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Movie review: Nightmares (1980)

17 Tuesday Aug 2021

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Nightmares is one of the pioneer movies from the Ozploitation scene, released in 1980 by director John D. Lamond who had set out to make the most gratuitous movie that he could.
The auteur of the genre would openly admit that it’s by far from being the perfect film and had room to be better.
Provided with the opportunity to make a low-budget, quick feature was in his grasp and the weaknesses are clearly on show here, but this is also part of its appeal.
A gritty, voyeuristic journey from the mind of a deeply psychologically scarred antagonist, a product of her environment, where it is little wonder that she would become unhinged. 

As a young girl, Cathy (Jenny Neumann) tries to prevent her mother from copulating in promiscuous behaviour with a strange man, but a car accident results in her mother’s fatality and her father is more intent on blaming her for the outcome than on the reasons behind his wife’s infidelity.

The story is possibly one of the weaker components without much drive for Cathy to enact her episodic killing sprees which centre on an acting troupe for a theatre production that she is one of the cast members of called Comedy of Blood. Among her fellow cast members is a certain Gary Sweet (Police Rescue) in his feature debut and possible love interest. It’s not all doom and gloom however as there are whispers of promise from screenwriter Colin Eggleston, who had notably directed another Australian classic two years earlier with Long Weekend.

The film trudges along to its own drum, and despite the misbeats, the kills are relentless and exposes humanity at its most vulnerable, and with the full frontal deaths doesn’t shy away from brutality.
It also throws in some interesting characters ripe for the kill into the mix, which you just hope will meet their due comeuppance, a hook that keeps you engaged to the end.

The Diagnosis:

The literal meaning of the words in this piece is unimportant… the beauty and the drama is contained within the drama and the opposite nature of the juxtaposition of the words . That and the comedy of death.

George D’alberg

The words of the theatre director in the movie sums Nightmares up nicely.

It’s the thin line between comedy and horror that blends in a gratuitous way, cementing the film firmly in the Ozploitation scene.

It’s either your thing or not, but for me, a solid night’s entertainment, especially if you take it for what it is, and not scrutinise too deeply.

Nightmares is currently available as a Blu-ray release as part of Umbrella Entertainment’s Ozploitation Classics collection.

  • Saul Muerte

Retrospective: Patrick (2013)

06 Friday Aug 2021

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While it’s clear that director Mark Hartley is a huge fan of the original 1978 feature of Patrick, and the Ozploitation scene, this is none more evident than in his fantastic documentary Not Quite Hollywood: The Wild, Untold Story of Ozploitation! It seems an obvious choice for someone so immersed in the subgenre should take the helm and wield a reimagining of the classic Aussie feature, what is absent however, is the essence of the original feature that made it so iconic.

That’s not to say that it’s poorly constructed, the film is crafted well enough and Hartley does well to tap into the world of psychokinesis, and draw it out for a modern-age audience. It boasts a decent cast in Sharni Vinson (You’re Next), Rachel Griffiths and Charles Dance. All of whom manage to craft out some nice performances from dialogue that feels a little strained at times.

For those unfamiliar with the narrative, Patrick tells the tale of Kathy (Vinson), a nurse who starts work at a psychiatric clinic where she meets the titular character, Patrick, a comatose patient who has the ability to move objects with the power of his mind. 

Patrick is also being systematically abused by Dr Roget (Dance) and the Matron (Griffiths) through a series of Electroconvulsive therapy. This is like kicking the hornet’s nest and stirring a world of hatred in Patrick, who also becomes dangerously obsessed with Kathy and begins to manipulate things and people who come close to her, so that he can have her for himself.

The Diagnosis:

The film is slick enough, perhaps too slick, not harbouring the grit of its predecessor, but the cast are engaging and tied to the script despite its flaws and bring life to the fore. 

Stand out for me will always be Vinson, who deserves more praise than she currently receives and Dance happily chews up the scenery and gives across condescending like no other performer that I know. For that it’s worth the watch.

Currently this feature serves as a double feature blu-ray alongside the original in a current release by Umbrella Entertainment.

  • Saul Muerte

Retrospective: Patrick (1978)

05 Thursday Aug 2021

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Patrick, which was released back in 1978 sits firmly in the centre of the Ozploitation scene, a genre of Australian exploitation films that are filled with a mix of low-budget horror, comedy, sexploitation and action that wears its heart  on its sleeve.

Directed by Richard Franklin under the penmanship of Everett De Roche (Long Weekend), Patrick could easily be dismissed as farcical but it’s precisely the absurd nature of the storyline that is its appeal.

