Shudder’s latest original, Daddy’s Head, follows a path well-trodden in horror, diving into themes of grief, mental health, and the complicated relationship between a grieving child and a struggling stepmother. While these are common threads in horror cinema, Daddy’s Head still manages to carve out moments of eerie tension that linger long after the film’s conclusion.
Set in the vast isolation of a rural estate, the film places the young boy at its emotional core. His confusion and loss after the sudden death of his father create an unsettling atmosphere, one that is heightened by his stepmother’s emotional distance. As the boy becomes haunted by a grotesque creature resembling his father, his stepmother dismisses his warnings, believing them to be mere figments of a grieving mind. This dismissal, of course, only tightens the grip of the sinister entity, with the boy’s warnings becoming more urgent.
Where Daddy’s Head shines is in the execution of its most disturbing moments. The eerie sounds echoing through the halls, the glimpses of the monstrous father figure, and the growing tension between the boy and his stepmother all contribute to a sense of creeping dread. The film effectively taps into the fear of being ignored when something truly menacing is lurking just out of sight.
However, it’s hard to ignore that Daddy’s Head leans heavily on well-known tropes. The child who sees what the adults don’t, the stepmother struggling to fill the role of parent, and the supernatural manifestation of unresolved grief all feel familiar. While the film crafts a decent narrative around these elements, it doesn’t quite escape the shadow of similar films that have come before it.
The Prognosis:
In spite of its predictability, Daddy’s Head does manage to resonate thanks to its haunting moments and unsettling creature design. It won’t revolutionise the genre, but it crafts a sufficiently sinister tale that horror fans will find some satisfaction in.
Saul Muerte
Daddy’s Head premieres Exclusively on Shudder and AMC+ Friday 11 October
The V/H/S franchise has always leaned into its unpredictable, chaotic nature, and V/H/S/Beyond continues this tradition, offering a new collection of short horror films that range from inventive and chilling to downright bizarre. This latest installment comes with some solid scares and intriguing ideas, but like most anthologies, it’s a mixed bag. The strongest segments manage to elevate the overall experience, while a few others hold it back. Here’s a breakdown of each story:
“Abduction/Adduction” – Frame Narrative
Directed by Jay Cheel, “Abduction/Adduction” serves as the glue that holds the anthology together. The premise follows a group of people documenting bizarre encounters with alien abductions, which links the other stories in a creative, albeit predictable, manner. The narrative keeps things moving with just enough intrigue, but ultimately it’s more functional than memorable.
Directed by Jordan Downey, “Stork” is easily one of the anthology’s highlights. This segment centers around a police unit investigating a string of baby disappearances in a decrepit house. What starts as a procedural investigation quickly devolves into something much more unsettling, with the house itself becoming a labyrinth of horrors. Downey creates a palpable sense of dread throughout, blending supernatural elements with gritty realism. The imagery is nightmarish, and the tension builds to a truly disturbing climax.
Strengths: Atmosphere, direction, disturbing imagery. Weaknesses: Some predictable elements, but it’s a standout.
“Dream Girl” – Bollywood Horror with a Twist
Virat Pal’s “Dream Girl” takes the found footage genre in an unexpected direction, focusing on two paparazzi who sneak onto the set of a Bollywood film. What starts off as a humorous misadventure quickly turns into a chilling encounter with Tara, a famous actress hiding dark secrets in her trailer. The blending of Bollywood glitz with horror works well here, and the segment’s twist is both shocking and satisfying. Pal’s ability to shift from lighthearted moments to sheer terror makes this one of the more engaging stories.
Strengths: Originality, strong twist. Weaknesses: Some pacing issues.
“Live and Let Dive” – Fun but Chaotic
Justin Martinez’s “Live and Let Dive” takes the anthology in a more action-packed direction, following a group of skydivers who find themselves in a fight for survival after their plane collides with a UFO. This segment is a wild ride from start to finish, blending sci-fi with horror. While the concept is thrilling, the execution feels rushed, and the story lacks depth. That said, it’s still fun, especially for those who enjoy chaotic, fast-paced horror.
Directed by Justin Long and Christian Long, “Fur Babies” is easily the weakest link in the anthology. The story follows animal rights activists who break into a taxidermist’s house, only to find a grotesque secret in her basement. Despite an interesting premise, the segment feels disjointed and lacks the sharp edge needed to make it effective. Long seems to be channeling some Tusk-era vibes here, but the result is more off-putting than terrifying. The horror elements feel forced, and the comedic moments don’t land, leaving the segment feeling out of place in the anthology.
