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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

Movie review: Dark Glasses (2022)

08 Saturday Oct 2022

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Movie review: Dark Glasses

There has been a 10 year absence since “The Master of Horror” Dario Argento stepped behind the camera to call the shots. That feature was the much maligned adaptation to Bram Stoker’s gothic masterpiece, Dracula… in this case in the 3D variety.

Apparently stirred into action when Argento’s daughter Asia discovered the script, Dark Glasses bears a lot of the hallmarks to what made this directing auteur great. Tapping into the giallo scene that built his name, Argento weaves a narrative around Italian escort Diana (Ilenia Pastorelli) who is attacked and pursued by a serial killer. She manages to escape but in her flight she is involved in a car crash, resulting in her loss of sight and the death of two of the occupants in the other car. They were the parents of Chin, who manages to survive the wreck and becomes the subject of Diana’s guilt and road to recovery. 

At first Chin is reluctant to receive her care but soon warms to her maternal protection. The issue and conflict arises with the serial killer still on the loose and hellbent on finishing off what he started,

The Prognosis:

Dark Glasses imbues the heightened sexuality and psychological trauma that is oft’ a part of Argento’s cinematic playground. 

Pastorelli produces a compelling and sensual-yet-damaged protagonist in distress, but the narrative falls in numerous places and loses structure as result. 

This patchwork of Argento’s formative years has moments of success and is still visually arresting at times, but it struggles to string together a cohesiveness worthy enough to allow these notes to sing.

  • Saul Muerte

Dark Glasses will be streaming on Shudder Anz from Thurs 13th October.

Movie review: Deadstream (2022)

03 Monday Oct 2022

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Deadstream is more than your average found footage horror film, as it is packed to the punch with so much energy, zest and macabre humour that it’s no wonder that it has been likened to something from The Evil Dead franchise.

It also tackles and in my humble opinion succeeds in making its unlikeable lead protagonist likeable.

The guy in question is Shawn Ruddy (Joseph Winter), a disgraced internet personality from his online prank show, Wrath of Shawn. Shawn tries to reanimate his audience and draw them back into his life by challenging himself to spend the night in a haunted house and livestream the whole event. Unfortunately he ends up royally pissing off a vengeful spirit and must do all he can to escape and survive the night.

The low budget aesthetics is part of the features appeal, utilising real effects to capitalise on the gritty realism of the supernatural and paranormal events that unfold. Keeping the location to a minimum, primarily at said haunted house, essentially a dilapidated building is also a smart move, allowing the creativity to run loose without being tied down to constantly having to relocate. It also allows time for the ambience to build and have fun when unleashing their vision.

The Prognosis:

The writing is witty and clever in that it plays it straight, so when the macabre mayhem unfolds, it is pure joy to watch.

Winter also writes and directs alongside his partner Vanessa, which indicates not only do they have a firm grasp of the material, so when delivered feels flawless, but this is clearly a labour of love for them and this oozes through every scene.

  • Saul Muerte

Deadstream is currently streaming on Shudder ANZ.

Movie review: Raven’s Hollow (2022)

22 Thursday Sep 2022

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For the first 20 minutes Raven’s Hollow falls dangerously into made for tv territory, but not in a high standard way. Then it shifts into something that is something of note. Yes, the standard isn’t high and the CGI suffers a little, but beneath the surface is an interesting concept with solid performances to support this idea.

The fictionalised account of writer, poet Edgar Allan Poe’s military career as he leads a quartet of cadets through upstate New York when they encounter an isolated  community harbouring a  paganistic secret. These visions and events will eventually inspire his writing profession down the track. 

Poe (William Moseley – The Chronicles of Narnia) and the cadets are drawn to the strange titular town when they find a man that appears to have been sacrificed by some occult. Cue lots of witchery, cult-like behaviour, combined with a raven-like creature that appears to have a strong hold over the settlement.

Poe soon takes on an investigative role to uncover the truth about the mysterious happenings of Raven’s Hollow and in doing so, ignites the narrative a little, drawing the audience in. 

The array of townsfolk on display from the talents of Melanie Zanetti, David Hayman, and Kate Dickie add strength to the mix and along with it, an air of mystery that surrounds them. 

As the bodies start to pile up, so does the pressure to solve the case and end the curse.

The Prognosis:

The premise is enough of a hook for a movie which admittedly suffers under a shaky execution. This is more down to budget restraints though than poor production. The story holds true with enough twists and turns, supported by an able cast that bring about intrigue and supernatural elements to tie you to the story’s end.