The film opens with the titular Patrick (Robert Thompson – an actor who should be applauded for his ability to keep his eyes open for an elongated period of time) kills his parents in an oedipal act, throwing an electric heater into a bathtub. 

Somehow Patrick ends up in a coma, something that is never fully explained, but is arguably irrelevant when it comes to the telling of the tale and to get said subject into the setting of choice, the Roget Clinic in Melbourne with all the hallmarks of the Bates house in Psycho. This is of no surprise as Franklin is a self-confessed fan of Hitchcock and would go onto direct Roadgames for his follow up feature, a film heavily inspired by the premise of Rear Window.

Surgeons of Horror podcast: Roadgames (1981)

Franklin would even go to direct the sequel to Psycho in 1983.

We follow the film through eyes of nurse Kathie Jacquard (Susan Penhaligon) who is appointed at the hospital to look after Patrick and soon encounters that there more to her patient than meets the eye and that in spite of being physically bound to his bed, has learnt to explore other sensory means through the power of psychokinesis. Her infatuation with this discovery fuels Patrick’s own lustful desires towards Kathie and thus throws those nearest to her into his wrathful rage.

There are some notable support performances on show here that warrant recognition, namely the larger than life Robert Helpmann who plays Dr. Roget and hams up his role, injecting some much-needed melodrama into the mix and moulding the tone of the film despite Franklin’s efforts to tone it down. Equally Julia Blake’s  Matron character is suitably insipid, casting a wonderfully dark light across the spectrum of the hospital; and Rod Mullinar who plays Kathie’s wayward husband in contrast to Bruce Barry’s egocentric and potential love interest Dr. Brian.

Perhaps one of the greatest things about this movie is Franklin’s depiction of male empowerment at the heart of the film. With Kathie seemingly trying to break down this impregnable barrier in her life, from her adulterous husband, the cocksure Dr. Brian, to the deranged Dr. Roget..Even Patrick himself who is incompacitated throughout the bulk of the film is trying to exert his will over Kathie, who must ultimately rise above this all.

Upon its release in Australia, Patrick did not receive the praise that it deserves but instead saw greater success abroad, but controversially was heavily dubbed Stateside, in spite of Franklin deliberately casting English actors to gain greater appeal abroad. The irony being that this very move is partly what isolated its homegrown audience.

Since then however it has reached a cult following and even gained a fan from acclaimed American director Quentin Tarantino.

For me, I went in expecting a certain kind of film, which it is, but was happily rewarded by the sheer enjoyment and direction. 

It would go on to inspire a sequel in Italy called Patrick Still Lives and then more recently in 2013 a remake would transpire, the latter of which would star Charles Dance and Sharni Vinson (You’re Next) and serves as a double feature alongside the original in a current release by Umbrella Entertainment.

  • Saul Muerte

Retrospective: Slither (2006)

19 Saturday Jun 2021

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15 years ago, before he would helm the Guardians of the Galaxy movies, Director James Gunn would mark his directorial debut with Slither, a black comedy, sci-fi horror movie centred around a small town in South Carolina that comes under siege from an alien parasite.
It’s a visual spectacle peppered with some humorous dialogue, highlighting the slow paced energy of the townsfolk suddenly thrust into a frenzied assault on their humble town and investing their bodies.
Upon its release, Slither was considered a flop, as it never fell short of the budget used to make the film by a few million.
I remember being a little bewildered by this at the time of its release as I thoroughly enjoyed its energy and direction, coupled with its strong influences from both Carpenter and Cronenberg, directors with whom I greatly admire their work.

It also boasted cracking performances from Nathan Fillion (who had already made a name for himself in Firefly) as Police Chief Bill Pardy, Elizabeth Banks (Brightburn) as Starla Grant, our female heroine, and Michael Rooker as her overbearing and protective husband Grant, who also becomes the first infected by the parasite.

The effects on show are its main selling point who create the tentacled, worm-like creatures with an element of Lovecraftian, body morphia. The humour too is light and zestful, which suits Fillion’s on-screen persona and a testament to Gunn’s writing ability.

This June, Umbrella Entertainment have released a blu-ray edition of the film as part of their Beyond Genres series with some cracking extras including: 

  • Audio Commentary with James Gunn and Nathan Fillion 
  • The Slick Minds and Slimy Days of Slither: Making of featurette – 10 Mins 
  • Who Is Bill Pardy? – 5 Mins 
  • Slither Visual Effects Progressions – 5 Mins 
  • Bringing Slithers Creatures to Life: FX Featurette – 19 Mins 
  • Slithery Set Tour With Nathan Fillion – 5 Mins 
  • The Gorehound Grill: Brewin’ The Blood – 3 Mins 
  • The King of Cult: Lloyd Kaufman’s Video Diary – 9 Mins 
  • Deleted Scenes – 11 Mins 
  • Extended Scenes – 8 Mins 
  • Gag Reel – 8 Mins

All of which resurrect the fun element that was notably present behind the scenes and projected in all facets of what we see on-screen with the final product. This further cemented for me that Slither is a gem of a movie and the reason why it has garnered a cult following as a result.

