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Movie review – Leave (2023)

15 Wednesday Mar 2023

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Much like Morgan Saylor’s performance in Shudder’s exclusive and original feature A Spoonful of Sugar, the horror streaming platform has released another gripping lead performance in its latest outing, Leave. In this instance the performance in question comes from Alicia Von Rittberg, better known for her portrayal of Queen Elizabeth 1st in Becoming Elizabeth. Unfortunately though, this is the only redeeming strength in an otherwise slow plodding, unfulfilling film.

Essentially the premise is bound by Rittberg’s Hunter character yearning to find the missing piece of the picture, namely who her parents and real family are. Having just graduated to University, Hunter embarks on a detour to discover her true origins. All she knows is that as an infant, she was left abandoned in a cemetery, wrapped in garments emblazoned with satanic symbols. This probably would be enough warning for anyone not to venture down a seemingly treacherous path to resolution, but Hunter continues pressing forward, even when a malevolent spirit appears, warning her not to do so. 

As we journey alongside Hunter, the audience endures some slow, moving scenes aimed at adding tension to the piece, but instead feels too close to grinding to a halt. Despite Rittberg’s efforts, and she pulls up all the stops to ground her character and add depth to her trauma, we are left ambling along with little care to connect with her inevitable plight. 

The Prognosis:

For all his best efforts Director Alex Herron struggles to add enough atmosphere to his psychological thriller, a necessary ingredient for the subgenre. Where he tries to apply a dark and moody setting, he loses sight of building up tension for admittedly a substandard script. Alicia Von Rittberg is a joy to watch, and potentially the only ray of sunshine in a pretty mediocre narrative.

  • Saul Muerte

Movie review – Spoonful of Sugar

28 Tuesday Feb 2023

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Once you get past the nagging thought of trying to place the face of the lead, Morgan Saylor before pausing the film, googling and then cursing the fact that you should have known that she was Dana Brody from Homeland, you can finally settle into this warped variant on the Mary Poppins nanny with an ulterior motive theme of the movie. 

Spoonful of Sugar takes its name from that upbeat warbling song is the juxtaposition to the remedy riddled answer to life’s woes. Millicent (Saylor) is working on a thesis on children with severe allergies. Believing that she may have the perfect insight when landing the role of looking after Johnny (Danilo Crovetti), a mute child with a plethora of allergies and severe Mummy issues. It helps that part of the appeal to her idyllic job happens to have a hot father figure (yes, this movie is ripe with oedipal-like situations), Jacob (Myko Oliver) who walks around shirtless most of the time to show off his carpentry skills. 

With all the amped up sexual tension drifting around the place, it’s little wonder to find out that this is a mask to greater obstacles in the household. But who or how many of the central characters are wearing masks to protect their true intentions plays an integral part to the proceedings. And more importantly one that relies upon which of these facades will slip away first and what will the cost be when it occurs? 

With the mother, Rebecca (Kat Foster) clearly the main breadwinner in her pursuits as a successful author, and the reason for her continual absence, it paves the way for Millicent to play out her own fantasies as a Florence Nightingale figure, and delusions of fulfilling her own desires. 

The Prognosis:

Writer Leah Saint Marie and Director Mercedes Bryce Morgan have a clear vision in twisting the playing field of the human mind combined with the warped sexual drive that we have. When that playground is the home of a bandaged couple, healing their psychological wounds whilst raising a heavily dependent child, there is a dense and macabre world to drive a hefty wedge in and expose the inner most desires that can harbour deep inside. 

Spoonful of Sugar stretches the realms of believability which can distance the audience from the content, but this is Saylor’s showpiece and she shines as the delectably macabre Millicent. She is ably supported by a creative team willing for her to stretch her acting abilities, allowing her to explore every facet of an intriguing character.

  • Saul Muerte

Spoonful of Sugar will be streaming on Shudder from Thu 2nd March.

