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Movie Review: In A Violent Nature (2024)

02 Friday Aug 2024

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There has been a lot of buzz circulating around the Canadian slasher film In A Violent Nature, written and directed by Chris Nash. The film’s simple yet intriguing concept of following the narrative from the killer’s point of view has drawn comparisons to horror classics like Friday the 13th and The Texas Chain Saw Massacre. However, while this unique perspective offers some fresh insights, it also reveals the film’s significant flaws.

The plot of In A Violent Nature centers on a silent, cold-blooded assassin who stalks his victims through the dense Ontario woodlands. Nash’s decision to frame the story from the killer’s viewpoint is both a stroke of genius and an Achilles heel. On one hand, it effectively highlights the calculative and methodical nature of the killer, providing a chilling glimpse into his mind. The killer finds unique and gruesome ways to dispatch his unsuspecting victims, adding a layer of intrigue to the narrative.

However, this one-note delivery can become tedious as the audience is forced to trawl along with the killer through the seemingly monotonous and meandering forest. The slow pace and lack of variation risk boring the viewers, pulling them out of the immersive world that Nash strives to create. The supporting cast’s poor acting exacerbates this issue, as their performances often feel forced and unrealistic.

While some might argue that over-the-top acting is a staple of slasher films, there is a fine line between deliberate campiness and simply bad acting. Unfortunately, In A Violent Nature falls into the latter category, with dialogue that feels stilted and characters that fail to come across as genuine or engaging. This stark contrast to Nash’s intended style and substance is jarring and detracts from the overall experience.

Despite its shortcomings, the film’s conclusion delivers a powerful key message. By the end, the killer’s actions reveal a bleak commentary on the nature of violence and the desensitization of society. This ending attempts to leave the audience with a thought-provoking reflection on the cyclical and inescapable nature of brutality, aligning with the grim tone set by its horror predecessors.

The Prognosis:

In A Violent Nature is a mixed bag. While its concept of following the killer’s perspective is innovative and offers some intriguing moments, the execution falls flat due to pacing issues and subpar acting. The film’s influences from horror classics like Friday the 13th and The Texas Chain Saw Massacre are evident, but it struggles to live up to the standards set by these genre-defining movies. For die-hard slasher fans, it might be worth a watch, but for others, it may not leave a lasting impression.

  • Saul Muerte

Movie review: Longlegs (2024)

20 Saturday Jul 2024

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There are some directors in the horror genre who make their mark with bold, fantastical statements. While their voices are initially impactful, by the third or fourth outing, their energy may begin to wane. However, Osgood Perkins, the director and writer of Longlegs, is playing the long game. Known for his meticulously slow pacing, strong leanings into paranormal and occult storytelling, and rich visual imagery, Perkins has been crafting a unique style that promises a lengthy and delightfully intriguing career.

His first two features, The Blackcoat’s Daughter and I Am The Pretty Thing That Lives in the House, were meticulously detailed, focusing on themes of isolation and desperation. His third feature, Gretel & Hansel, offered an offbeat twist on the classic fairytale with a focus on the feminine side of the story. While it may have strayed slightly from his usual tone, it still showcased incredible pacing and cinematography.

Longlegs may be his finest hour yet. It blends notable elements from thriller classics like Silence of the Lambs and David Fincher’s films, combined with the Lynchian vibe that permeates Perkins’ work. From its opening scenes, Longlegs sets a gripping pace and tone with a shocking opener and remarkable sound design that hooks you and never lets go.

Maika Monroe (It Follows) delivers a powerful performance as Lee Harker, an FBI agent with an uncanny knack for instinctively tuning into her environment. This trait quickly gets her noticed and involved in a curious investigation of a serial killer who leaves cryptic notes at his crime scenes. Harker’s birdlike mannerisms and quirky social awkwardness unfold as the inquiry unearths more than she anticipated, despite her possible psychic intuition.

And then there’s Nicolas Cage’s wondrous transformation as the titular Longlegs. The cinematography teases us with glimpses of his face, luring us deeper into the mythology that surrounds him.

The Prognosis:

Visually stunning and meticulously crafted, Perkins delivers yet another slow-burn feature that ensnares you. While the middle act may wane slightly, threatening to loosen its grip on the viewer, the final act pulls the trigger and leaves you reeling. Perkins’ style may not be for everyone, but Longlegs is the closest he has come to his best directorial stance. The journey he takes us on is always gripping, and the performances are phenomenally bright. May he continue to shine with the steady hand he has demonstrated so far.

  • Saul Muerte

Longlegs is currently screening at cinemas nationwide.

