, incoherent babbling and eerie voices—play a significant role in creating a pervasive sense of dread. These moments are perhaps some of the most unnerving in the film, as they tap into the fear of the unknown. We never truly understand who “Billy” is or why he is targeting these women, and this ambiguity is far more terrifying than any clear motive.

There’s also a layer of ambiguity in the way the story ends. The final moments of the film leave the audience in a state of unease, as we realize that the killer may still be lurking inside the house. It’s a haunting conclusion that forgoes the catharsis of resolution, instead opting to leave viewers with lingering questions. This open-endedness not only subverts expectations but also keeps the fear alive long after the credits roll.

Despite Black Christmas’s relatively modest success at the box office, its influence on the genre cannot be overstated. Released four years before Halloween, it laid much of the groundwork that John Carpenter would refine to perfection. The trope of an unstoppable, unseen killer, the use of holiday settings as a backdrop for horror, and the idea of a final girl all originated here. Films like Friday the 13th (1980), A Nightmare on Elm Street (1984), and Scream (1996) would later take these concepts and run with them, but Black Christmas remains their precursor.

Moreover, Black Christmas redefined the role of women in horror films. While earlier horror often portrayed female characters as passive victims, this film empowered its female leads with agency and complexity. Jess, in particular, challenges the conventions of morality and survival that would later be expanded upon in the genre. This emphasis on strong female protagonists would become a defining characteristic of slasher films in the years to come.

Nearly 50 years after its release, Black Christmas retains its ability to shock and unsettle. Its stark portrayal of violence, coupled with its minimalistic style, lends it a timeless quality that feels just as disturbing today as it did in 1974. While it may not have the same widespread recognition as some of the films it influenced, its legacy is undeniable. The way it skillfully balances psychological horror, tension, and brutal realism set it apart from its contemporaries and continues to resonate with audiences, reminding us that true terror often lies in what we don’t see.

The Prognosis:

In the annals of horror, Black Christmas stands as a groundbreaking film that helped shape the slasher genre and define its future trajectory. Bob Clark’s minimalist approach, the chilling atmosphere, and the deeply unsettling narrative make it a landmark of horror cinema. For any fan of the genre, Black Christmas is essential viewing, both as a pioneering work and as a timeless masterpiece of fear.

  • Saul Muerte

Daddy’s Head – A Sinister Take on Familiar Terrors

08 Tuesday Oct 2024

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Shudder’s latest original, Daddy’s Head, follows a path well-trodden in horror, diving into themes of grief, mental health, and the complicated relationship between a grieving child and a struggling stepmother. While these are common threads in horror cinema, Daddy’s Head still manages to carve out moments of eerie tension that linger long after the film’s conclusion.

Set in the vast isolation of a rural estate, the film places the young boy at its emotional core. His confusion and loss after the sudden death of his father create an unsettling atmosphere, one that is heightened by his stepmother’s emotional distance. As the boy becomes haunted by a grotesque creature resembling his father, his stepmother dismisses his warnings, believing them to be mere figments of a grieving mind. This dismissal, of course, only tightens the grip of the sinister entity, with the boy’s warnings becoming more urgent.

Where Daddy’s Head shines is in the execution of its most disturbing moments. The eerie sounds echoing through the halls, the glimpses of the monstrous father figure, and the growing tension between the boy and his stepmother all contribute to a sense of creeping dread. The film effectively taps into the fear of being ignored when something truly menacing is lurking just out of sight.

However, it’s hard to ignore that Daddy’s Head leans heavily on well-known tropes. The child who sees what the adults don’t, the stepmother struggling to fill the role of parent, and the supernatural manifestation of unresolved grief all feel familiar. While the film crafts a decent narrative around these elements, it doesn’t quite escape the shadow of similar films that have come before it.

The Prognosis:

In spite of its predictability, Daddy’s Head does manage to resonate thanks to its haunting moments and unsettling creature design. It won’t revolutionise the genre, but it crafts a sufficiently sinister tale that horror fans will find some satisfaction in.

  • Saul Muerte

Daddy’s Head premieres Exclusively on Shudder and AMC+ Friday 11 October

It’s What’s Inside (2024) – A Twisted Tale of Identity and Revenge

06 Sunday Oct 2024

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It’s What’s Inside delivers a twisted, high-concept psychological thriller, exploring the dark side of identity, body swapping, and the lengths people will go to when driven by revenge, jealousy, and ambition. Directed by Greg Jardin, the film’s central premise—the manipulation of bodies and identities through a cutting-edge device—presents a disturbing reflection on the cost of transformation, both physical and moral.