Movie review – Attachment (2023)

28 Tuesday Feb 2023

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Philophobia can be a powerful thing and consume your waking soul to the point of constant rejection of any would be partners. Perhaps it’s the fear of being rejected yourself, or that the fear itself is so overwhelming that you feel constricted and lose any sense of your own identity.

Sometimes the anxiety levels can run so high that you begin to question everything and you’re already deemed a bit quirky or a loner, so why break this habit?

Or this loss of control leaves you amped up and fueling a violent relationship that could potentially put you or your partner at risk.

All these things become moments of scrutiny in Gabriel Bier Gislason’s feature Attachment. Guiding this area of focus is a Danish has-been actress Maja (Josephine Park), who has a chance encounter with Leah (Ellie Kendrick, who eagle-eyed viewers may recognise as Meera Reed from Game of Thrones).The attraction is instant with that early flicker of awkwardness which soon becomes embroiled in lust. 

Then there’s those little clues, hints that something is awry, like when Leah starts walking around in her sleep. Or when she has a mysterious seizure that leads her to returning home in London. Still driven by this desire, Maja follows Leah to England where she is greeted by a strange and overbearing mother, Chana (Sofie Gråbøl). 

As the days pass, the curiosities rise. Is this just a case of an overprotective and smothering parent, but is there more lurking beneath the surface. Why are there so many secrets being held, and who is this Uncle Lev figure? (David Dencik). 

The film plays heavily into the realms of xenophobia, tapping into the unknown. As an outsider, Maja constantly questions with genuine curiosity whether the devout Jewish practices are what segregates and isolates her from finding the true connection with Leah, or is there an occult operation at play? If it’s the latter, then  is there a greater fear to be had? And who is the one that is really needing the protection?

The biggest question is will Maja be willing to go to extreme lengths in order to pursue love?

The Prognosis:

There’s some great performances to be found here, in what is essentially a straight down the road piece. The twists and turns that the audience face are navigable and in some cases predictable. Despite the road ahead seemingly transparent in places, the talent on show and the depth of character is weighty enough for you to be carried along to its final destination.

  • Saul Muerte

Attachment is currently streaming on ShudderANZ.

Movie review – Skinamarink (2023)

19 Sunday Feb 2023

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I’m caught between minds about Skinamarink, this experimental directorial feature debut from Kyle Edward Ball. In part it leans heavily into minimalism to explore the finest examples of terror through the eyes of two children, who wake up in the night to find their father missing and strange things happening around the house. The fact that we never see the children, nor their father, with Ball stripping the viewing experience down to its bare bones and denying the audience a window into the depth of the film. Instead, the idea is to focus on the empty space, a phrase coined by theatre director Peter Brook, for his book of the same name. In it he expresses, “I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged”.

If we take this aspect or perspective and that the space is merely a place that means nothing until something enters its domain, then it bodes to mention that Ball is willing to explore a similar concept within the location or setting of his movie. If the space is a vessel in which spirits or beings pass through, then we surely can’t connect with the space until something or someone interacts within it.

As such, the viewer is poised through endless frames of emptiness, only to be treated with nuggets of movement or sound to stimulate our senses and push the boundaries of fear.

In reality however, these absences of action only switch off our interests, and slowly the audience will struggle to remain captivated. Is this the fault of the director though, when we as a society have become so engrained in action on screen, that to take this away or prevent us from this engagement, speaks volumes about how we interact with life. If we take note of the smallest of intricacies, then and only then can we really acknowledge the beauty that surrounds us?

The question though is, Is Horror the right genre to explore such an abstract playing field? Sure, Horror has been known to be forgiving, but when it comes at the cost of engaging with the audience, then you are left pondering its purpose.

The Prognosis:

While I applaud (Director) Ball for a bold approach to filmmaking which at times is reminiscent of The Beatles own exploration of music in Revolution No. 9, the outcome is all too repetitive and a struggle to connect with. It’s hard to believe that the content has been stretched to feature length when a short would probably have sufficed, Having said that though, his experimentation would not have been explored without pushing the boundaries of time.

