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Movie review: Skull: The Mask

06 Sunday Jun 2021

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Skull: The Mask is one of those movies that has a complexity of moments that form a conglomerate of the mad and macabre. 

Each piece of the puzzle seems out of sorts with one another but when placed together it somehow works.

The fact that it is set in Brazil just adds to the vibrant and energetic personality that is on show.

Written and directed by the dual partnership of Armando Foncesca and Kapel Furman, the film centres loosely on Brazilian mythology which dates back to the pre-Columbian era of Anhangá, a demon-type spirit according to the Christian version who wanders the earth after death.
In this instance Anhangá initially takes the form of a skull that has been heavily guarded over the centuries but is commandeered by Nazis (yes, them again) before once again being lost in time. 

That is until an archaeologist unearths the artefact and brings it back to Brazil to be stored in a museum.
Before it gets there though, a sacred ritual is performed and the spirit is unleashed, killing everyone in its path.
With every kill, it starts to take on human form, presumably with the blood of those it’s killed.

The only thing that can potentially stop this entity is Padre Vasco Magno (Ricardo Gelli), who has no faith in the old religions; Manco Ramirez (Wilton Andrade), a kick-ass vigilante who seems to have inhuman strength; and Beatriz Obdias (Natallia Rodrigues), a crooked, hard-boiled detective who is trying to redeem her old ways. 

The performances are top-notch with no one pulling any punches, allowing the grit and determination to pour forth.
The directing team have definitely leaned into their strengths with Foncesca seemingly bringing out the best from the cast, and Furman producing some gloriously gnarly and bloody moments with his brutal special effects on display. Making them a force to be reckoned with in the South American film-making scene.

The Diagnosis:

The storyline may be a fractured and complex one, but Skull: The Mask more than makes up for its faults by producing a frenzied and energetic slasher flick that taps into the heart of its country’s mythological roots.

It’s hard-edged approach and cracking SFX make this an enjoyable and crazed journey with some wickedly dark humour along the way, that if you’re willing to let it course through your visual senses, will prove to be well worth your time.

Hats off to the creative team Foncesca and Furman.
You’ve made a fan out of this writer.

  • Saul Muerte

Movie review: The Reckoning (2021)

05 Saturday Jun 2021

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When Director, Neil Marshall hit the horror scene with his debut feature, Dog Soldiers, he hit hard with a werewolf film that not only had its own identity but packed with a little humour.
He then went on to prove that he wasn’t just a one-hit wonder with his sophomore outing The Descent, strengthened his position as a genre film director and won some dedicated supporters of his craft.

It would appear though, that Marshall’s magic was waning as he struggled with his third attempt to appeal to his audience with Doomsday, despite high hopes abound. And even his follow up feature, Centurion, starring Michael Fassbender stuck to average mediocrity.

By the mid 2010’s though, he managed to strike gold twice for popular tv series Game of Thrones with two of its best episodes, Blackwater and The Watchers On The Wall, which led some to believe that he still could captivate and entertain on a large scale. Those walls of expectations fell down however with the re-imagined Hellboy missing the beats once again.

Despite all this, Marshall’s name still fills me with optimism and so when it came to light that his latest feature, The Reckoning was to stream on Shudder, I was front and centre for its debut.

Unfortunately, it falls short of my expectations and struggles with a saturated introduction to its central character, Grace (Charlotte Kirk, who also co writes the screenplay alongside Marshall and Edward Evers-Swindell) whose husband falls foul to the plague and rather than become a burden to his family and possibly infect them, takes his own life. This leaves Grace to try and make her own way and find the means to support her baby. Easier said than done with a horrible landlord Pendleton (Steven Waddington) abusing his power and corruption to force Grace to drastic means. 

But such is the way of the world, as soon as a woman should stand up for herself, she’s labelled a witch, taken away to be trialed for these convictions.

All this seems to take an age to get to this point and has a wishy-washy way of taking us there, coming across as made for a TV feature.

It’s such a shame as it feels so strained and without substance. In fact, it’s not until the ever-dependable Sean Pertwee makes his entrance as the witchfinder Moorcroft that the film starts to lift out of the quagmire of stales. He chomps and chews his way through each scene with glorious humour and glee, that it was a joy to watch him. By this stage I was only too relieved as I’m not so sure I could have endured anymore if his presence wasn’t made.