The story revolves around a group of friends who reunite at Reuben’s (Devon Terrell) house for a pre-wedding party. Amid the celebration, their estranged friend Forbes (David W. Thompson) reappears, carrying a strange device that allows its users to swap bodies with one another. What begins as a game quickly spirals into chaos as lies are exposed, hidden desires come to light, and deep-seated grudges from their college days erupt with deadly consequences.

The film’s greatest strength lies in its unsettling portrayal of how changing one’s body—whether for vanity, power, or escape—can expose the true, often corrupt, personalities that lie within. As the group engages in their body-swapping game, it becomes clear that their outward transformations only serve to amplify their internal flaws. Forbes’s invention doesn’t just allow the characters to slip into new skins; it brings out the darkness they’ve hidden beneath the surface. As identities blur and alliances crumble, each character is forced to confront the parts of themselves they’ve tried to repress, revealing a disturbing lack of empathy and moral decay.

One of the most compelling elements of It’s What’s Inside is its critique of a generation that has lost sight of its purpose. The characters—consumed by a need for success, revenge, and personal gain—are driven by their ambitions with little concern for the consequences. Shelby (Brittany O’Grady), who eagerly embraces her newfound appearance after swapping into Nikki’s (Alycia Debnam-Carey) body, exemplifies this obsession with image and social media status. Meanwhile, Cyrus’s (James Morosini) jealousy and insecurity bubble over as he navigates the body-swapping game, becoming a key player in the film’s explosive climax. The group, so intent on achieving what they believe to be success, revenge, or escape, fail to realize the dangers of playing with their identities until it’s too late.

As the narrative escalates, we see the tragic consequences of their actions—deaths, betrayal, and a complete breakdown of trust including a shocking demise during the second round of body swapping sets the stage for the film’s darker turn, as Forbes, Shelby, and the others begin to unravel, trapped in a vicious cycle of lies and deception. The notion of swapping bodies as a game becomes a perverse metaphor for youth’s reckless pursuit of validation, where nothing—including one’s own identity—is sacred or permanent.

The ending leaves a lasting impression, and a final twist of revenge, leaving the audience and its players in a world where no one’s identity is fixed and everyone is willing to sacrifice their true selves for personal gain, It’s What’s Inside raises unsettling questions about the lengths people will go to control their own narratives. Even after the dust settles, the repercussions of the group’s actions hang over them, leaving the audience with an eerie sense of inevitability.

The Prognosis:

It’s What’s Inside offers a disturbing exploration of identity, revenge, and the corrupting influence of ambition. While the plot occasionally stumbles under the weight of its complex narrative, the film still manages to deliver a chilling commentary on the cost of changing one’s body, and by extension, oneself. As youth grapples with the allure of success and validation, the film serves as a cautionary tale of how easily one can lose sight of who they truly are. With its unsettling atmosphere and darkly intriguing concept, It’s What’s Inside lingers in the mind, reminding us that the greatest horrors come from within.

  • Saul Muerte

It’s What’s Inside is currently streaming on Netflix.

I Saw The TV Glow (2024) – A Promising Premise That Fizzles Out

05 Saturday Oct 2024

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I Saw The TV Glow arrives with a wave of early praise, bolstered by its intriguing mix of nostalgia, psychological horror, and a striking exploration of identity. Directed by Jane Schoenbrun, the film centers around two troubled high school students (Justice Smith and Brigette Lundy-Paine) whose obsession with a television show begins to warp their sense of reality and their own identities. While the premise offers plenty of promise and builds an atmospheric tension reminiscent of Candle Cove and David Lynch’s work, the film struggles to lift itself beyond its ambitions, leaving a lingering sense of missed opportunity.

The narrative is ripe with themes of nostalgia and the feeling of being trapped—whether it’s in a body that doesn’t feel like yours or in a reality that’s constantly shifting and untrustworthy. These elements mirror the protagonists’ internal struggles as they face issues of gender reassignment and self-doubt. However, the execution becomes muddled, never quite delivering the emotional impact or the depth that these weighty themes demand. Instead, the film remains more interested in style and atmosphere, leaving the characters’ arcs feeling underdeveloped.