It’s hard as a viewer to go beyond the limits of conception when we are being forced to observe its formulation. What constitutes horror and is it enough to hint without explanation? A question that may frustrate most who come to watch.

  • Saul Muerte

Skinamarink is currently streaming on ShudderANZ.

Movie review – The Lair (2023)

17 Friday Feb 2023

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Watching Neil Marshall’s (ahem) descent from action horror pioneer to low grade fluff has been a painful process to watch. Ever since he hit the ground running with werewolf, military action thriller, Dog Soldiers and swiftly followed this with the female empowered cave shocker, The Descent, I’ve been eagerly awaiting his next big moment to arise. Instead, we’ve seen him slowly repeat similar incarnations of these movie highlights in a decline into lesser quality. That’s not to say there hasn’t been glimmers of hope, especially with his foray into the Game of Thrones series, and perhaps it’s this that keeps on bringing me back.  I should have known to be cautious however following his previous venture The Reckoning, a sadly lacking tale of witchery and persecution. 

Which brings us to The Lair, an amalgamation of the aforementioned Dog Soldiers and The Descent, but instead of remote Scotland as its setting, we find ourselves in Afghanistan. And instead of werewolves or The Crawlers; cave dwelling humanoids, our protagonists come face to face with souped up human/alien hybrids that are being tooled as biological weapons. 

Charlotte Kirk returns as Marshall’s kick-ass muse (as well as a writing credit) to take on our heroine Lt. Kate Sinclair. Sinclair, along with a handful of militants and an Afghan hostage, seek refuge in a bunker facility to escape confrontation only to come into conflict with the beasts below.

So far, so promising right? 

The issue comes in its delivery. Yes there are action sequences on display, and a couple of typical one-liners that make you groan, the collaboration of a mix-match group, strung together to fight a common cause are all on display, but there’s nothing new on show. It doesn’t help that the dialogue is incredibly two-dimensional and clunky when delivered. When the tension shifts, the audience struggles to connect as a result and are left trailing along to what becomes a predictable and tired conclusion.

The Prognosis:

Neil Marshall’s descent into woeful movies continues to sink into greater depths. Average action, a worn out narrative, and ropeable dialogue only adds weight to his plummet. 

  • Saul Muerte

The Lair is currently screening on ShudderANZ

Movie review: Sorry About The Demon (2023)

17 Friday Feb 2023

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We’ve all been there right? Coasting aimlessly through life with no set direction, happy to drift into oblivion with no real aim to find or improve our lives for the better, only to be dropped by your girlfriend for apparently having no prospects. Then you’re left ruminating and wondering if there is anyway to win back your love’s heart, but get hoodwinked by a real estate agent and his family to move into a house as a means to sacrifice oneself for a demon, just so that they don’t have to deal with the crap themselves? You’ve been there, right? Right?

Such is the premise of this horror comedy from writer, director Emily Hagins (VHS, Scare Package) who is fast making a name for herself in the off kilter genre scene. And with Jon Michael Simpson as her muse to enact the downbeat, hapless romantic character, Will, she is able to tap into a rift that is entertaining albeit hit and miss in the humour department. Oh the irony in a name, to be called Will when you have no will of your own.

Simpson (Scare Package) is ably supported by Jeff McQuitty (more known for his work behind the lens) as the faithful best friend Patrick. When Will’s girlfriend Amy (Paige Evans) ditches him as he clearly struggles to commit to anything including her, Will once again plunges headfirst into another project, by moving into a huge house and great living costs. The catch? It’s possessed by a demon. But we’ve all had that one flatmate to share an apartment with yeah? 

If you haven’t, you probably were that demonic housemate.

Anyway, I digress. Now stuck with this problem, Will has to face up to his problems, one that another Aimee (Olivia Decayen), who just so happens may be able to rid the house of the demonic spirit. Can he amount himself to anything and find his place in the world or will he lose it all to the detriment of all those closest to him?