Strengths: Potential in the premise. Weaknesses: Disjointed execution, forced humor.
“Stowaway” – A Strong Directorial Debut
Rounding out the anthology is “Stowaway,” directed by Kate Siegel in her directorial debut and written by horror maestro Mike Flanagan. This segment centers on a woman documenting strange lights over the Mojave Desert, slowly unraveling a terrifying mystery. “Stowaway” shines with its minimalist approach, building suspense through atmosphere and subtle scares rather than relying on gore or jump scares. Siegel proves herself as a promising director, and with Flanagan’s script, this segment serves as a perfect closer, leaving audiences with an unsettling feeling that lingers after the credits roll.
Strengths: Atmosphere, storytelling, direction. Weaknesses: Some might find the pacing too slow.
The Prognosis:
V/H/S/Beyond continues the franchise’s tradition of showcasing diverse horror styles within the found footage format. While some segments, like “Stork” and “Stowaway,” rise above the rest, others, like “Fur Babies,” drag the overall experience down. Still, it offers enough creativity and scares to make it a worthy entry in the series. Fans of the franchise will appreciate the variety, even if the anthology doesn’t always hit the mark.
Saul Muerte
V/H/S/Beyond will stream on Shudder from 4th October.
Paul Duane’s All You Need is Death begins with an enticing premise, steeped in the rich folklore and haunting traditions of Ireland, but as the narrative unfolds, it struggles to maintain the initial tension and promise it sets up. The film, which revolves around a young couple’s discovery of an ancient, taboo folk ballad, dives into themes of love, death, and the dark power of music. While there are moments of disturbing brilliance and an intriguing exploration of Irish mythology, the film ultimately falters in delivering a cohesive or captivating story.
At its core, All You Need is Death is a meditation on the power of music to carry both history and curses through time. The young couple, played with solid commitment by Simone Collins and her co-star Charlie Maher, are collectors of rare folk ballads, drawn into a sinister mystery when they record and translate a forbidden song from the distant past. The weight of the song—carried through generations of women who were forced to bear its cursed legacy—is a compelling idea, and Duane’s vision of an ancient, almost primal force embedded in the music has genuine potential.
The film’s opening scenes are some of its strongest, immersing the audience in the deep, folkloric atmosphere of rural Ireland. There’s a palpable sense of dread and mystery as the couple’s curiosity leads them into darker, more dangerous territory. The exploration of cult-like figures, secret histories, and the uncanny resonance of the song is effective in building tension, and Duane crafts these scenes with an unsettling edge, suggesting that the past is never truly gone—it lingers in the present, carried through cultural artifacts like music.
However, once the initial mystery is established, the film struggles to keep up the momentum. What starts as a fascinating delve into the supernatural and the occult loses its sharpness as the plot meanders, repeating certain ideas without developing them further. While the cursed ballad is an effective metaphor for the way history and trauma are passed down through time, the execution feels drawn out, and the film becomes bogged down in its own mythology. Instead of deepening the intrigue, All You Need is Death falls into a series of repetitive sequences that dampen the initial sense of dread.
Simone Collins is a clear standout in the film, delivering a nuanced performance that captures the slow unraveling of her character’s sanity as the curse takes hold. Her portrayal of a woman caught between the ancient and the modern, the living and the dead, is powerful, and she brings emotional depth to the film even when the script falters. Collins’ ability to convey the psychological toll of the song’s curse elevates the otherwise flat narrative, and her performance alone is worth watching.
The film’s themes of repressed history, particularly in its treatment of women’s voices being both vessels and victims of the curse, resonate on a symbolic level. The idea that the song has been carried through time, forced upon generations of women who had no choice but to bear its weight, is a strong thematic thread, but it’s one that is never fully explored. The horror of being a conduit for something destructive is hinted at but never given the depth it deserves. As the film progresses, these ideas are overshadowed by less compelling plot developments, and the emotional weight of the story is lost in the shuffle.
Duane’s direction is strongest when he leans into the more abstract, mystical aspects of the story. There are visually arresting moments—such as scenes that depict the landscape of Ireland as both beautiful and foreboding, echoing the duality of the song itself—but these moments are too few and far between. The film could have benefitted from a more focused exploration of the ancient, pagan themes it toys with rather than falling into a conventional horror rhythm that feels tired by the time the climax arrives.
