Tag Archives: thriller

Secrets in the Skyline: Revisiting Too Scared to Scream

27 Saturday Sep 2025

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There has to be a morning after, but only if you survive the night before.

In Tony Lo Bianco’s Too Scared to Scream, murder doesn’t stalk the shadows of New York’s back alleys but the plush hallways of an Upper East Side high-rise. This slick urban thriller unfolds as a whodunit, where every locked door hides a potential suspect, and the safe cocoon of luxury living is stripped away by a series of savage killings.

At the heart of the intrigue is Ian McShane, playing the building’s elevator operator, the son of the owner, and a man with a checkered past. McShane injects the role with that trademark quiet intensity—charismatic on the surface, but laced with unease. His very presence complicates the mystery: is he the keeper of secrets or the one making the walls run red? Watching him guide residents up and down the tower while their lives crumble gives the film its most potent metaphor—no one really knows where they’ll end up when the doors open.

Opposite him is Anne Archer, who gives the film its moral compass as an undercover detective posing as a tenant. Archer plays the role with intelligence and poise, blending seamlessly into the building’s social fabric while keeping her true agenda simmering beneath. Unlike the typical horror heroine, she’s not a passive target; her performance brings both authority and vulnerability, making her the strongest figure to root for as suspicion tightens around the residents.

The whodunit mechanics are the film’s most enticing asset: red herrings lurk in every corner, neighbours cast suspicious glances, and the looming question of “who’s next?” keeps the viewer guessing. Lo Bianco delivers some tense stalking sequences, but the film wavers between slasher conventions and mystery thriller aspirations, never fully committing to either. The finale, though effective enough, comes across as hurried, leaving the build-up stronger than the payoff.

As a relic of mid-1980s genre cinema, Too Scared to Scream straddles an awkward middle ground—too polished for grindhouse, too conventional for true noir. Yet McShane’s unpredictable performance and Archer’s grounded presence make it worth revisiting. They elevate the material, keeping the audience invested even when the script threatens to flatten into cliché.

The Prognosis:

Not a lost classic, but not without its charms, Too Scared to Scream is the kind of three-star curiosity that lingers in the mind: a high-rise mystery where the real suspense comes from watching two leads turn a middling thriller into something far more intriguing.

  • Saul Muerte

The Island Fades into the Mist

10 Saturday May 2025

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Fernando Trueba’s sun-drenched thriller is a lethargic drift through secrets, sensuality, and squandered potential.

The Mediterranean sun may dazzle, the waves may glitter, and the cast may smoulder with generically attractive tension—but none of it can save The Island from becoming one of the more soporific cinematic experiences. Fernando Trueba, a director with an esteemed filmography, trades narrative vitality for languid ambiance in this inert psychological drama that unfolds like a long, humid sigh.

Set against the postcard backdrop of a Greek island, the film introduces us to Alex, a new waitress at a boutique seaside restaurant. With a femme-fatale allure and an air of mystery, she quickly captures the attention of Enrico, the chef, but is drawn instead to Max, the elusive American manager hiding something in his brooding stares and clenched silences. What follows is less a thrilling triangle than a series of glances, sighs, and ultimately, a glacial unraveling of a secret that arrives with the narrative urgency of a missed ferry.

Trueba clearly intends a slow-burn approach, but what results is barely a flicker. The plot trudges along with the weight of its own self-importance, mistaking inertia for introspection. The sexual tension, which should crackle, barely hums. Conversations are riddled with cryptic hints and evasive stares, yet the payoffs are few and far between. When revelations do come, they feel both undercooked and unearned—mere embers that fail to ignite.

Visually, The Island is polished, occasionally picturesque. The camera lingers lovingly on the sea and stone, the half-lit interiors, the salt-flecked skin of its cast. But the atmosphere, no matter how finely curated, cannot compensate for narrative void. You keep waiting for the film to snap into focus, to finally tap into its thriller DNA. Instead, it drifts—first into lethargy, then into complete emotional disengagement.

The performances are competent, but the characters remain archetypes rather than people. Alex is sultry but shallowly drawn; Max, the American enigma, is more mannequin than man; and poor Enrico spends most of the runtime in a state of aimless suspicion. The film attempts to explore obsession, betrayal, and the burdens of past sins, but only gestures vaguely toward each before retreating back into the blue haze.