If you haven’t caught this film, or was deterred by the low box office attendance at the time of its initial release, then I highly recommend that you check it out.

  • Saul Muerte

Movie review: Occupation: Rainfall

19 Saturday Jun 2021

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Spanning the last five years Director Luke Sparke has hit the ground running, producing, writing, and directing three feature length movies and showcasing that Australia can release high budget, slick looking films.

Whilst you can’t fault Sparke for pushing the visuals and action sequences to the limit, producing some fantastic, fast-paced, frenetic moments with an effective punch, he has come under fire for weak characters and convoluted plotlines that dampen the spectacle.

His latest venture, (an extension of his pet post-apocalyptic project Occupation series, and first sequel) Occupation: Rainfall, is unfortunately no different.

The story picks up following the band of Australian survivors after the alien invasion of Earth and throws the audience in the thick of a war, where the allies’ numbers are dwindling.

Dan Ewing returns once more as hard headed Matt Simmons, who effectively brings the braun to the piece whilst struggling to collaborate with alien accomplice Gary (Lawrence Makoare) and find a common ground to work on so that they can rise above their obvious differences to defend the alliance. In many ways Sparke is drawing from the buddy cop movies that many action films have drawn from as their central character journey. Some of the shared moments work really well in this instance and are engaging, but too often they are quashed by the need to drive more action into your face rather than pause for breath and build on character. This does however highlight an absence of originality when it comes to story development. 

Through the cloud of combat and explosions there are moments where the supporting cast prove their worth and lift the script above its potential, hiding the notable flaws. Chief among them is Temeura Morrision returning as Peter Bartlett, Daniel Gillies as Wing Commander Hayes who tries to do everything according to the book in order to ensure human survival, and Jet Tranter taking over the role of Amelia Chambers from Stephanie Chambers to provide the heart of the film.

The Diagnosis:

Yes, Director Luke Sparke more than proves his worth of high-budget, slick looking action movies in a system that falls outside of Hollywood here in Australia.

It’s just a shame that three movies into his credits, Sparke hasn’t managed to get a grasp on his writing. I can see why he is hanging onto his vision through the Occupation series, and he certainly is a visual director, but too often the action sequences smother the characters and plot, which feel secondary as a result.
If more time were spent on developing some engaging and believable characters along with solidifying the narrative, Sparke would be a force to reckon with in the film industry.
As it stands though there is some work to be done to finesse what is obviously a creative mind, to harness this vision and strengthen what promises to be a further instalment in this franchise.

  • 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: Awoken (2020)

22 Monday Feb 2021

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I gotta say that I was pleasantly surprised by Awoken. I had prejudiced this Horror, Mystery, Thriller on face value because of its quiet film release here in Australia where it premiered at the Adelaide Film Festival and has been subjected to the Straight to Home Entertainment release.

This is an unfair judgement on my behalf though, as Awoken is one of those admittedly middle-of-the-road movies, but it does just enough to keep you hooked and entertained to its conclusion, which is a testament to Director Daniel J. Phillips and his writing partner Alan Grace.

Phillips chooses to keep his setting simple, predominately in one location and in doing so, can heighten the tension surrounding his key players, whilst keeping the budget low.

HIs storytelling is also strong, flicking from past and present with the use of old medical tapes that the research team slowly trickle through to gain an understanding of what they are up against.

And the choice of subject matter in Fatal Familial Insomnia is also one that sparks the imagination of terror in us all as this disorder affects the thalamus, part of the brain structure that controls our emotional expression and can lead to lack of sleep and dementia. 

With a select group of subjects, a small medical team, led by leading doctor, Robert (Erik Thomsen), go all flatliners and try to do some underground research in literally an underground laboratory in the hopes of finding a cure or a breakthrough to help those suffering from this condition. Robert has had previous experience in conducting similar experiments and serves as  the chief advisor and patriarchal figure of the group.

Our lead protagonist, Karla (Sara West – Ash Vs Evil Dead) is one of these medical students, who’s brother Blake (Benson Jack Anthony – Cleverman) suffers from the genetic insomnia condition and is subjected to this observation trial. The clue here is in the genetics component as it its revealed that their mother also had the same condition and was subjected to similar medical trials.