The Prognosis:
All You Need is Death suffers from a lack of narrative drive. While it touches on fascinating ideas—such as the inescapability of history, the power of songlines to carry curses, and the dark side of love—the film doesn’t sustain these themes in a way that keeps the audience engaged. What begins as a chilling and thought-provoking journey into the past becomes a meandering tale that loses its bite.
For a film that promises a lot with its eerie concept, it ultimately leaves much to be desired. All You Need is Death is worth a watch for its themes and some strong performances, particularly from Simone Collins, but it never quite reaches its potential, losing steam before the credits roll.
Saul Muerte
All You Need Is Death is currently streaming on Shudder.
Toby Poser and John Adams, the duo behind the 2021 indie hit Hellbender, return to the horror genre with Hell Hole, their latest collaboration streaming on Shudder. With a promising blend of survival thriller, dark comedy, and ecological commentary, the film aims to delve into the horrors lurking beneath both the earth’s surface and the human condition. However, while Hell Hole offers moments of intrigue and unease, it ultimately struggles to fully capitalise on its potential, leaving viewers with a film that feels more like a missed opportunity than a horror classic.
The premise is undeniably compelling. Set in the remote Serbian wilderness, Hell Hole follows an American-led fracking crew that unwittingly unearths a French soldier frozen for over two centuries. Unfortunately for them, this soldier serves as a host for a parasitic, mollusc-like creature that has a taste for human flesh—particularly male flesh. The creature’s Lovecraftian design is one of the film’s highlights, with its slimy, amorphous form and parasitic nature evoking the cosmic horrors that genre fans will appreciate. The concept of an ancient being lying dormant beneath the earth’s crust is rich with potential, and the film taps into this to create a sense of unease and dread.
However, despite this intriguing setup, Hell Hole never quite finds its footing. The film attempts to balance horror with dark comedy, but the humour often feels forced and out of place, detracting from the tension rather than enhancing it. Moments that should be terrifying are undercut by awkward jokes or tonal shifts that leave the audience unsure of how to react. The result is a film that feels uneven, as though it’s unsure whether it wants to be a straight horror or a satirical commentary.
The creature itself, while visually impressive, is underutilised. Its Lovecraftian presence is more hinted at than fully explored, leaving much to be desired in terms of its backstory and true nature. There are moments where the film flirts with the kind of existential dread that Lovecraft’s work is known for, but these moments are fleeting, replaced too quickly by more conventional horror tropes or ill-timed comedic beats.
One of the more interesting aspects of Hell Hole is its commentary on the male-skewed landscape of the fracking crew and, by extension, the larger societal structures they represent. The creature’s preference for male hosts could be seen as a metaphor for the parasitic nature of toxic masculinity, feeding on and destroying those who fall victim to it. Additionally, the film’s ecological message against fracking is clear, but it feels somewhat heavy-handed, lacking the subtlety that could have made it more impactful. Instead of weaving the environmental critique seamlessly into the narrative, Hell Hole often comes across as preachy, pulling viewers out of the story.
The cast, which includes Poser, Adams, Olivera Penunicic, Bruno Veljanovski, and others, delivers solid performances, but they are hampered by a script that doesn’t quite know what to do with them. The characters are thinly drawn, serving more as fodder for the creature than as fully realized individuals. This makes it difficult to become fully invested in their fates, and as a result, the film lacks the emotional weight that could have elevated it above a standard creature feature.
The Prognosis:
Hell Hole is a film with a lot of interesting ideas but an execution that doesn’t quite do them justice. The Lovecraftian elements, dark humour, and ecological commentary all have potential, but they never coalesce into a cohesive whole. For fans of Poser and Adams’ previous work, or for those who enjoy creature features with a twist, Hell Hole might still be worth a watch. However, it’s unlikely to leave a lasting impression, feeling more like a middling entry in the horror genre than a must-see Shudder original.
Saul Muerte
Hell Holewill be streaming on Shudder from Fri 23rd Aug.
There has been a lot of buzz circulating around the Canadian slasher film In A Violent Nature, written and directed by Chris Nash. The film’s simple yet intriguing concept of following the narrative from the killer’s point of view has drawn comparisons to horror classics like Friday the 13th and The Texas Chain Saw Massacre. However, while this unique perspective offers some fresh insights, it also reveals the film’s significant flaws.
The plot of In A Violent Nature centers on a silent, cold-blooded assassin who stalks his victims through the dense Ontario woodlands. Nash’s decision to frame the story from the killer’s viewpoint is both a stroke of genius and an Achilles heel. On one hand, it effectively highlights the calculative and methodical nature of the killer, providing a chilling glimpse into his mind. The killer finds unique and gruesome ways to dispatch his unsuspecting victims, adding a layer of intrigue to the narrative.