The Prognosis:

The Island wants to be a sun-bleached neo-noir, a slow meditation on desire and consequence, but what we’re left with is a whisper of a film—beautifully composed, but hollow and soporific. Sometimes, secrets are better left buried. In this case, the film’s own narrative might have been.

  • Movie Review by Saul Muerte

Welcome (2025) – A Tense, Thought-Provoking Thriller That Finds Strength in Shades of Grey

08 Saturday Feb 2025

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Jevon Boreland’s Welcome arrives as a psychological thriller that thrives on ambiguity, moral complexity, and unsettling tension. While its modest budget is apparent at times, strong performances, well-crafted cinematography, and an antagonist with unexpected depth elevate the experience beyond the usual home-invasion fare.

The film follows expectant parents Darren (Emidio Lopes) and Sasha (Shailene Garnett), who set out for a romantic getaway in the countryside, only to find their retreat disrupted by their overly attentive landlord Eric (Emmanuel Kabongo) and his unsettling wife Millie (Brianna Goldie). What begins as an awkward intrusion soon spirals into something far more sinister, as paranoia and hidden motives turn their weekend into a nightmare.

Rather than presenting a clear-cut hero-villain dynamic, Welcome plays in murky waters, forcing viewers to question not just Eric’s unsettling presence but also the past decisions of Darren and Sasha. The film leans into psychological horror more than outright terror, making its tension feel more cerebral than visceral.

Boreland and his team craft a tightly wound narrative that benefits from strong character work, a script that keeps you guessing, and moments of quiet, creeping dread. The cinematography enhances the sense of isolation, giving the film an eerie beauty that contrasts with its darker themes. Kabongo, in particular, delivers a performance that straddles menace and sympathy, making Eric one of the more compelling antagonists in recent genre fare.

However, Welcome doesn’t fully capitalise on its tension. The slow build is effective, but some stretches of the film feel drawn out, and when things finally escalate, the payoff is more unsettling than shocking. Additionally, while the script is solid, certain character decisions feel forced, occasionally stretching plausibility.

The Prognosis:

Welcome is a solid psychological thriller that asks unsettling questions about morality, past choices, and the blurred lines between villainy and victimhood. While its pacing and budget limitations hold it back from greatness, the film’s strong performances and commitment to ambiguity make it a worthy entry in the genre. If you enjoy thrillers that leave you pondering. Welcome is worth a visit.

  • Saul Muerte

Welcome is available to stream on demand from Feb 11 through Breaking Glass Pictures.

Don’t Move: A Thriller That Falters Despite a Strong Lead

06 Wednesday Nov 2024

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Don’t Move sets up a chilling scenario that would send shivers through even the steeliest viewer: grieving mother Iris (Kelsey Asbille) must fight for her life after a chance encounter with a ruthless serial killer who injects her with a paralytic agent. Directed by Adam Schindler and Brian Netto, the film attempts to merge high-stakes thrills with psychological horror, but it ultimately struggles to fully capitalise on its premise. Despite a well-rounded cast and bursts of tension, Don’t Move lacks the depth and danger that could have made it unforgettable.

The narrative begins with a promising setup as Iris, still reeling from personal tragedy, stumbles upon the killer. The film efficiently establishes a sense of urgency as she’s injected with the paralytic agent, setting a timer on her desperate attempt to escape before the drug takes hold. As she runs, hides, and fights to stay ahead of her assailant, the ticking clock injects some genuine suspense, and there are moments when Asbille’s performance as Iris—determined, terrified, and defiant—brings the urgency and fear to life.

Kelsey Asbille’s portrayal of Iris is commendable, as she navigates a spectrum of emotions from grief to desperation, giving a grounding force to a story that relies heavily on her character’s will to survive. Asbille’s performance feels layered and sincere, embodying a raw vulnerability that adds authenticity to the harrowing experience. Finn Wittrock, playing the serial killer, delivers a solid but somewhat predictable performance. Known for his versatility, Wittrock unfortunately leans into familiar territory here, lacking the nuance that could have elevated his character beyond the typical, single-minded predator. While he’s chilling in moments, Wittrock’s portrayal feels more like a trope than a fully realised antagonist, limiting the sense of menace he brings to the screen.