The Prognosis:

Sorry About The Demon has some moments of delight in this absurd horror comedy to make one grin, but these aren’t laugh out loud flickers of gold. There’s enough there to entertain and the performances are solid, but the characters and humour doesn’t always hit the mark. 

If your looking for something to pass the time, and go in with low expectations, then you’ll be pleasantly delighted. The magic is a little lacking, and much like its lead character, happily coasts along in its own sphere, unaware of just how savage life is on the exterior when we don’t pay mind to the small details.

  • Saul Muerte

Sorry About The Demon is currently screening on ShudderANZ.

Movie review: Slash/Back (2022)

17 Thursday Nov 2022

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Slash/Back is one of those movies that flickers between sci-fi horror and kids action drama in the vein of The Goonies but without the witty banter. It struggles to nestle into either of these domains strongly though and whittles along regardless with little resonance at all.

Set in an arctic hamlet, a group of youths who call themselves the girls from Pang led by a headstrong Maika (Tasiana Shirley) are faced with an alien invasion which only they may have the resolution to defend their homes. As with such films they must first overcome their differences and form a united front if they are to have any chance of outwitting their predators.

Luckily they come equipped with some handy knowledge of horror films to help aid them and the ability to go Macgyver with some choice weapons to arm themselves with.

The style of antagonist sits nicely and disturbingly as these alien entities use animals including humankind to hide in, in order to stalk their prey. The result is deliberately unsettling, as they shamble uncomfortably around in their skin of choice, unable to manoeuvre themselves with any sense of grace. It not only strengthens the foreign, unearthly element to the proceedings but the uneasyness slips well into the realms of horror. 

The performances are not solid but one could argue that this lends itself to a more realistic portrayal, and at times it does so with effortless charm, but occasionally it grates and pushes the audience out of the narrative. It’s a gamble that pays off but not often.

The prognosis:

Nyla Innuksuk offers an authentic voice to an oversaturated horror landscape with beautiful sceneries to capture his homeland. This allows him to play comfortably in his own domain and flex some creativity. There’s an element of charm at play, that is let down through some script decisions and the casting of a young group of actors with little experience in front of the camera becomes all too noticeable.

The charm and clear vision being expressed marginally pushes this into watchable territory though and quietly hooks you in.

– Saul Muerte

Slash/Back will be streaming on Shudder ANZ from Friday Nov 18th.

Movie review: Sissy (2022)

12 Saturday Nov 2022

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The writing and directing partnership of Hannah Barlow and Kane Senes prove that they are a force to sit up and pay attention to in their sophomore feature Sissy. On face value this film could appear as a typical trip down a dark past where old haunts rise to the surface but there’s something deeper at play here that spells out a disturbing and topical story. Psychological trauma can fester when not dealt with or addressed in a way that can help heal those involved. Without it, carnage can ensue, which is exactly what happens here.

Sissy (Aisha Dee) is a social influencer, projecting a world of calm and serenity out into the social cyber world. A life appears to be bliss but it soon becomes evident that she has a temporary band aid over her to propel any fears or anxieties that she has and it’s about to get wrenched off when she bumps into her former school BFF, Emma (played by Barlow). We soon learn that Emma is about to get married and old feelings are explored once more when Sissy is asked to join her for a night out, swiftly followed by a weekend away with friends to celebrate Emma’s upcoming nuptials. Sissy is all too eager to please, hoping that she can rekindle their friendship and the connection they once had. That is until Alex (Emily De Margheriti) enters the scene once again. The girl who took away that friendship and sparked an inner rage in Sissy with drastic consequences. Can Sissy contain these feelings or will it all bubble over and the fury take control.

The Prognosis

Essentially what Barlow and Senes have tapped into here is the psychological upheaval that is brought about through social trauma. This tale has humour and heartache abound as we watch the slow disintegration of strength and positivity as it crumbles in the wake of old scars. We can never really bury our emotions, good or ill without some kind of ramification. Sissy is the extreme example of what can occur when we don’t pay attention to the negative aspects of our life and face up to them. With solid performances and believable characters stretched to their most extreme personifications, there’s delight to be found amongst the carnage and mayhem.