However, this one-note delivery can become tedious as the audience is forced to trawl along with the killer through the seemingly monotonous and meandering forest. The slow pace and lack of variation risk boring the viewers, pulling them out of the immersive world that Nash strives to create. The supporting cast’s poor acting exacerbates this issue, as their performances often feel forced and unrealistic.
While some might argue that over-the-top acting is a staple of slasher films, there is a fine line between deliberate campiness and simply bad acting. Unfortunately, In A Violent Nature falls into the latter category, with dialogue that feels stilted and characters that fail to come across as genuine or engaging. This stark contrast to Nash’s intended style and substance is jarring and detracts from the overall experience.
Despite its shortcomings, the film’s conclusion delivers a powerful key message. By the end, the killer’s actions reveal a bleak commentary on the nature of violence and the desensitization of society. This ending attempts to leave the audience with a thought-provoking reflection on the cyclical and inescapable nature of brutality, aligning with the grim tone set by its horror predecessors.
The Prognosis:
In A Violent Nature is a mixed bag. While its concept of following the killer’s perspective is innovative and offers some intriguing moments, the execution falls flat due to pacing issues and subpar acting. The film’s influences from horror classics like Friday the 13th and The Texas Chain Saw Massacre are evident, but it struggles to live up to the standards set by these genre-defining movies. For die-hard slasher fans, it might be worth a watch, but for others, it may not leave a lasting impression.
Veronika Franz and Severin Fiala, the Austrian filmmaking duo known for their unsettling psychological narratives, return with The Devils Bath. This film, much like their previous works Goodnight Mommy, The Field Guide to Evil, and The Lodge, delves deep into the human psyche, exploring themes of repression, oppression, and the dark underbelly of human nature. However, while The Devils Bath is a commendable effort, it falls short of the high bar set by their earlier works.
Set against the backdrop of rural Austria, The Devils Bath is inspired by Kathy Stuart’s research in Suicide by Proxy in Early Modern Germany: Crime, Sin and Salvation. The film focuses on the oppressive socio-cultural landscape, particularly highlighting issues of sex, gender, physical labor, and cultural constraints. Franz and Fiala’s return to their native roots is evident as they weave a narrative that is both a reflection and a critique of historical and contemporary societal norms.
The story follows Agnes (Anja Plaschg), a woman caught in the web of societal and self-imposed repression. Her portrayal of a character grappling with the heavy burden of expectations and the search for salvation is both poignant and harrowing. Plaschg’s performance is the film’s centerpiece, providing an honest and raw depiction of human suffering and resilience. Her portrayal is masterful, capturing the nuances of a woman on the edge, struggling to find her place in a world that seems determined to crush her spirit.
Franz and Fiala’s direction is, as always, meticulous and slow-burning. They build an atmosphere of dread and discomfort, using the rural landscape to amplify the sense of isolation and entrapment. The film’s pacing is deliberate, allowing the audience to fully immerse themselves in Agnes’s world and experience her despair and occasional moments of hope. However, this slow-paced approach may not resonate with all viewers. Some may find the film’s methodical unfolding and heavy subject matter overwhelming and difficult to engage with.
Thematically, The Devils Bath continues Franz and Fiala’s exploration of oppressive familial and societal structures, a recurring motif in their filmography. In Goodnight Mommy, they examined the fractured relationship between a mother and her sons; in The Lodge, the psychological torment within a new family dynamic; and in The Field Guide to Evil, the darker sides of folklore and tradition. The Devils Bath feels like a natural progression in their oeuvre, further exploring the ways in which individuals are shaped and often suffocated by their environments.
While The Devils Bath succeeds in many areas, it is not without its flaws. The film’s heavy reliance on thematic depth and slow pacing may alienate some viewers. The narrative, though rich in symbolism and subtext, occasionally feels weighed down by its own seriousness. There are moments when the film’s contemplative nature borders on self-indulgence, risking disengagement from its audience.
The Prognosis:
The Devils Bath is a compelling addition to Veronika Franz and Severin Fiala’s body of work. It is a film that demands patience and introspection, offering a stark and honest portrayal of human suffering and resilience. Agnes’s journey is both heartbreaking and inspiring, brought to life through Anja Plaschg’s exceptional performance. However, the film’s slow pace and heavy themes may not be to everyone’s taste, making it a divisive yet thought-provoking piece of cinema.