Schoenbrun’s exploration of nostalgia takes centre stage in the film’s aesthetic choices, leaning heavily into a Candle Cove-style approach, with eerie television broadcasts and strange occurrences making the characters—and the audience—question what’s real. There’s a palpable sense of dread that permeates the film, much of it owing to the Lynchian vibes that pulse through the visuals and soundscape. The surreal, dreamlike quality is one of the film’s greatest strengths, capturing the confusion and fear that comes from losing your grip on reality. Yet, where Lynch often manages to weave abstract ideas with emotional clarity, I Saw The TV Glow falters, leaving too much ambiguity without a satisfying resolution.

The killer soundtrack is another standout feature. Packed with an eclectic mix of tracks, it underscores the film’s nostalgic tone while also adding to its unsettling atmosphere. The music choices help immerse the viewer in the world Schoenbrun has crafted, one that feels just off-kilter enough to unsettle without overtly terrifying. It’s a sensory experience that lingers long after the film ends, even if the narrative doesn’t fully stick the landing.

Despite its shortcomings, I Saw The TV Glow is not without merit. The performances by Justice Smith and Brigette Lundy-Paine are compelling, capturing the emotional confusion and intensity of their characters. They deliver strong portrayals of youth grappling with identity, even if the script doesn’t always give them enough room to fully develop their characters. The supporting cast, including Helena Howard, Fred Durst, and Danielle Deadwyler, offer intriguing contributions but are often sidelined by the film’s focus on atmosphere over substance.

The film’s visual style, coupled with its heady themes, does manage to create a lingering impression. There’s something undeniably hypnotic about the way I Saw The TV Glow merges nostalgia with surreal horror, but it’s hard to shake the feeling that the movie, like its characters, is trapped in its own potential—constantly reaching but never fully achieving.

The Prognosis:

While I Saw The TV Glow boasts a promising premise, strong performances, and an unforgettable soundtrack, it ultimately falls short of delivering on its potential. The Lynchian atmosphere and Candle Cove-inspired narrative pull you in, but the film struggles to tie its themes together in a cohesive way, leaving viewers with more questions than answers. It lingers long after the credits roll, but more for what it could have been than what it is. A stylish but emotionally distant experience that never quite reaches the heights it sets out to achieve.

  • Saul Muerte

Hold Your Breath (2024) – A Missed Opportunity Wrapped in Dust

05 Saturday Oct 2024

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Hold Your Breath, the latest psychological horror-thriller from directors Karrie Crouse and Will Joines, had all the ingredients to be a standout film. Set against the haunting backdrop of the 1930s Dust Bowl, with a compelling premise and Sarah Paulson leading the charge, the film seemed poised to deliver a chilling exploration of fear and paranoia. Unfortunately, despite Paulson’s strong performance and the intriguing concept of an antagonist hidden within the dust, Hold Your Breath falls flat, weighed down by slow pacing, underdeveloped tension, and a lackluster narrative.

The story centers on Mabel (Paulson), a young mother living in rural Oklahoma, whose life is unraveling as the unforgiving dust storms ravage the land and her mind. Paulson brings depth and intensity to her role, portraying Mabel’s descent into paranoia and fear with her trademark skill. Her performance is by far the highlight of the film, effectively conveying the crushing burden of motherhood in a world that feels as hostile as it is desolate. As Mabel becomes convinced that a malevolent presence is lurking in the dust storms, Paulson’s portrayal of her psychological breakdown feels visceral and authentic, grounding the film in moments that would otherwise be lost in the haze.

The premise itself is promising—an unknown threat hiding in the dust, a force of nature that becomes a villain in its own right. There’s something deeply unnerving about the idea that something as natural as the wind could be hiding something sinister. However, Hold Your Breath struggles to capitalise on this. Instead of using the dust storms to build a creeping sense of dread, the film meanders, failing to fully deliver on its supernatural promise or lean into the psychological horror it teases.

The pacing is one of the film’s biggest issues. While the slow-burn approach can work wonders in building tension, Hold Your Breath takes it too far, with long stretches where little happens beyond Mabel’s growing unease. For all the atmospheric dust and the potential of an unseen threat lurking within it, the tension never truly escalates. The film teeters on the edge of suspense but never tips over into genuine horror or even psychological thrills. By the time it reaches its conclusion, the payoff feels underwhelming, leaving the audience more frustrated than fearful.

The dust, intended as a central figure in the narrative, is visually striking but ultimately underutilised. It swirls ominously throughout the film, but the menace it promises never quite materialises. The dust could have been a powerful metaphor for Mabel’s disintegrating mind, her inability to see clearly or escape her situation, but instead, it becomes just a backdrop—an aesthetic choice rather than a narrative driver. There’s a missed opportunity in not making the dust storms more integral to the psychological unraveling or the supernatural terror.