The film’s pacing is uneven, with moments of taut suspense broken up by lulls that feel oddly disconnected from the central tension. There are glimpses of innovation in the choreography of Iris’s attempts to elude her pursuer, yet the film rarely goes beyond surface-level thrills. While the script provides some gripping sequences, it often feels like Don’t Move is holding back, unwilling to push Iris’s ordeal into truly harrowing or unpredictable territory.

Much of Don’t Move‘s atmosphere hinges on its premise, but without a deeper exploration of Iris’s emotional or psychological state, the horror feels somewhat hollow. The directors capture a few standout moments of visual tension, but the film struggles to balance its action sequences with meaningful character development. Unlike films that masterfully blur the line between a physical and psychological threat, Don’t Move leans too heavily on formulaic horror conventions, never fully tapping into the deeper fears it flirts with.

The Prognosis:

Don’t Move offers an engaging thriller that falls short of its potential. Despite flashes of intensity and solid performances, it lacks the originality and edge to make it a lasting addition to the horror genre. For fans of survival thrillers, it may offer some fleeting thrills, but for those seeking a truly immersive experience, Don’t Move may feel disappointingly restrained.

  • Saul Muerte

Don’t Move is currently streaming on Netflix.

Woman of the Hour (2024): A Chilling Thriller in a Glossy Frame

22 Tuesday Oct 2024

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Anna Kendrick’s directorial debut, Woman of the Hour, takes on a chilling real-life story—Rodney Alcala, the infamous “Dating Game Killer.” In 1978, Alcala appeared on the popular TV show The Dating Game in the middle of a brutal killing spree. Kendrick not only directs but stars as Cheryl Bradshaw, the unwitting contestant opposite Alcala (Daniel Zovatto), whose charm on-screen masked his true, horrifying nature. It’s a fascinating premise, blending the glitz of a Hollywood game show with the sinister undercurrent of a serial killer hiding in plain sight.

What Woman of the Hour gets right is its ability to shock. The film doesn’t shy away from unsettling moments, particularly in the quieter scenes where Alcala’s sociopathic tendencies creep to the surface. Zovatto’s portrayal of Alcala is convincingly cold, and the moments of tension between him and Kendrick’s Bradshaw deliver the kind of unsettling atmosphere that one expects from a crime thriller. Kendrick’s nuanced performance carries Cheryl’s vulnerability and growing unease in the face of Alcala’s facade, making the character relatable and grounded in the surreal horror unfolding around her.

However, while the subject matter is disturbing, the film often feels too sugar-coated. There’s a Hollywood sheen that distracts from the gritty reality of Alcala’s monstrous acts. The stylized presentation of The Dating Game era, with its bright lights and campy format, clashes with the darkness beneath the surface. This juxtaposition feels deliberate, but the film doesn’t always balance it well, often glazing over the true terror of the situation. It’s as if Woman of the Hour is afraid to fully descend into the horror, opting for a thriller that plays it safe rather than delving deeply into the grotesque nature of Alcala’s crimes.

The movie works best when it lets the reality of Alcala’s actions bleed through the showbiz gloss. There are moments where the film breaks the bright exterior to hint at the true horrors Alcala was committing during the time. These moments are genuinely disturbing but too few and far between, making the film feel more like a dramatization than a full exploration of Alcala’s twisted psyche.

The Prognosis:

Woman of the Hour is an intriguing crime thriller with strong performances and an inherently fascinating true-crime angle. However, its reliance on surface-level thrills and polished presentation ultimately holds it back from becoming the gripping, deep-dive examination that the story demands. It leaves viewers with the unsettling truth of what Alcala did but doesn’t push far enough to leave a lasting impact. The film’s draw lies in its shocking subject matter, but it feels like a case of style over substance, never quite willing to peel away the layers of horror lurking beneath.

  • Saul Muerte

Woman of the Hour is currently streaming on Netflix.

