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Movie review: An Unquiet Grave (2021)

27 Sunday Jun 2021

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If I could cast a single element of praise towards Terence Key’s directorial feature debut An Unquiet Grave, it would be for the bold attempt to have two actors carry the entire 1hr and 12 min running time. The problem is that despite what is admittedly fairly short for a feature, it still stretches the premise too thinly to warrant your complete attention.

The premise itself feels like something drawn out of Pet Sematary, where a man Jamie (Jacob A. Ware) hatches a plan to bring his wife back from the dead with the help of her twin sister Ava (Christine Nyland, who also co-wrote the screenplay with Key). Using some dark magic macguffin which relies on a ritualistic act taking place at the site of the death, Jamie drives Ava to the location in order to carry out said deed. What he fails to mention is that a blood sacrifice is in order.

From here on in the movie drags its light plot to a bitter end using a few tricks of the trade in scares and thrills until the restless grave can find peace once more for its occupant. Both Nyland and Ware do incredibly well to lift the film using every ounce of acting prowess and for this the film can be thankful for their on screen presence but there’s not much else on show here.

The Diagnosis:

It was always a tough task to add depth to a shallow conceptual grave but there is enough substance here to keep you engaged… just. 

Both actors chew on as much of the dialogue to keep up the momentum and there are also some choice decisions from director Keys to make his mark for hopefully more budget to expand on his and Nyland’s writing and directing future.

  • Saul Muerte

Movie review: The Superdeep

19 Saturday Jun 2021

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Don’t be deterred by this Russian flick and it’s admittedly slow start to build up its central protagonist, Russian epidemiologist Anya Federova (Milena Radulovic) from smart but failed scientist out to prove herself into full on action guru.

Inspired by the real location of the Kola Superdeep Borehole, (one of Russia’s experiments to bore to the Earth’s core, which at its deepest reaches 12, 262 meters down), Anya gets the opportunity to redeem herself when a supposed viral outbreak has occurred in a Secret underground research facility.

Set in 1984 Russia, The Superdeep evokes the stark and oppressive nature that woke out of The Cold War era.

As soon as Anya arrives with a squad of soldiers to find out what has happened at the facility and is charged with retrieved with finding some samples of the unknown disease which appears to be infecting all who work at the facility.

They are greeted by Dr. Grigoriev, the head researcher at the facility but it soon becomes apparent that he has an ulterior motive and refuses to allow them access to to the lowest level of the facility, trapping them on one of the other levels.

It then becomes a race against time to prevent the spread of the infection from reaching the surface and potentially wiping out all of humanity in the process.

The Diagnosis:

There are some nice little elements at play here, especially with the virus that is threatening the characters. It’s essentially a fungal type of entity that infests it’s hosts and shows signs of high functioning intelligence.

The idea behind this is a worthy one and keeps the audience entertained along with some decent effects to ground the film and support the believability of the film

Where it does fall down however is in some of the dialogue and action points that slip into predictability all too often.

It is still entertaining however and Radulovic’s performance and portrayal of Anya is strong enough to keep you invested til the end.

-Saul Muerte

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: Caveat (2021)

05 Saturday Jun 2021

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Damian Mc Carthy’s directorial debut that taps right into my heart with its psychological twists and turns that are so fractured that I can’t help but be lured in to its complexities. 

This style of narration can turn some people off and get frustrated by the director’s choice. Especially with the convoluted ending to the tale.

I just lap this stuff up as if addicted to the abstract approach to fear, guilt, and paranoia.

Clearly, its tight budget constraints are on show, but Mc Carthy manages to utilse the deficits to his advantage, and wrangles everything that his actors can muster to the fore, particularly through our lead protagonist, Isaac (Jonathon French), who struggles to piece things together because he is suffering amnesia. Also, placing the setting on an desolate house on a remote island fuels the anxiety and isolation, amping up emotions of both characters and his audience. 

The film is quite hard to unpack, but essentially we follow Isaac to this isolated island when hired to look after Olga (Leila Sykes), who also appears psychologically disturbed and constantly falls into catatonic states, hence the need for someone to supervise her. Our first introduction to Olga is deeply scarring as she wields a curiously freakish wind up toy, a symbol of the unhinged minds of all that enter the house.

We have to allow our minds to stretch into the realms of the unimaginable to a degree, when Issac agrees to the caveat in question, being chained into a harness that restricts him from accessing certain parts of the house; another metaphor for the ties that bind us to our past regrets. The wielder of the caveat is Olga’s uncle Barret (Ben Caplan), who comes and goes throughout the piece but his presence is always felt.
As Isaac fumbles around the crevices of the ramshackled abode, more truths are uncovered but still steers us further away from transparency. The deeper he delves, the more unhinged and dangerous the characters become.

The Diagnosis:

It’s a bold and momentous achievement for a directorial debut, and while it doesn’t necessarily tick all the boxes, the performances are faultless, and the fragmented narrative are compelling enough to keep you chained to the storytelling. 

It will either grip you, or grind you up.

For me, it was a well-constructed tale, that is just the right side of deranged.

  • 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