By the end of the movie though, it trudges to a conclusion with a thinly veiled attempt to tie this back to history, but by this point, I was beyond caring.

The Diagnosis:

I so wanted Marshall to come good with this film, as he definitely has the directing chops to pull it off.

The bang is quickly turned to a whimsical whimper though and fails to flicker on the pulsometer of fun.

It’s only appeal is Sean Pertwee, whose larger than life witchfinder is gloriously fun.

The rest of the movie however, just doesn’t resonate. 

Shame. 

  • Saul Muerte

Movie Review: Psycho Goreman

04 Friday Jun 2021

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Since Steven Kostanski and the Aston-6 collective first hit the scene back in 2011 with their feature, Manborg, the Canadian outfit have been producing low-budget creature features that hark back to the movies we grew to love in the 80s Home Entertainment scene.
In 2016, Astron-6 turned heads and a few tentacles with their Carpenter/Lovecraftian inspired gem The Void, but I would venture to say that their latest offering, Psycho Goreman is their most triumphant feature to date. 

Infused with a perfect blend of humour and stylistic visuals that project the look and feel of 90s hit series Mighty Morphin Power Rangers, Psycho Goreman comes across as a dark and twisted take on a kids adventure flick.

The premise follows two siblings, bossy and overbearing Mimi (Nita-Josee Hanna) and an overtly agreeable Luke (Owen Myre) stumble across a hidden gem buried in their backyard.
Unbeknownst to them, this gem also yields absolute power over an evil monster, hellbent on bringing about the destruction of the universe.
Unfortunately for this overlord, he didn’t anticipate the ignorant and cruel youth that would hold him in their grip to play stupid pranks and games, the usual silly stuff that kids get up to.

Along the way, the kids and their puppet monster that they have dubbed Psycho Goreman or PG for short, encounter The Paladins of Obsidian, PG’s former army that overthrew the Templars before he was incarcerated, the Planetary Alliance, and their two quarrelling parents, all in search for their own means of power and or corruption.
This leads to an ultimate battle where they compete in a diabolical game of Crazy Ball with its confusing rules.
Who will claim victory?

The Diagnosis:

Kostanski manages to direct a beautiful love song to the 90s period of home entertainment with a warped and visually appealing feature. 

Psycho Goreman is peppered with humour and is the dark candy of kids sci-fi adventures of yester-year.
It rekindles the energy of the visual treats we hold dear to our hearts in our childhood and garnishes it with gore-tastic moments that Kostanski and the team have made their signature style.

PG should firmly be on your genre-film pulse. Tap into this baby and enjoy its insanity.

  • Saul Muerte

Movie Review: Fried Barry (2021)

15 Saturday May 2021

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Every now again, a movie comes along that is an amped up, riotous frenzy of fun that lives in a world of its own and boldly holds onto its identity, unashamed, and marching to the beat of its own triumphant drum.

Fried Barry from the mind of South African director Ryan Kruger firmly plants itself in this domain.

It’s also incredibly disjointed, which both serves as its appeal and a hindrance to an audience that will either lap up its oddity or subject it to ruin without a care.

The concept is a glorious one that casts Barry as a screwed up, drug addled, poor excuse of a human being. A low-life wretch, who abuses his wife and has no connection with his son whatsoever.

At first observation, the acting strains at the seams, and I question the casting, but no sooner has the thought crossed my mind when we’re subjected to a wicked turn as Barry is suddenly abducted by an alien who possesses his body and goes on one massive bender.

From here on in, we’re treated to 90+ minutes of ridiculous mayhem as the alien uses Barry’s form to experience the wildest of human experiences, which primarily involve sex, drugs, and battling with a chainsaw wielding madman. 

One particular sexual encounter, thrusts the willing recipient into a 2 minute long pregnancy as she gives birth to a humanoid creature with all of Barry’s features but with an expedited lifespan. 

There are many exploits that Barry is subjected to, all with the hypnotic anthems generated by Haezer’s wonderful score. There are times that repetition feels a little stilted in places but this is soon put to rest however when the next crazed antic transipres, propelling us to an equally surreal ending.