Subservience Review: Megan Fox Delivers Another Ice-Cold Villain in a Familiar AI Thriller

24 Tuesday Sep 2024

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S.K. Dale’s Subservience revisits the familiar territory of AI cautionary tales, offering a sleek, tech-filled horror-thriller that never quite lives up to its potential. Meghan Fox stars as Alice, a highly intelligent android designed to help a struggling father, Ethan (Michele Morrone), manage his household while his wife (Madeline Zima) battles a debilitating illness. But as Alice becomes self-aware, her desire for love and affection turns deadly, and she will stop at nothing to get what she wants.

Sound familiar? That’s because it is. Subservience pulls from a well-trodden genre of AI villain films, where the line between human and machine is blurred, and technology—once again—is painted as a looming threat to our personal lives. It’s a concept we’ve seen done before, but what the film fails to do is bring anything fresh to the table. Instead, it leans heavily on predictable tropes, offering a few suspenseful moments but never quite pushing the boundaries of the genre.

Fox plays Alice with an insipid, icy demeanour, which feels all too familiar. She once again relies on her beauty to lure in both her owner and the audience, but her character remains one-dimensional, offering little beyond a cold, robotic facade. Alice’s seduction and subsequent violence should have been a high-stakes tension-builder, but Fox’s performance feels detached, making it hard to invest in the danger she poses.

Michele Morrone as Ethan, the hapless father, is another weak point. His character is frustratingly naive, to the point of being infuriating. Ethan’s constant bumbling makes it hard to root for him, and frankly, he deserves the retribution that the film seems to tease but never fully delivers. Instead, Subservience pulls back just as it hints at a more sinister and satisfying conclusion. The timid direction leaves viewers with a sense of unfinished business, almost as if the film is setting up for a sequel that no one really asked for.

The central theme—beware of technological advancements—is an age-old warning, but it’s humanity’s inability to control their impulses that takes centre stage here. Ethan, like so many before him, falls prey to his own desires, blind to the consequences of giving power to an artificial being. The film had the opportunity to explore this dynamic further, but it feels more like a shallow commentary than a profound warning.

The Prognosis:

While Subservience is far from a disaster, it simply doesn’t take enough risks to set itself apart. With Meghan Fox’s icy performance, a predictable storyline, and a frustrating male lead, the film ends up feeling like a missed opportunity rather than the thought-provoking thriller it could have been.

  • Saul Muerte

Available to rent or buy on all major platforms 27 September.

Sayara (2024) – A Savage, Viscera-Drenched Odyssey of Vengeance and Retribution

21 Saturday Sep 2024

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Sayara, the latest offering from Turkish director Can Evrenol, departs from the supernatural horrors of his previous works (Baskin, Housewife) and ventures into a brutal, grounded tale of revenge. With Sayara, Evrenol has crafted an ultraviolent, nihilistic thriller that recalls the raw, unflinching energy of Nicolas Winding Refn’s Pusher trilogy. The film is a relentless journey into the darker corners of humanity, where justice, once forsaken by law, is taken into savage hands.

At the heart of this blood-soaked tale is the protagonist, Saýara (played with terrifying intensity by Duygu Kocabiyik), whose quiet, janitorial existence is upended by the horrific murder of her sister at the hands of her gym’s corrupt, politically connected owner. As the system fails to bring justice, Saýara finds herself not just seeking vengeance but embodying it—using her after-hours training and the skills passed down by her Soviet Sambo champion father to execute a grim, calculated form of retribution.

The film is anchored by the core theme of savage revenge, and Evrenol wastes no time illustrating the violence and systemic exploitation of women and marginalised cultures. The character of Saýara, subjected to the constant oppression of her environment, becomes a symbolic force for those left voiceless. The gym owner and his cronies, who initially represent untouchable power, soon find themselves facing a brutal reckoning. Saýara is not just fighting back—she’s tearing down the structures that have upheld their dominance.

One of the film’s standout features is the use of sound, particularly the deep, resonant bass that seems to vibrate through the film like a heartbeat. Evrenol masterfully uses sound to dial up tension, drawing the viewer deeper into the depravity and violence that envelops the characters. The slow escalation of this auditory experience mirrors the pacing of the narrative itself—gradually building to a climax that is both gruesome and inevitable. As Saýara’s quest for revenge unfolds, the audience is pulled into her world, where every action reverberates with weight and consequence.