  • Saul Muerte

Raven’s Hollow is currently streaming on Shudder.  

Movie review Saloum (2022)

11 Sunday Sep 2022

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Hats off to Shudder in building a platform that showcases the global lens of the horror genre. With The Sadness; On The 3rd Day; Good Madam; and Moloch all depicting a wide variety of voices to vent their individual plights. The latest offering on the Exclusive and Original platform , Saloum sets the scene predominantly in the East African countries of Senegal, Sierra Leone, and Guinea Bissau. 

The story itself centres on a trio of legendary mercenaries known as the Bangui Hyenas – Chaka, Rafa, and Midnight. The symbolism of the number three holds strong throughout human history, bringing harmony, wisdom and understanding together. United the Bangui Hyenas present a strong front, and must lay low after extracting a drug lord out of the country. It is the breaking of the three that presents their greatest plight however, when it is revealed that Chaka harbours a secret of his own, that may or may not bring them to ruin. One that ties in with the mysticism that surrounds their choice of sanctuary; and will unleash an entity that will consume all in its path.

The Prognosis:

There is a lot to get your head around in this flick from Director Jean Luc Herbuot, as he switches up genres with the same pace that he enacts his vision. The frenetic energy combined with the beautiful landscape shots lie in contrast to the dark residual energy that lies beneath the surface; one that fuels the East African history and sees the mercenaries carrying the mental and physical scars that their land has ingrained in them through the past, present and possible future, 

The weight is certainly felt, but not to the detriment of the narrative. With strong performances from all the cast, Saloum both lulls you into a sense of calm whilst ripping you up through its core as the turmoil is unshackled, so that the healing can begin.

  • Saul Muerte

Saloum is currently screening on Shudder ANZ.

Movie review: So Vam (2021)

24 Wednesday Aug 2022

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On face value, So Vam starts off as a tough watch due to its low budget restraints, but beneath its paltry appearance, there is an important and integral theme at play here.

At its core, the film is a stark and honest depiction of being ostracised by society as told from the LGTBTQ+ community. The tale is all the more stronger as its author and visionary is trans  filmmaker Alice Maio Mackay, who adds her own personal touch to finding her own community in an almost unforgiving world. Her directorial debut feature heralds a maturity that belies her age at 17 years, but her voice and position allows the truth of her experiences to shine through.

The scene is set in an Australian town where young gay guy, Kurt (Xai) feels he is constantly an outsider and often the victim of those who ridcule him for his identity. Kurt hangs onto the dream of one day becoming a drag queen, where he can showcase his talents on the stage and live in the big city. What he doesn’t expect is to find his tribe among the vampire kind.

When he is one day stalked and killed by a bloodsucker,  only to be brought back to life by a gang of rebellious vampires, hell bent on ridding the old world of bigotry and pain. It is here that he finds a kinship and with it a new found confidence. In finding his way though, he must equally find how his vampire ways must blend with his family and friendship ties. Can these two worlds exist or must he part ways with one over the other?

The Prognosis:

Director Mackay paints a perfect metaphor for transitions and change for a community trapped by their identity through the tale of vampire mythology. Despite its limitations, there is measure to be had here and a narrative that has been crafted with a learned voice. One that pays dividends to sit up and listen to, marking an exciting entry into the LGTBTQ+. With another film released this year (Bad Girl Boogey) Mackay clearly has plenty more stories to tell. It will certainly be interesting to see how she harnesses her craft further.

  • Saul Muerte

So Vam is currently streaming on Shudder Australia and serves as a great companion piece to Death Drop Gorgeous.

Movie review: Glorious (2022)

23 Tuesday Aug 2022

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For her first solo directorial feature, Rebekah McKendry has chosen a bold and interesting choice to play out her tale. Wisely the setting takes place primarily in one location which helps to keep budget to a minimum, but in doing so you are reliant on the talent on show. Thankfully, McKendry has the physical talents of Ryan Kwanten and the mental prowess of J.K Simmons on show to pull off the narrative.

Speaking of narrative, Glorious picks up with a broken and dishevelled Wes (Kwanten) after what appears to be a messy break up. Heavily hungover, he enters a public bathroom to shake off the blues and find a way back into Brenda’s heart, but what he doesn’t expect is to encounter the omniscient presence of Ghatanothoa (Simmons) coming from the adjacent stool.