Movie review: Birdeater (2024)

19 Friday Jul 2024

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To liken this movie to Talk To Me, as I’ve noticed in certain publications, is like comparing apples with oranges. Talk To Me deserves the praise it received for the manner in which it delved into the pursuit of lost youth, grief and desperation with a particular bent that tapped into the popular zeitgeist. Birdeater is a far different entity and the comparisons purely rest on the creators all being from Australia. Now I’m going to champion the dark heart of the Australian horror genre but let’s not paint them with the same brush when accolades and praise should be placed where it deserves. Now does Birdeater deserve its own positive praise from the festival circuits, such as SXSW Austin, Melbourne International Film Festival and CinefestOz, plus receiving the Audience Award for Best Australian Narrative Feature at Sydney Film Festival? Happily, yes.

Directed by the duo of Jim Weir and Jack Clark, it attempts to place the toxic masculinity that resides beneath the surface of Australian society firmly under scrutiny as they slowly turn the screw with unsettling and shocking results.

I’ve lived in this land of this savage-yet-loveable land for over 20 years now and while the so-called motherland from which I originally hailed has its own fair share of troubles and tribulations, it struck me how the Australian nation had a deeply embedded masculine identity at its core and this is the vein that the filmmakers have tapped into, exposing the fevered flow that pulsates through us all, waiting to be exposed.

As the film opens we see what on face value appears to be the kindling of a romantic encounter between Louie (Mackenzie Fearnley) and Irene (Shabana Azeez), and various short scenes indicating a solidified bond, but as the time passes we see that the cracks are starting to show with Irene housebound, dependent on Louie’s partnership. But what is truly hindering her and how genuine is Louie’s heart? The feature allows us to unearth the truth over a  bucks night, where Louie strangely asks Irene to be a part of. Is this romantic or controlling?

Accompanying them are Louie’s two best mates, Dylan (Ben Hunter), the larrikin of the group but who also hides behind the facade of bravado and humour; and Charlie (Jack Bannister), a devout Christian with pent up sexual frustration, who also brings along his partner, Grace (Clementine Anderson). Grace’s role as far as the men are concerned, is to keep Irene company, but again the plans to control or dictate proceedings will fall sour before the night is through. Also, among the retreat is Murph (Alfie Gledhill) a somewhat isolated figure from the troupe, who blends in well with the male-orientated pursuits brandishing a false hope and a pre-arranged task to carry out. And lastly is Sam (Harley Wilson), a friend of Irenes and fuel to the fire of emotions as Louie questions their motives and faithfulness.

With the players set to play their identified roles, the night has just begun, and the real identities will spring forth to reveal darker and subdued emotional privilege simmering beneath the surface.

The Prognosis:

The subject matter could easily have been overplayed, but both Weir and Clark offer a slow hand to strengthen their cause and allow the characters to sink into the mire. The revelations of the motives set by the players of the piece is masterful and with every ounce of dedication and respect by the acting troupe who portray them. The light is shone firmly on this toxic masculinity without much reprieve or solution, but once the gaze is cast, it’s hard to turn away from the core message. For that Birdeater is a topical and relevant piece that deserves your time and energy. It is another fine Australian feature that lifts above the noise and resonates with its wings, beating out a very clear and precise observation of Australia and its current culture.

  • Saul Muerte

Birdeater is currently screening at selective cinemas nationwide.

Remembering Donald Sutherland, A Legend of Horror

21 Friday Jun 2024

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Donald Sutherland, the legendary Canadian actor whose prolific career spanned over six decades, left an indelible mark on the world of cinema, particularly in the horror genre. His recent passing has prompted a reflection on his vast body of work and the profound impact he had on film. Sutherland’s distinctive presence and formidable talent made him an icon, known for his compelling performances and the unique intensity he brought to his roles. Among his extensive filmography, Sutherland’s work in “Don’t Look Now” and “Invasion of the Body Snatchers” stands out as a testament to his exceptional ability to embody fear, paranoia, and vulnerability.

Sutherland’s journey in horror is punctuated by a series of memorable roles that showcased his versatility and depth. His role in Nicolas Roeg’s “Don’t Look Now” (1973) is particularly iconic. In this hauntingly atmospheric film, Sutherland portrayed John Baxter, a grieving father grappling with the tragic death of his daughter. His performance is a masterclass in conveying profound sorrow and mounting terror as John navigates the labyrinthine canals of Venice, haunted by visions and premonitions. Sutherland’s ability to portray raw emotion and psychological complexity added layers to the film’s eerie and unsettling narrative, making his character’s journey both heartbreaking and terrifying.

Similarly, Sutherland’s role in the 1978 adaptation of “Invasion of the Body Snatchers” further cemented his status as a horror legend. In this sci-fi horror classic, Sutherland played Matthew Bennell, a health inspector who slowly uncovers the horrifying truth about an alien invasion that replaces humans with emotionless duplicates. His portrayal of Bennell is marked by a gradual transformation from skepticism to sheer terror, mirroring the audience’s own journey through the film’s escalating tension. Sutherland’s performance is a tour de force of building suspense, and his ability to convey fear and paranoia with such authenticity made him a standout in an already stellar cast.