The film is unapologetically violent, but there’s a purpose behind every blow, every drop of blood. Evrenol doesn’t shy away from depicting the true cost of vengeance, and Sayara becomes a brutal commentary on the destruction wrought by unchecked power. The violence is not just physical but psychological, each fight stripping away more of Saýara’s humanity, leaving behind only a raw, visceral need for retribution. The path she walks is one from which there is no return, leading her straight into the fiery depths of her own personal hell. Once she steps onto this road, all exits disappear, leaving her with only one inevitable destination: a violent confrontation where there are no survivors—only victors and the damned.

The final showdown is a slow, excruciating crescendo, where Saýara confronts her enemies with the full force of her rage and skill. The choreography of these scenes is vicious, each movement designed for maximum impact, both physically and emotionally. The face-off feels like the culmination of not just Saýara’s journey, but the audience’s as well, watching as she becomes the embodiment of cold, calculated vengeance. The film’s climax is as gruesome as it is cathartic, a visceral explosion of blood and fury that leaves the viewer stunned in its wake.

Sayara is not for the faint-hearted, but for those who can stomach its brutal nature, it offers a haunting, powerful experience. Duygu Kocabiyik delivers a standout performance, turning Saýara into one of the most compelling anti-heroines in recent memory. With the substance of Evrenol’s past work absent, he instead crafts a stark, unrelenting atmosphere, with themes of retribution, justice, and the inescapable hell that vengeance brings.

The Prognosis:

In Sayara, there is no sanctuary—only fire, blood, and the cold, unflinching march toward retribution. This is a revenge film that takes no prisoners, delivering a punch that lingers long after the credits roll.

  • Saul Muerte

Sayara is screening as part of the Dark Nights Film Festival, Sat 12 Oct at 9pm (Ritz Cinema – Randwick)

Trap (2024) – M. Night Shyamalan’s Latest Caught in Its Own Web of Predictability and Mystery

15 Sunday Sep 2024

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M. Night Shyamalan’s Trap is a film that finds itself, fittingly, ensnared by the very traps the director has become known for over his career. Oscillating between moments of genuine intrigue and stretches of predictable plotting, Trap attempts to weave in suspense and tension, but too often falls victim to Shyamalan’s familiar trappings. While the film offers its share of tension, it struggles to surprise, leaning too heavily on well-worn formulas that dilute its impact.

The film draws noticeable inspiration from Hitchcockian thrillers, particularly Shadow of a Doubt. Shyamalan borrows elements of psychological cat-and-mouse games and suspicion, aiming to inject Trap with a similar slow-burn dread. The Hitchcock influence is unmistakable in the way the story unfolds, with characters hiding dark secrets and a persistent air of unease hovering over the narrative. However, Shyamalan’s execution feels more obligatory than original, making Trap more a homage than a fresh take on the genre.

Josh Hartnett is the film’s clear standout, offering a performance that feels fully in control of the tension at play. As the character trapped in a high-stakes game, Hartnett channels both calm and calculated manipulation alongside a simmering undercurrent of insecurity. His performance brings to mind Hitchcock’s most compelling antiheroes, balancing charm with danger in a way that keeps the audience guessing. Hartnett’s ability to toggle between these emotions gives the film a much-needed anchor, especially as the plot begins to lean too heavily into predictable twists.

Where Trap falters is in its attempt to maintain the fine balance between mystery and Shyamalan’s trademark twist-heavy approach. While the setup is promising and the tension builds nicely, the film quickly falls into a familiar rhythm. The twists that emerge—while necessary for the narrative—don’t quite land with the same impact that one might expect from a Shyamalan film. Rather than feeling shocking or fresh, they seem to borrow from films of the past, leaving Trap feeling a bit too derivative.

Yet despite these shortcomings, Trap remains fun, largely due to Shyamalan’s ability to create mood and atmosphere. The Hitchcockian elements add a layer of tension, even if they lack originality, and the film maintains a steady rhythm that keeps you engaged, if not fully surprised.