This is no ordinary confrontation however; more one that was designed with Wes in mind to carry out a deed that Ghatanothoa relies upon. And with it, Wes is thrown into a world of torment and despair, forced to face his own failures and demons, to overcome them for the greater good. The question is, will he be able to prevail, or continuously struggle against it all and fail at his final hurdle. One thing is for sure Ghatanothoa won’t let it be easy for Wes, locking him shut in the public toilets, to literally sort his shit out.

The Prognosis:

There is a lot to pack into the short running time, but McKendry wrangles out some solid performances and makes the most of the meagre budget to pull out all the smoke and mirror acts throughout.

The effects are meagre but handled well with flashes rather than all out gore, and this again is a testament to McKendry’s ability to deliver a succinct film. 

  • Saul Muerte

Glorious is currently streaming on Shudder Australia.

Movie review: What Josiah Saw (2022)

02 Tuesday Aug 2022

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At first glance, there’s enough interest gathered from the cast of What Josiah Saw alone, with two of the top-billed actors Robert Patrick and Nick Stahl, and even Jake Weber in a supporting role. Each of them do a fair amount of  heavy lifting on screen, pulling out all the stops to generate interest out of their characters and not isolate them to two-dimensional representations. The premise is also one that further builds intrigue, placing a family reuniting at their farmhouse, after a lucrative offer is placed on it, but why have they become so estranged from one another? And what secrets do they hope to remain buried?

Each member of the family is awarded their own chapter of the storyline before the afore-mentione coming together at the farmhouse. It starts with the father, Josiah (Patrick) and his son Thomas (Scott Haze), the latter appears to be trying to look after the upkeep of the abode, but there is something aloof about the way the two engage with one another that doesn’t quite fit, which becomes all too apparent by the films’ conclusion.

The middle chapter and possibly the most intriguing has another son, Eli (Stahl) who is caught up with questionable characters and is charged with two other guys to visit some gypsy folk; a moment that comes to a whole heap of trouble for Eli.

Lastly, we’re introduced to the daughter, Mary (Kelli Garner) and her partner, Ross (Tony Hale), who have been struggling to have children of their own and are in the throes of finalising an adoption process.

As each chapter unfolds, serving as a means to build up and embellish each character, but these windows into their lives so far trudge along at a snail’s pace without any clear direction or purpose. Other than to allow the final moment to unfold. For what it’s worth this final moment when it arrives is well placed and with a powerful punchline, but it’s a damn painful ride to get there. For some, they would have tuned out long before this takes place. 

The Prognosis:

There is plenty of promise set up in What Josiah Saw, with a solid cast and a definitive approach to the storytelling.

The problem arises through its slow interplay as it tries to develop the characters, ordinarily a good thing, but this is painfully slow and interest wanes quite quickly.

A shame, as the last scene is a decent and dramatic conclusion.

  • Saul Muerte

What Josiah Saw is streaming on Shudder ANZ from Thu Aug 4th.

Movie review: Moloch (2022)

18 Monday Jul 2022

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Having established a cornerstone of horror through what is commonly termed as nordic noir, it’s about time that another European country should stake a claim with that dark, folk storytelling. So, the Dutch step forward with something lurking in the peat bogs in the north of the Netherlands.

The entity in question seems to be honing in on Betriek (Sallie Harmsen) and her family, or those that she comes in contact with, suggesting that there is more than meets the eye to this mysterious presence that up til now has lain dormant. The last time it arose was when Betriek was a little girl as presented in our prologue sequence when something is heard above the room that she is playing in, only to then see blood seeping through the cracks aloft.
It also seems that an archaeological dig has unearthed the being known as the titular Moloch, and now anyone that stands in her path will succumb to torment.

Admittedly this film is a bit of a slow burner, but director Nico van den Brink (Sweet Tooth) is able to craft enough intrigue and mystery to the tale, fuelled with some great performances, well structured characters that you actually care for, and the added mark of something that feels like an age-old story.
The narrative ducks and weaves like a crime thriller, with our lead protagonist denying yet puled into this mystery that plagues her family. Just how far she is willing to dig, will determine their fate.

The Prognosis:

Too often, when European folk horror is presented with a slow burn, the content dries up and becomes pale. Moloch though is a cleverly crafted tale with strong characters and enough twists to keep you on tenterhooks. A surprising and comforting darkly Gothic story presented from a welcome new source.

  • Saul Muerte

Moloch will be streaming on Shudder ANZ from Jul 21st.