Donald Sutherland’s contribution to horror extended to numerous other films that have since become classics. His performances in “The Hunger Games” series as President Snow, although not purely horror, showed his ability to embody sinister characters with chilling effectiveness. Sutherland’s success in horror and thriller genres can be attributed to his unparalleled ability to tap into the human psyche’s darkest corners. His characters often embodied the everyman confronting unimaginable horrors, making his performances all the more relatable and terrifying.

Beyond his roles in horror, Sutherland’s career is marked by a remarkable range of characters and genres. From his early work in “M*A*S*H*” to his critically acclaimed performances in films like “Ordinary People” and “Klute,” Sutherland consistently demonstrated his versatility and depth as an actor. However, it is his work in horror that left a lasting impression, showcasing his unique talent for creating tension and fear.

Reflecting on Donald Sutherland’s career is to acknowledge a legacy that transcends the horror genre. His work in “Don’t Look Now” and “Invasion of the Body Snatchers” exemplifies his unique talent for embodying complex characters and creating unforgettable cinematic moments. Sutherland’s impact on cinema is undeniable, and his performances continue to inspire and captivate audiences, ensuring that his legacy lives on.

As we remember Donald Sutherland, we celebrate not only his contributions to horror but also his remarkable ability to bring complex characters to life. His work remains a benchmark for actors in the genre, a testament to his enduring talent and the indelible mark he left on the world of film.

  • Saul Muerte

1960s Horror Retrospective: Black Sunday (1960)

06 Monday May 2024

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The Birth of Baza

As I began my retrospectives of the 1960s horror era, part of my excitement centred on the Master of Italian Italian Horror and pioneer in the Giallo scene, film director Mario Bava. He led the way and inspired so many filmmakers with his visual style, particularly for his use of colour that would leave a lasting legacy on the genre. This all started in earnest with his solo directorial debut, the Gothic horror starring Barbara Steele, Black Sunday. That’s not to say he was a stranger to the celluloid art, having crafted a career since the late 30’s in many guises that would lead him to becoming a cinematographer to harness his voice and vision, come the release of Black Sunday.

Loosely based on the short story Viy by Nikolai Gogol, that was a passion project of Bava and one he had a close liking to having told the story numerous times to his own children before they went to bed. It’s little wonder that his own son Lamberto Bava would follow in his father’s footsteps and direct horror films. 

Black Sunday is a tale of vengeance and retribution and is most predominantly remembered for its shocking opening scene. Asa (Steele) and her paramour, Javutich are accused of sorcery and sentenced to death. Part of their sentence involved being placed in bronze masks with spikes on the inside and having them hammered in place over their face.

Two centuries later her preserved corpse is reanimated and in order to be fully resurrected, Asa must possess the body of her look-alike descendant Katia. Will she succeed? Can love prevail?

Also starring John Richardson before he was cast in Hammer’s She, and One Million Years BC, as the love interest. Black Sunday is held in high esteem because of some of its imagery, such as the afore-mentioned opener and maggots crawling out of an eye socket in another scene, but it’s also the decision to shoot in black and white, monochrome with a richness to it that both arcs back to the films of Universal that had initially paved the way for horror on screen, but also bridges the gap to the future and how the genre would be shaped. It would launch Barbara Steele’s career, especially in horror for classic films such as The Pit and the Pendulum, and The Horrible Dr Hichcock. For Bava, he would mould his movies over the following decade and cement his name in history. 

– Saul Muerte

Retrospective: The Tunnel (2011)

19 Friday Apr 2024

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

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

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

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

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

– Saul Muerte

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

Movie Review: Late Night With The Devil (2024)

18 Thursday Apr 2024

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Australian sibling directors Cameron and Colin Cairnes have been meticulously crafting a distinctive voice from behind the lens and with their third outing, Late Night With The Devil they have tapped into the horror zeitgeist on a global scale. Their first feature, 100 Bloody Acres was a more straight up narrative, leaning heavily into macabre humour starring Angus Sampson and Damon Herriman as struggling brothers in the meat industry who add a secret ingredient into the mix with over-the-top comical results.

Upon closer scrutiny though, it would be their second feature, Scare Campaign that is more closely aligned with the direction that LNWTD would take, with a TV show venturing into the occult investigation that goes horribly wrong. Although it missed the mark to a degree in its execution, the Cairnes brothers have learnt from this previous outing and produced a creative and decisive tale with Late Night With The Devil. 