The Prognosis:

Fried Barry is a unique and entertaining ride that scintillates on every level.

It’s a wild beast that refuses to be tamed, shedding its whole character to a raw and riveting effect.

You’ll either give in to the discord, or become unsettled by turmoil.

I for one, welcome its complexities and celebrate its unrest.

  • Saul Muerte

Movie Review: The Banishing (2021)

15 Saturday May 2021

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This movie had plenty of promise.
Starting with Director Christopher Smith who helmed both Severance and Triangle, movies that I hold in high esteem.
It also heralds one of Britain’s most curious and obscure haunted locations, The Borley Rectory as its prime location. Throw in a strong supporting cast with Sean Harris as the infamous psychic researcher, Harry Reed, and John Lynch as Bishop Malachi, and you’d be forgiven for asking yourself, what could possibly go wrong?

One word screenplay. And add the word woeful before it.

The plotline is not only confusing, but also lazy too, especially when it resorts to using Nazis as its primary depiction of evil.
Sure, since the wake of the Second World War, there hasn’t quite been a group so closely associated with the darkest of humankind, but it feels like a cop out to constantly use them as the go to to subject our greatest atrocities on screen. 

The film does open with a shocking scene, as we are presented with a priest who murders his wife and then carries out self-flagellation before seeking aid from his physician to cover up his crime.

We then close in on our central characters, Marianne (Jessica Brown Findlay) and her husband, Linus (John Hefferman), a priest who takes up residence at Morley Hall, not knowing of its dark past.
They are not alone however and an evil presence still resides within its walls, waiting to inflict itself on the couple and Marianne’s daughter, Adelaide. Slowly the essence of evil grows strong and seeps its way into the weaker areas that the couple hold and the firmer its grip takes hold, the further apart the couple become, exposing their secrets, their fears, and ultimately a way to doom them unless it succumbs to rest. 

The film’s greatest strength however doesn’t contain these two central characters though in its support cast of the afore-mentioned Lynch and Harris.
Thank God too as both Melanie and Linus border on boredom with their two-dimensional representations, which is no fault of the actors who play the parts, both of whom eke out as much as they can with little material to work on.
Harris in particular lifts the scene with every moment that he is on the screen, and you can only wish that his presence was more exposed throughout the movie.
Instead we’re subjected to the whimsical torments of Melanie and Linus’ fragility.
The cat and mouse game that Reed and Bishop Malachi play with one another, just about keeps your interest along with the pendulum of trying to depict who is the the good or bad conscience in the world of torment. 

The Prognosis:

The Banishing wallows in its own misery and fails to lift itself out of the ashes of a troubled script.

It’s one saving grace is Sean Harris’ superb depiction of spiritualist Harry Reed, and the odd moments when John Lynch chews up the scenery. 

Unfortunately, there’s a lot to be forgotten here.

  • Saul Muerte

Movie review: The Power (2021)

12 Monday Apr 2021

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What starts off as a promising horror film with an eerie setting, The Power soon gets lost in its own labyrinth of darkness and dissolution.

Let’s face it. There’s something that is imminently scary about hospitals and the thought of death hanging over you and by choosing to set the film in a dilapidated one during the early 70s when the decor is sparse, drawing forth the feeling of isolation amongst the empty corridors heightens this sensation further.

It doesn’t help that the hospital is at the hands of a current mining strike and has the electrical power being shut down at the dead of night, thrusting the audience into constant panic and despair.

Guiding us through the darkness is a young nurse, Val (Rose Williams), new to the hospital and on a temporary probation. She stumbles her way through the rigorous and meticulously structured system within the varying wards. We’re instantly drawn to Val’s empathetic nature, but we soon learn that there’s a reason for her good-hearted nature having been a victim of abuse in her childhood at the Catholic orphanage.

It is her eagerness to please and help others though that finds her on the wrong side of the hierarchy and forced to work the night shift. When darkness will descend on all.

There is something sinister lurking in the darkness that has an instant connection with Val and opens up old wounds among the staff.

Is this presence a dark one though or is there something more to the gloomy outlook?