It is through their studies though that things begin to escalate. Cut off from the world above and incredibly sleep deprived, both patients and medics alike begin to hallucinate.

Is this the instabilities of the mind though? Or is there demonic possession at play?

The Prognosis:

Awoken doesn’t break new ground in the realms of science vs religion and suspected demonic possession, but what it does do well is construct a tight knit, well crafted storyline that drip feeds the tension whilst building up the paranoia and uncertainty of reality.

Some of the effects are a bit tried and tested, falling into the fairly predictable terrain, but Director Daniel J. Phillips has carefully positioned the audience into a false sense of security and then dialling up the entertainment level, whilst spinning a strong thriller that poses all the right questions towards a highly amped ending.

Surprisingly good and well worth checking out.

  • Saul Muerte

Movie Review: The Dustwalker (2020)

18 Thursday Feb 2021

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Having lived on this Great Southern Land for the past 16 years now, a land that I love to call home, I feel an enormous sense of pride when this country produces some of the stellar horror films that Australians can lay claim to. From The Babadook, The Loved Ones, Razorback, Killing Ground, Lake Mungo, Relic, Cargo, Wyrmwood: Road of the Dead, Wolf Creek, and Patrick to highlight just some of the great films produced in the genre over the years.

So when I hear of a new Aussie horror film in the works, I sense that tingling of excitement that brims to the surface and the majority of the time, that feeling is met with satisfaction. More recently The Furies was a gloriously produced hell fire film and proved to have that wicked sense of humour that Australians relish and inject into their films to give them some sense of character.

I say all this to give you, the reader, a sense of my mindset when I approach these films.

So when I heard about The Dustwalker, set in a small isolated town in Australia. Nice.

Infected by an insidious bug. Double nice.

That turns the local residents into killing machines. And there’s the trifecta.

I was triply keen to see how this film would pay out.

Now the cast are no strangers to quality drama. Jolene Anderson (Harrow) plays the town sheriff, Richard Davies (Offspring) plays her deputy, and Cassandra Magrath (Wolf Creek).

So it’s not necessarily the players that are at fault here.

The director, Sandra Sciberras is also into her fourth feature behind the camera and armed with a bucket load of producer credits to her name is no stranger to the industry.

The film never really manages to lift itself off the ground though.

It had plenty of promise as a meteor crash lands and we get our first victim, who comes across the object and is immediately infected. 

As the locals slowly become infected, our leads try to figure out what is going on, but the issue arises in the weakness of the writing.

The script offers nothing for the actors to work with, reduced to simple dialogue and when charged with an action sequence, only have it fizzle out into nothing.

I really wish the film was packed with vigour to keep the pace high and the entertainment levels projected up alongside what we are so used to with the calibre of talent that Australians have on show, but the ending says it all as we’re left scratching our head and wondering what it was all in aid of.

It’s hard to tell if Scribberas was trying to pay homage to sci-fi thrillers of yester-year, such as The Body Snatchers, or Tremors to a degree, but she unfortunately misses the mark on so many counts and the audience is left stranded with little or no connection to the movie.

The Prognosis:

It’s a bitter pill to swallow this one.

Lots of promise, but ultimately there’s no sizzle or bite for any appeal to originate from.

A bland story that could have been so much more.

  • Saul Muerte

Movie review: Becky

09 Wednesday Sep 2020

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For some, this movie will be hard to get past the casting of Kevin James as its lead villain, a man synonymous with lukewarm comedy, but given that fellow comedian, Simon Pegg had been initially touted the role for, one can start to see that the filmmakers never intended this film to be an out and out horror/thriller and would have their tongues firmly planted in the black comedy buccal. The fact that Community’s Joel McHale is also attached to the film only supports this notion further.

There are the subtle comparisons to Wes Craven’s Last House On The Left with its home invasion at the hands of some escaped convicts, but perhaps the better differentiation is that of Home Alone with the DIY skills wretched up to some gloriously gory and macabre moments.

The premise of the film rests solely on the darkly disturbing Becky, a character that relies on the strength of the performance from Lulu Wilson (Ouija: Origin of Evil, Annabelle: Creation, House On Haunted Hill), who’s calibre of movies alone should tell you that she’s no stranger to mayhem and dread. Wilson owns this film and appears to relish her turn as bratty, teenager with a broken heart, and flipping to ‘seriously don’t fuck with me’ menace. I’ll admit that I had my reservations, especially for a time when the film appeared balanced on her grief and pain from the loss of her mother. So easily it could have walked the path of predictability, but the killer switch comes from that ‘eye for an eye’ moment in the film when everything turns on its head and you believe her inner rage and turmoil as it is ejected to the surface. 