The premise pits David Dastmalchian in his first leading role, as late night talk show Night Owls host Jack Delroy. Delroy embarks on a last ditch attempt to pull back the ratings through a marketing stunt set on Halloween 1977, and books a psychic Christou (Fayssal Bazzi), a sceptic, and a parapsychologist (Laura Gordon) who claims that her surrogate daughter Lily is possessed by the devil. 

The look and feel of this feature is so sweetly on par, it is easy to drift into the era that it is set and be lured in by the spectacle; one of the many tricks that the Cairnes team perform well. The decade of choice is no mere accident either with America rife with violence and horror that has put society on the brink of sanity, exposed to the likes Son of Sam, David Berkowitz and Charles Manson, and with the breakdown of freedom, comes the exposure to occults and satanism, leaving everyone questioning to what end can humanity be exposed to? It is this playground that the directors’ choose to play in and through the medium of television, force this evil into the homes of every suburban household.

The Cairnes also have perfected their craft in storytelling, by slowly eeking out the threat of danger in their chosen format of late night television; each guest that is introduced is a snag on the tooth of the viewer, to pull them deeper into the world they have created, until the final act is revealed with the not so sweet Lily (Ingrid Torelli). The role of the critic, Carmichael Haig (Ian Bliss) is a smart storytelling device too by constantly asking the questions that audiences will naturally come up with. How much of this is real? How much is performance? And how deeply can we keep probing for the truth before we get our cat-like curiosity scorched?

The breadcrumbs that are left along the way, adds to the weight of the journey, and the torment that is exposed by the film’s conclusion. The performances are solid and none more so than Dastmalchian, who’s character Jack is the character truly under scrutiny. How much has he had to sacrifice in order to keep up with the likes of fellow late night presenter Johnny Carson? Is there more to the history behind his wife’s mysterious and fatal illness? These questions can only be dealt with through the meticulous direction and the strength in Dastmalchian’s performance; oozing charm one minute before serving a backhand of depravity the next. We’re guided on a trail of human decline where the end is nowhere to be seen with ruin at every turn.

The Prognosis:

The American Dream is served up on a plate here and scorched beyond recognition. The Cairnes Brothers capitalise on their previous efforts to expose the frailty and deprivation through a stylised lens that is fresh, inviting and delightfully disturbing. 

This is an example of an idea executed so adeptly that every creative player involved brings their A-game to the fold and delivers.

While there are some subtle flaws, the fact that they hold fast to the look, feel and strong performances, allows them to flourish and produce a solid, entertaining feature.

  • Saul Muerte

Movie Review: Doctor Jekyll

02 Saturday Mar 2024

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There have been numerous incarnations of Robert Louis Stevenson’s gothic tale, Strange Case of Dr. Jekyll and Mr. Hyde since the birth of the celluloid art, from John Barrymore’s 1920 silent era, through to Spencer Tracy; Boris Karloff; Jack Palance; John Malkovich; and (ahem) Russell Crowe. British Horror film production company Hammer Films have also had their fair share of presentations with mixed results.

The Four Faces of Dr. Jekyll

Now under the helm of British Theatre Producer, John Gore, and a second new wave for Hammer, they have once again decided to resurrect the story once more for a modern audience, dropping the monster moniker with the far simpler title, Doctor Jekyll. The notable absence of the alter ego, a deliberate ploy with the focus on the clinician but the presence of Mr. Hyde is always lurking in the background. 

In this version, we are presented with a descendant of Jekyll, a reclusive pharmaceutical magnate, Nina (Eddie Izzard), who is recovering from an injury. In steps ex-convict Rob (Scott Chambers) who is trying to turn his life around and finds possible redemption as an in-house carer for Nina. His meek, mild-mannered persona makes one question how Rob could have been brought to ruin in the first place, but then again, perceptions and false representations of character are at the forefront of Director Joe Stephenson’s and writer Dan Kelly-Mulhern’s creative vision. We are continually poised on the brink of something sinister as the slow-burn dramatic tension gets dialled up to its final conclusion.

The Prognosis:

Gore is clearly a lover of the old school Hammer Films and stylistically has employed Stephenson to infuse this visual with a new and bold approach to Gothic stories. 

Izzard does a fine job of playing the titular role with sometimes campy, sometimes macabre, but always grounded in realism. A balance that isn’t easy to take hold of, but Izzard is also a fan of this era, as evidenced in some of his early stand-up routines and must be in his element here. Likewise, Chambers has a tough act to deliver, playing it straight and holding back on Rob’s traumatic past, trying to bury the pain deep but always the threat of something far darker beneath the surface. 

Where the story falls flat is in its delivery, with a steady and slow pace that drifts into mediocrity and failing to ignite or lift the veil of intrigue until the climax. 

  • Saul Muerte