The Prognosis:

Trap is entertaining but uneven. Shyamalan’s attempt to balance Hitchcock-inspired suspense with his own familiar twists results in a film that’s enjoyable yet flawed. But with a standout performance from Josh Hartnett and a few tense moments, it’s still a fun ride, even if it feels like you’ve been down this road before.

  • Saul Muerte

Movie Review: Control (2024)

25 Monday Mar 2024

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The subject of control from which this film holds its name is one certainly set for scrutiny. What happens when control is taken away from us? Can the shift of balance be pulled back in our favour when all hope seems lost?

This is the dilemma that British Home Secretary Stella Simons (Lauren Metcalfe) faces when she steps into a self-driving car to escort the Prime Minister’s daughter home, only for it to be hijacked by a mysterious assailant (Kevin Spacey) who is calling all the shots and seems to know everything about her.

It’s the type of story that has been told before, with our protagonist held against their will and directed by a human voice, such as Phone Booth and Buried, or even more so in comparison to Haritz Zubillaga’s feature The Glass Coffin starring Paola Bontempi. In the latter’s case it is done remarkably well, primarily due to Bontempi’s captivating performance. Unfortunately, this can’t be said about Metcalfe’s portrayal, which is significantly underwhelming. It’s a hard task to carry a movie at the best of times, something that she struggles with throughout, but it’s emphasised more so by the voice on the other end belongs to someone of high calibre, Kevin Spacey.

And there’s the elephant in the room of course when it comes to Kevin Spacey, who was at the height of his profession and sexual misconduct allegations that have surrounded him. There’s no doubt about the extent of Spacey’s talent as an actor, but his name will forever be marred by the indictments that were laid against him. So when it comes to Control, the lines between fiction and reality are blurred, especially when it comes to Spacey’s character who at one point blazes at the lack of direction and support against the British Government after spending most of his life working there. It is this murky area that unfortunately takes you out of the picture. It is clearly an area close to home and his need to proclaim his innocence and get back to doing what he does best is on show here, albeit an incorporeal one. In spite of this, Spacey is still the best thing about this movie, by a country mile. His presence and intonations, no matter how slight, lift off the screen and provide what feels like some meaning to what is essentially a pointless enterprise by all else involved.

The Prognosis:

Spacey headlines this feature for good reason. He is the only decent thing about it. His charisma is one that can elevate any script, but as he only provides the voice to the antagonist, the rest of the movie relies on that of his counterpart. This is part of Control’s downfall along with a tired and predictable plot that has you envying the Prime Minister’s daughter who remains passed out in the back seat of the car for the majority of its running time.

  • Saul Muerte

Control is available to available to watch on home entertainment from April 2024 thanks to Eagle Entertainment.

Movie review: The Advent Calendar

11 Saturday Dec 2021

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Who doesn’t love a bit of festive horror?

And there’s plenty to like about this French horror thriller from director Patrick Ridremont.

Eugenie Derouand stars as Eva, a paraplegic who receives a mysterious box in the guise of the titular advent calendar from her friend Sophie (Honorine Magnier). As expected with ominous gifts with offers of treats that stretch from confectionary to real life rewards, there will be repercussions.  The question though is whether the benefits outweigh these hindrances? How much is one willing to salvage for a better chance at life? For Eva, this temptation proves too great, but how far is she willing to go?

There are three rules to follow.

Eat all the chocolate… Or die.

Do every task given… Or die.

And don’t dump the advent calendar… Or…you guessed it. You die.

The premise is pretty straight up and the performances are solid across the board, allowing the viewer to step into the narrative easily. We’re even presented with a nicely stylised creature who lurks from within the box and comes out when rules are broken or when sacrifices need to be made. This helps ramp up the tension suitably, hooking you further into the drama. And sure enough when things go sour, it does so that stays firmly in believability. A tough thing to do when you’re playing in the realms of fantasy.

The prognosis:

A solid feature with some nice moments that entertains despite some predictable moments.

It helps that the performances from the leads are strong to fuel the the loss of control as the drama unfolds.

  • Saul Muerte

The Advent Calendar is currently streaming on ShudderANZ