  • Saul Muerte

Movie review: Mandrake (2022)

09 Wednesday Nov 2022

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The mandrake; a plant that contains hallucinogenic properties that have stemmed many a recipe for paganistic medicines and rituals. Its roots take on humanistic features and legend has it that when you dig up its roots, you can hear it scream. The person who removes it from its soil would face instant death. In some cases, when taken internally the effect could treat melancholy and mania. All of which provide inspiration for the latest movie to hit Shudder’s Exclusive and Original platform. 

Buried deep in Lynne Davison’s directorial feature debut is a tale about broken relationships, mistrust and isolation.

When probation officer, Cathy Madden (Deidrie Mullins – The Frankenstein Chronicles) is charged with rehabilitating a notorious killer ‘Bloody Mary’ back into society, she faces a community unwilling to accept. This includes Cathy’s ex and police officer Jason Reid (Paul Kennedy – House of the Dragon) who may harbour his own reasons for wariness. When two children disappear from a neighbouring farm, fears rise along with Cathy’s own suspicions. These inklings lead her down a dangerous path that may either kill her or cure her own desolation.

The prognosis:

Mandrake is folktale embedded in the heart of a modern setting, but leans heavily into its origins. The setting of Northern Ireland helps to cement this fantastical component and drive through with a realistic drama as its narrative. 

The performances lend weight to this too and the characters are solid and compelling enough to have a dynamic composure to them, swaying your own personal alignment to them. This is a testament to writer Matt Harvey’s approach to the subject.

The pace of the film does drag in places, but the payoff is a strong one that has plenty to say on the subject of emotional turmoil and whether we can really heal from the trauma that we all carry around with us.

– Saul Muerte

Mandrake will be streaming on Shudder ANZ from Thursday Nov 10th.

Movie review: V/H/S/99 (2022)

20 Thursday Oct 2022

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It’s been 10 years since Brad Miska, co-founder of horror themed website Bloody Disgusting launched the found footage anthology film series V/H/S. Its concept would have five short stories that were located from a bank of VHS tapes and would be a collaboration of cutting edge film makers such as Adam Wingard (You’re Next), David Bruckner (The Ritual), and Ti West (X). 

Now in its fifth instalment V/H/S/99, the franchise is once again hitting an annual stride with another due to be released next year. The format is still the same with five unique stories interwoven throughout the running time, each with a compelling narrative drive to get the audience hooked. 

First up is Shredding, (Directed by Maggie Levin) a skater punk influenced tale that follows a rock band as they break into the basement of an abandoned art building and last resting place of another rock band. Will their fates be entwined?

The second story Suicide Bid (Directed by Johannes Roberts – Resident Evil: Welcome to Raccoon City) is a playful tale that sheds light on thr tortourous ordeal of trying to get into a sorority house. An audition prank goes horribly wrong when she is convinced to spend the night buried in a coffin.

The third instalment, Ozzy’s Dungeon comes from the macabre and beautifully twisted mind of Flying Lotus – Kuso. A girl is horribly disfigured in a sleazy tv show and her family seek vengeance on the host by dragging him through a similar ordeal. 

Next up is The Gawkers (Directed by Tyler MacIntyre) a group of teenagers that get more than they bargained for when they begin perving on the girl next door.

And lastly, To Hell and Back (Directed by Vanessa Winter & Joseph Winter – Deadstream) where this writing team once again taps into the zany underworld antics, blending horror and humour with little effort. This time around we follow two filmmakers who document a ritual, only to be transported to a hellish dimension where they are forced to battle demonic beings in a desperate bid to find their way back home.

The Prognosis:

The franchise has really hit its stride with V/H/S/99 blending an eclectic mix of stories from an eclectic group of filmmakers. I feel like the selection on show bends itself into an enjoyable array not yet bested since its original feature was released.  

  • Saul Muerte

V/H/S/99  is currently streaming on Shudder ANZ