Saul Muerte
The Devil’s Bath is currently streaming on Shudder.
Streaming exclusively on Shudder and AMC+, Stopmotion premieres Friday, May 31st, offering viewers a chilling exploration of grief, creativity, and the tenuous divide between reality and imagination. Directed by Robert Morgan, this psychological thriller delivers a mesmerizing cinematic experience that lingers long after the credits roll.
At its heart, Stopmotion is a character study of Ella Blake, a talented stop-motion animator portrayed with captivating depth by Aisling Franciosi. Following the loss of her controlling mother, Ella grapples with inner demons while immersing herself in the creation of a dark and macabre puppet film. As her grip on reality begins to slip, the lines between her own life and the surreal world of her animation blur, leading to a terrifying battle for sanity.
Performance Brilliance: Aisling Franciosi Dazzles
Franciosi’s performance is nothing short of spellbinding. She effortlessly navigates the complexities of Ella’s character, portraying her vulnerability, anguish, and descent into madness with haunting authenticity. Supported by a talented cast including Tom York and Jaz Hutchins, Franciosi brings Ella’s journey to life in a way that is both mesmerizing and deeply unsettling.
Influences and Vision: Robert Morgan’s Artistic Tapestry
Director Robert Morgan draws inspiration from a diverse array of influences, including Francis Bacon, Edgar Allan Poe, Jan Svankmajer, the Quay Brothers, David Lynch, David Cronenberg, Joel Peter Witkin, and Hans Bellmer. These influences are evident throughout Stopmotion, from its surreal imagery reminiscent of Jan Svankmajer to its nightmarish themes reminiscent of David Lynch and David Cronenberg.
A Mind-Bending Odyssey
Stopmotion unfolds as a haunting exploration of the power of art to both heal and destroy. As Ella’s creations take on a life of their own, the film delves into themes of obsession, identity, and the dangers of unchecked imagination. Director Robert Morgan expertly builds tension throughout, keeping audiences on the edge of their seats as Ella’s world spirals further into darkness.
Visually stunning and atmospherically rich, Stopmotionis a testament to Morgan’s directorial prowess. From its meticulously crafted stop-motion sequences to its hauntingly beautiful cinematography, every frame of the film is infused with a sense of unease and foreboding.
The Prognosis:
A Haunting Masterpiece Stopmotion is a must-watch for fans of psychological horror. With its haunting visuals, mesmerizing performances, and thought-provoking narrative, it stands as a testament to the power of cinema to captivate and disturb in equal measure.
Saul Muerte
Stopmotion will be streaming on Shudder from 31st May
Thirty years ago, Nightwatch captivated audiences with its bone-chilling narrative, courtesy of director Ole Bornedal. Now, with Nightwatch Demons are Forever, Bornedal returns to helm a sequel that pays homage to its predecessor while injecting fresh blood into the franchise.
The Coster-Waldau Effect: Nicolaj’s Reign Continues
Enter Nicolaj Coster-Waldau, the enigmatic leading man who once again takes center stage in this supernatural saga. Since his days as Jaime Lannister in Game of Thrones, Coster-Waldau has transcended mere stardom, evolving into an icon of intensity and intrigue. In Nightwatch Demons are Forever, he proves his mettle once again, delivering a performance that’s as captivating as it is complex.
A Cast of Characters: Rising Stars and Seasoned Veterans
Alongside Coster-Waldau, Nightwatch Demons are Forever boasts a stellar ensemble cast that elevates the film to new heights. From the mesmerizing presence of newcomer Fanny Leander Bornedal to the seasoned expertise of veteran actors like Sonja Richter and Ulf Pilgaard, each member of the ensemble brings their own unique flair to the screen.
A Slow-Burning Spectacle
From its opening frames, Nightwatch Demons are Forever taking a slow-boiler approach, gradually simmering as it dials up the tension. Director Ole Bornedal masterfully crafts a narrative that keeps viewers on the edge of their seats, balancing moments of eerie tranquility with pulse-pounding suspense.
As the plot unfolds, layers of mystery are peeled away, revealing a world where the line between the natural and supernatural is blurred beyond recognition. It’s a testament to Bornedal’s skill as a storyteller that even the most seemingly mundane moments are imbued with an underlying sense of dread.
The Prognosis:
In a genre often plagued by clichés and jump scares, Nightwatch Demons are Forever shines as a beacon of originality and innovation. With its quirky characters, offbeat humor, and slow-burning tension, it’s a film that lingers in the mind long after the credits roll. Prepare to be whisked away on a devilishly delightful journey into the heart of the supernatural!