The Prognosis:

The initial premise is a strong one and the balance of power between light and darkness, male and female, and social status is constantly shifting and fluctuating through a nicely woven script.

Corrina Faith develops a strongly directed narrative and combined with Laura Bellingham’s (Amulet) visual flair, projecting an atmosphere that chills.

It’s main flaw is that once it builds up the tension, it quickly transcends into predictability and the usual horror tropes that we’ve come accustomed to.

Despite this, the script, performances and direction is tight, making The Power an enjoyable watch regardless.

  • Saul Muerte 

Movie Review: Violation (2021)

07 Wednesday Apr 2021

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My gut reaction following watching this movie was to declare it the best film of the year so far, and while the dust has settled now and along with it the stirred up emotions that Violation incurred on this writer’s soul, there is still some resonance of the raw energy that is prevalent throughout the film’s narrative.

It is this intensity drawn out by the writing, directing partnership of Madeleine Sims-Fewer and Dusty Mancinelli produced with a simmering and festering boiling pot of turmoil that pulls you in and intoxicates the mind.

Maybe it’s that Sims-Fewer had an amount of creative control and with this a freedom of expression to tap into the complexities that her character Miriam holds, but her performance is beyond exemplary as a result and is captivating to watch. 

What we witness is Miriam, a woman who has become labelled for her feisty and headstrong personna that has often landed her in difficult circumstances, but beneath the surface is an incredibly fragile figure, who is starting to unravel. Among her troubles is a pending divorce from her husband Caleb (Obi Abili) and when they decide to spend time with Miriam’s younger sister Greta (Anna Maguire) and brother-in-law, Dylan (Jesse LaVercombe), she yearns for the safety of people that she can feel comfortable with and expose her vulnerability to.
Families are often a complex thing though, and Miriam’s past behaviour clouds what could be a straightforward and reliable road with Greta, who has constantly had to endure living in the shadows of her larger-than-life sister.
There is also a past that Miriam shares with Dylan, and at time when she really needs someone to lean on, he betrays her in the most violating way, hence the title, and with this traumatic experience, Miriam is left reeling and with her own base responses to rely upon.
But first she must exact vengeance and clear the way forward for her to heal. No matter what it costs.

The Prognosis:

Best movie of the year?
Possibly.

Best performance of the year?
With Madeleine Sims-Fewer’s portrayal of the central character Miriam and the violation that occurs combined with the trauma that this leaves on her… Definitely 

Violation is a slow burn, but a perfect exercise in raw performance with a tightly knit script to explore a wrenching-yet-topical subject.

It awakens the senses and projects every ounce of emotion onto the screen. I always fall deep for movies that elicit such a response, and for that, I can’t rate it highly enough.

  • Saul Muerte 

Movie Review: Koko-di Koko-da

06 Tuesday Apr 2021

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Despite being released in the festival circuits back in 2019, Koko-di Koko-da deserves a bigger audience, and thanks to Shudder’s Exclusive and Original distributions, Swedish director Johannes Nyholm gets to see his sophomore feature receive greater access.

There are some that may instantly be turned away from the subtitles, but if you’re not averse to this, then you’re in for a disturbingly surreal tale about grief.

The film begins with a couple, Tobias and Elin take their daughter, Maja on holiday to the coastal town of Skagen for a holiday. What should be an idyllic occasion soon turns sour though when Maja is struck ill from an allergic reaction to eating seafood. This swiftly becomes fatal and Tobias and Elin are left rocking from this tragedy.

The real holiday begins though three years later when the now estranged couple try to rekindle their relationship, having felt the strain that the loss of their daughter has had on them both. Embittered and self-destructive, the couple have reached their limits, but somehow they find it in themselves to find a way to reunite in one of the most dire things that a couple can do… go camping!

It seems an odd choice considering their torment, as anyone who can attest to that may have gone camping, it’s not the most relaxing of things to do, and can generate ill-feeling when things go awry. 

Driven by the desire to see the trip through, Tobias strays off the road and decides to camp in a remote woodland location. Never a good idea, but they never thought that they would encounter a strange a sideshow troupe made up of an elderly man in a white suit who serves as a sort of emcee to the macabre and twisted events that he forces the couple through; a large muscle man character, and a thin gothic looking woman. 