Even with a strong supporting cast, including Amiah Miller and Ebon Moss-Bachrach, the characters surrounding Mabel feel flat. Their roles seem more like props to Mabel’s story rather than fully fleshed-out individuals, which detracts from the emotional weight of her breakdown. The interactions between Mabel and her family lack the depth needed to make her increasing isolation and fear resonate on a deeper level.

The Prognosis:

Hold Your Breath boasts a cracking premise and a standout performance from Sarah Paulson, who anchors the film with emotional depth and conviction. The idea of a villain hidden within the dust storms of the 1930s Oklahoma Dust Bowl offers so much potential for both psychological and supernatural horror, but the film’s sluggish pacing and lack of genuine tension leave much to be desired. Despite its atmospheric setting and strong central performance, Hold Your Breath ultimately fails to make a lasting impression, squandering its intriguing concept in a haze of missed opportunities.

  • Saul Muerte

Hold Your Breath is streaming on Disney Plus from Oct 4th.

V/H/S/Beyond (2024) – A Mixed Bag With Some Memorable Standouts

04 Friday Oct 2024

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The V/H/S franchise has always leaned into its unpredictable, chaotic nature, and V/H/S/Beyond continues this tradition, offering a new collection of short horror films that range from inventive and chilling to downright bizarre. This latest installment comes with some solid scares and intriguing ideas, but like most anthologies, it’s a mixed bag. The strongest segments manage to elevate the overall experience, while a few others hold it back. Here’s a breakdown of each story:

“Abduction/Adduction” – Frame Narrative

Directed by Jay Cheel, “Abduction/Adduction” serves as the glue that holds the anthology together. The premise follows a group of people documenting bizarre encounters with alien abductions, which links the other stories in a creative, albeit predictable, manner. The narrative keeps things moving with just enough intrigue, but ultimately it’s more functional than memorable.

Strengths: Strong visuals, cohesive framework.
Weaknesses: Somewhat familiar storyline.

“Stork” – A Chilling, Standout Segment

Directed by Jordan Downey, “Stork” is easily one of the anthology’s highlights. This segment centers around a police unit investigating a string of baby disappearances in a decrepit house. What starts as a procedural investigation quickly devolves into something much more unsettling, with the house itself becoming a labyrinth of horrors. Downey creates a palpable sense of dread throughout, blending supernatural elements with gritty realism. The imagery is nightmarish, and the tension builds to a truly disturbing climax.

Strengths: Atmosphere, direction, disturbing imagery.
Weaknesses: Some predictable elements, but it’s a standout.

“Dream Girl” – Bollywood Horror with a Twist

Virat Pal’s “Dream Girl” takes the found footage genre in an unexpected direction, focusing on two paparazzi who sneak onto the set of a Bollywood film. What starts off as a humorous misadventure quickly turns into a chilling encounter with Tara, a famous actress hiding dark secrets in her trailer. The blending of Bollywood glitz with horror works well here, and the segment’s twist is both shocking and satisfying. Pal’s ability to shift from lighthearted moments to sheer terror makes this one of the more engaging stories.

Strengths: Originality, strong twist.
Weaknesses: Some pacing issues.

“Live and Let Dive” – Fun but Chaotic

Justin Martinez’s “Live and Let Dive” takes the anthology in a more action-packed direction, following a group of skydivers who find themselves in a fight for survival after their plane collides with a UFO. This segment is a wild ride from start to finish, blending sci-fi with horror. While the concept is thrilling, the execution feels rushed, and the story lacks depth. That said, it’s still fun, especially for those who enjoy chaotic, fast-paced horror.

Strengths: Action, unique premise.
Weaknesses: Rushed storytelling, lack of emotional connection.

“Fur Babies” – The Weakest Entry

Directed by Justin Long and Christian Long, “Fur Babies” is easily the weakest link in the anthology. The story follows animal rights activists who break into a taxidermist’s house, only to find a grotesque secret in her basement. Despite an interesting premise, the segment feels disjointed and lacks the sharp edge needed to make it effective. Long seems to be channeling some Tusk-era vibes here, but the result is more off-putting than terrifying. The horror elements feel forced, and the comedic moments don’t land, leaving the segment feeling out of place in the anthology.

Strengths: Potential in the premise.
Weaknesses: Disjointed execution, forced humor.