Saul Muerte
Nightwatch: Demons are Forever will be streaming on Shudder from May 17th.
When you see Terrence Howard, Cuba Gooding Jr, and Udo Kier on the credits listmon a film and you’d be forgiven for presuming that it would be a half decent entry, but Skeletons In The Closet is like the visual equivalent of hitting the snooze button on an old analogue clock.
As the incredibly slow pace to the movie drags you desperately into its fold, we’re presented with a mother, Valentina (Valery M. Ortiz) and her husband, Mark (Howard) watch their lives fall apart, as if they were the combined metaphor of Job, continuously having their faith tested. Instead though, they are harbouring an evil presence that is sucking out the energy of their lives and inflicting a damning curse upon them. This starts with Mark losing his job after believing that he was actually up for a promotion, to their daughter Jenny (Appy Pratt) being diagnosed with terminal cancer. If that wasn’t bad enough Mark engages with a local crook based on ill advice from his brother (Gooding Jr). This inevitably leads to them putting the squeeze on the family and Mark’s logical leap to seek council from Madam Fortuna (Sally Kirkland), who just kicks the can down the road when she sees only disaster in the future. In steps the specialist Luc (Kier), who is even more mysterious and the potential threat or menace to what has been plaguing them for so long. All the while Valentina has been seeing visions of a pale woman dressed in white, haunting her every move.
Eventually we get to learn that one of them has a skeleton in their closet and must rid themselves of their curse with drastic consequences.
The Prognosis:
This is a slow and laborious possession that feels like we are shuffling off this mortal coil with the aid of a zimmer frame.
There’s one thing to establish character, but another to make us care about the character enough by going deeper into their psychological make up. It’s as though the creatives chose to do neither here and be content on going, here look at their hardship… isn’t it bad? I wonder what is the root cause of this evil?
Unfortunately, the film is pretty woeful, and the care factor is zero for this incredibly below par snoozefest.
Saul Muerte
Skeletons In The Closet is streaming on Shudder from 3 May.
Not only does Sébastien Vanicek’s debut feature impress to the point where you seriously take notice of his creature feature, but it did so to the point that a certain Sam Raimi and Robert Tapert have confidently placed him in the directorial chair for the next instalment of the Evil Dead franchise.
Upon watching the film, you can see why as it places a group within the confines of a set location while they fend off beasties, left, right and centre.
In this instance, said beasties come in the form of a hostile and deadly species of desert spider. These arachnids are of a significant size and as they breed, which is frequent, their spawn increases in size and population to such a degree that they have quickly infested the block of flats that lays the setting of the movie.
We’re quickly introduced to the toxic, killing creatures from the beginning when three men capture the specimens, somewhere in the MIddle East, and come immediately under siege, proving that these creatures are going to be the headliners, and Vanicek doesn’t hold back, going bigger with every moment they arrive on screen.
The narrative picks up when Kaleb (Théo Christine) picks up one of the specimens from a Parisian pawn shop to add to his bug collection. Once home, though, he places the spider in a cardboard shoe box, before being embroiled in an on-going argument with his sister, Manon (Lisa Nyarko). This sibling confrontation is the heart of the movie, struggling to turnover their apartment since losing their parents and struggling to meet on agreed terms, but are forced to come together in order to find a way out of their diabolical situation. This in itself is a symbol for the detriment of their poverty stricken society, as both Kalen and Manon are a group of many citizens, trying to make ends meet, and making decisions along the way that they may regret, forcing a wedge amongst them. Can they put their differences aside and climb out of the infested rubble they call home?
Vanicek also does a superb job of crafting out the tension as the mismatch of misfits, wrangle their way through apartments and corridors, searching for the meaning behind the initial outbreak, cocooned inside by the police who have quarantined the area; to then searching their way out of the web of infiltration.
The Prognosis:
There is a reason this movie has been the talk on Hollywood’s lips. Director Vanicek does an outstanding job for his directorial debut feature, building up the tension, placing the characters in a tightly, wound up situations and stretching the unbelievable arachnid feature, into one of jaw-dropping fun. Do yourself a favour and welcome the spider contagion, for it’s a cracker of a flick and will burrow into your mind and impregnate the cerebellum to become a hot contender for horror flick of the year.
Saul Muerte
Infested will be streaming Exclusively on Shudder and AMC+ from Friday 26 April
Surgeons of Horror 