The nightmare becomes stranger still when it becomes evident that the couple have fallen into some kind of time warp and no matter how hard they try to change the course of events are forced to endure. They must work together and find a path that unites them both and not born out of a selfish need to survive, if they are to make any way out of their suffering.

The Prognosis:

This is definitely one for fans of surreal horror infused with dark comedy. It is stitched together with short shadow play depictions of the grief that lay at the centre of their ordeal, which also slips Koko-di Koko-da into artsy terrain and may turn people away. 

However, I enjoyed the reality that Nyholm plays with the subject of grief and the depth that this can take on the central characters.

It’s an emotion that can send you transcending downward in a spiral of destruction, often willing to subject oneself to the agony and guilt of it all. 

For this, Koko-di Koko-da is a tough but fascinating watch.

  • Saul Muerte 

Movie Review: Slaxx

05 Monday Apr 2021

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Slaxx is one of those movies that on paper smacks of the ridiculous and even though its moralistic message is on overkill, the film itself actually surprises.

The movie narrative follows a young sales clerk Libby (Romane Denis) starting her first day for a corporate clothing store that prides itself on producing high quality clothing using naturally organic fibres.
It doesn’t take long for Libby and the audience to realise that the company is with wankdom and its employees are equally vacuous and insipid.
Thankfully for us, that means there is plenty of unlikeable victims to meet a grisly encounter.

The mode of slasher/stalker isn’t exactly what you’d naturally expect and where the farcicial component comes into effect, as a pair of killer jeans.

Part of Slaxx’s appeal comes with the comical tone that Director Elza Kephart plays throughout the movie, whilst also delivering some satisfyingly gnarly deaths.
A fine line to balance on without falling into lame or over the top ridiculousness, which Kephart delivers with ease.
Hats off to the Bollywood dance number, which could easily have tipped things off kilter but manages to hang on by it’s sheer audacity and having placed the attitude tongue firmly in it’s cheek from the get-go.
And with pretty much everyone up for grabs having all bowed at some point to consumerism and being guilty for succumbing to hedonism at some point, the kill count is gonna be gloriously high.

The Prognosis:

There’s a lot of fun to be had in this over-the-top, hilarious, and bloody tale of killer jeans on the rampage.
Yes the morals smack of overkill but can be forgiven for its humour and is for proudly  wearing its identity on its britches.

  • Saul Muerte

Movie Review: Stay Out of the Attic (2020)

01 Thursday Apr 2021

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My immediate reaction to the opening 20 minutes of this movie was admittedly a struggle as the performances were grinding and felt forced, painfully trying to shift out of first gear. In many ways it smacked of low-budget b grade execution and I had a moment of wondering if I were going to be able to endure the 80 minute running time. 

The premise of Stay Out of the Attic follows two convicts Imani and Carlos, who are promised a second chance in life outside of prison walls when they work for fellow ex-con Alber Schillinger’s removal company. Each of them have their own demons to exorcise and on their first job get more than they bargained for and are forced to confront their past haunts and misconceptions, which is also incredibly two-dimensional in its delivery.

Filled with hopes over turning a new leaf, the intrepid trio venture into the house where they are greeted by Vern Mueller, an elderly man with a sickening past. Basically he’s a psychologically deranged Nazi medical practioner carrying out fucked up experiments. We later learn that he is practicing the works of Josef Mengele and has been torturing people in both the attic and basement of his house in a crazed search for a rejuvenation serum. 

Mueller manages to trap the trio in his mansion where he then inflicts pain, torture and carnage in order to act out his malicious will. Admittedly this is where Director Jerren Lauder manages to step away from the realm of predictability and serves some delightfully macabre moments. By the time he plays this hand though, the film has already slipped into mediocrity.

The Prognosis:

Stay Out of the Attic is both painful to watch in its failure to deliver anything masterful and gut-wrenching in the manner that it inflicts salacious ways for the main characters to endure. 

Most of the time, it’s incredibly slow and meticulous but there are some glimmers of inspiration that stop this film from being a disaster and hangs on the right side of watchability.

  • Saul Muerte