From there on in, you’re along for the ride and just want her anarchy to reign supreme.

The premise of the film has Becky going away with her estranged Dad (McHale) to her old family lake house retreat, only to be welcomed by her Dad’s fiance, Kayla (Amanda Brugel – Jason X) and her son, Ty. Let’s just say that Becky isn’t a fan of the suggested idea of a blended family, but that’s the least of her troubles when escaped prisoner and Neo-Nazi (as if to make James’ role more intimidating), Dominick and his crew come knocking for some hidden trophy.
There are some great moments towards the beginning of the movie where the captured images portray Lulu’s life in juxtaposition to the life of an inmate, suggesting her imprisonment from the world around her. It is this wall that she has placed around her to protect her or isolate her from everything that will be torn down, bit only in the wake of some devastating ordeal.

It’s the anarchic moments that truly lift this film from revenge flick doldrums however, as directors Jonathan Milott and Cary Murnion amp up the special effects and bring home the gore, and with it unleashing Becky’s zealot for death and destruction, serving as an outlet for her inner rage. Peppered with Nima Fakhrara’s kicking score, these moments are a mix of camp and gross out horror, the pick of the bunch going to a certain outboard motor. 

The Prognosis:

Don’t necessarily judge the book from its cover.

Becky may appear to be your usual revenge home invasion flick but its pulse is beating pure mayhem and delight that will suit fans of gore.

Kevin James may not fit the bill as the film’s villain, but this is Lulu Wilson’s movie and she owns her titular role as the teenager on the brink of rage and turmoil.
When she is unleashed, there is no holding back.

  • Saul Muerte

Movie review: Lords of Chaos

22 Monday Jun 2020

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Swedish director Jonas Åkerlund has been slowly carving up a career looking at suitably unhinged characters and the psyche of the human mind throughout the few feature films he has heralded so far.
These in turn were built on the shoulders of numerous music videos, working with talents such as Prodigy, Metallica, Madonna, and Rammstein, so it was of little surprise that in 2018 he would turn his attention to some music roots closer to home albeit with his neighbouring country, Norway and the birth of the black metal scene that surfaced in the early 90s.
Metal has always been synonymous with horror films, so it seems fitting to have a film that circulates these two themes as the cornerstone of its narrative. 

From the get go Åkerlund throws in the caveat that the story is about truth and lies, allowing him as the creative to have free license around the events that unfolded between Euronymous, Varg and the Black Circle.
As he weaves in the real-life characters who strive for infamy whether that is through music or political empowerment, inner turmoil surmounts to a place that can only result in destruction.
The question remains for those not familiar with the history, is whose destruction will it ultimately be and at what cost?

Watching Rory Culkin’s performance as the narrator and mastermind behind Mayhem, Euronymous, I’m once again reminded of the strength of his performance as an actor as he sways from likeable, annoying, disturbing, and back to likeable again with chameleon-like ability on-screen.
In many ways, Culkin is the centrepin of the film, resting on the need for the audience to engage with his actions, whether it is with disgust or delight as he attempts to carve out a trajectory that will transport him into fame and beyond. 

The true horror of the piece lies within the extent to which all the characters will go to in order to not only outperform but shock each other for the cause.
The further they descend into hell, the murkier the original cause becomes and no matter how much Euronymous tries to salvage the situation and maintain control, anarchy has already been unleashed and too many fractured actions will inevitably splinter the group.
The focus primarily being between newcomer Varg and his ambitions to direct Norway away from christianity and toward Odinism. 

The delivery of the film is also nicely off cantor, so that feeling of unpolished actions resonate strongly, especially as the characters are always on the brink of implosion, which invariably brings about panic or stupidity and Åkerlund never shies away from exposing those moments of mindlessness.

The Prognosis

There are moments of pure joy, anarchy and Mayhem throughout the film that highlights the plight and peril of a deliberately disorganised association’s attempt to resurrect a new medium into the world, only to stare at the horror and destruction that unfolds around them in the process.
The damned will be doomed.

There is no salvation.

Just the remnants of what once stood before them.

Burn the walls down and cut away at life’s obstacles and you fear exposing the frailty of humanity beneath it all. 

Director Jonas Åkerlund manages to do this while providing an engaging storyline, supported by some great performances, grounded in the reality of the environment and all the more harrowing that it is based in truth… and lies of course.

  • Saul Muerte

Lords of Chaos is available to view via Video On Demand
or buy from Umbrella Entertainment.