“Stowaway” – A Strong Directorial Debut

Rounding out the anthology is “Stowaway,” directed by Kate Siegel in her directorial debut and written by horror maestro Mike Flanagan. This segment centers on a woman documenting strange lights over the Mojave Desert, slowly unraveling a terrifying mystery. “Stowaway” shines with its minimalist approach, building suspense through atmosphere and subtle scares rather than relying on gore or jump scares. Siegel proves herself as a promising director, and with Flanagan’s script, this segment serves as a perfect closer, leaving audiences with an unsettling feeling that lingers after the credits roll.

Strengths: Atmosphere, storytelling, direction.
Weaknesses: Some might find the pacing too slow.

The Prognosis:

V/H/S/Beyond continues the franchise’s tradition of showcasing diverse horror styles within the found footage format. While some segments, like “Stork” and “Stowaway,” rise above the rest, others, like “Fur Babies,” drag the overall experience down. Still, it offers enough creativity and scares to make it a worthy entry in the series. Fans of the franchise will appreciate the variety, even if the anthology doesn’t always hit the mark.

  • Saul Muerte

V/H/S/Beyond will stream on Shudder from 4th October.

Within The Pines (2024) – A Masterclass in Sound and Suspense

29 Sunday Sep 2024

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Paul Evans Thomas’s feature debut Within The Pines pulls you into a world where sound becomes both a weapon and a warning, shaping a tense, atmospheric thriller that clings to your nerves and doesn’t let go. After years of crafting shorts, including his proof-of-concept Foley Man, Thomas has created a film that masterfully taps into primal fear, using sound design to create an immersive experience that is as unsettling as it is captivating.

The story follows a seasoned sound recordist (Brendan Cooney) who ventures deep into an isolated forest to capture natural foley work. His search for the perfect audio, however, quickly turns into a harrowing nightmare when his microphone picks up a mysterious and terrifying sound. From that moment on, the forest—once tranquil—becomes a labyrinth of dread, where every crackle, every rustle, becomes a potential threat. Thomas weaves this sensory experience into the very fabric of the film, making it clear that sound, in Within The Pines, isn’t just a tool—it’s the heart of the story.

What stands out most is how Thomas makes audio the driving force behind the film’s atmosphere. The sound design is meticulously crafted, with each subtle noise adding to the tension. This is a film that demands to be listened to as much as watched. Every footstep, distant echo, and distorted whisper creates an air of unease, leading the audience into a heightened state of anxiety. As the recordist moves deeper into the woods, the soundscape begins to blur the line between reality and imagination, transforming the forest into a living, breathing entity. It’s a brilliant showcase of how integral sound is to the art of cinema, drawing you into the film’s core and ensnaring you in its thrilling journey.

Brendan Cooney’s performance as the recordist is central to Within The Pines’ success. His portrayal of a man caught between his professional duty and a growing sense of terror feels deeply authentic. Cooney’s ability to convey dread without dialogue—relying on his reactions to the sounds around him—makes for a compelling and understated performance. He becomes the audience’s conduit, hearing what we hear, feeling the tension grow with each auditory clue.

The location itself, an isolated and foreboding forest, works hand in hand with the sound design to create a sense of claustrophobia despite the open space. The forest is vast, but Thomas’s direction and sharp editing give the impression that it’s closing in on our protagonist. The trees feel like silent observers, while the sounds lurking within suggest something far more sinister. The film taps into the primal fear of being hunted, and it’s this constant feeling of pursuit—heightened by the expert use of sound—that makes Within The Pines so effective.

Within The Pines also excels in its pacing. Thomas builds the tension slowly, allowing the audience to settle into the rhythm of the recordist’s work before turning the peaceful setting into a nightmarish maze. It’s a gradual escalation of suspense, marked by small, subtle audio cues that hint at something lurking just out of sight. The film never rushes, instead drawing out the dread until it becomes almost unbearable, leading to a final act that delivers a scorpion sting in its tail.

This is a film that understands the importance of sensory storytelling. Paul Evans Thomas has crafted a deeply entrenched thriller that ensnares you in its world, using sound to create an atmosphere of fear and paranoia. The film’s brilliant use of audio isn’t just a technical achievement—it’s the very essence of the story, highlighting how crucial the sense of sound is to the cinematic experience.

The Prognosis:

Within The Pines is a gripping debut that showcases Thomas’s ability to create tension from the simplest of elements, leaving audiences with a film that lingers long after the final sound fades.

  • Saul Muerte

Within The Pines is screening as part of the Dark Nights Film Fest, Sat 13 Oct at 7pm (Ritz Cinema – Randwick)