A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence.
Mother! is a movie that will cause you to think. This is not a common narrative and it isn’t exactly spoon fed to the audience, it is an unrelenting nightmare that is rather dazzling with a lot to say. Written and Directed by Darren Aronofsky, Mother! has split the audience. It seems the film is either loved or truly hated and it’s easy to understand both sides. Me, I was mesmerized by it!
I went into Mother! knowing little to nothing about the film and for that I am so grateful, as the story is a tricky one to digest at first, but once you understand what is happening everything will suddenly crash into place. I say crash, because as the film moves forward things quickly become increasingly maniacal before becoming an onslaught on all your senses.
Jennifer Lawrence and Javier Bardem are both exceptional, but Lawrence is the star. Her emotional and vulnerable performance is tragic as we see her pushed further and further into madness. The camera never strays too far away from a close up of Lawrence, we are always pushed in tight to her face or floating behind her shoulder. At times it can feel suffocating and you’re just screaming for a wide angle!
Creatively the story is highly metaphorical, but to discuss the underlying themes would be to ruin the experience. From a technical standpoint the film is a marvel, the camerawork is used to instil claustrophobia and dread and this is well-defined in its final act of madness! Don’t underestimate me when I say it is bat shit insanity wall to wall chaos!
7.0 / 10
“You give, and you give, and you give. It’s just never enough”
Let’s all just agree clowns will forever be scary as shit…
A group of bullied kids band together when a shape shifting demon, taking the appearance of a clown, begins hunting children in their small town of Derry, Maine.
The Gods have heard our prays and delivered a GOOD Stephen King adaptation! After many years of waiting, going through directors changing, actors changing, IT has finally hit the big screen and I could not get enough of this movie, in the span of three days I’ve already seen it twice!
It is fucking crazy that this is Andy Muschietti’s second feature film, the first being the unfairly underappreciated Mama (2013), and now he has delivered a knockout! With a mixture of The Goonies meets Stand By Me, Muschietti brings a coming of age story with visual flair and a perfect blend of humour and horror.
Switching it up from the 1990 miniseries, Muschietti wisely decides to stick with the children’s portion of the story (easily the more favourable side) and the casting is so on point! There are no weak characters and the characterization of the kids is so good, their banter and chemistry felt nothing but organic. These loveable Losers are foul mouthed and funny. I was genuinely surprised by how much this movie made me laugh ala ROCK WAR!
Now to the man of the hour, Mr Pennywise the Dancing Clown played by the rather unknown member of the Skarsgard family; Bill Skarsgard… and boy he is fucking phenomenal! Whereas the 1990 Tim Curry version of Pennywise was played more for laughs, Muschietti’s Pennywise is a twisted version of a circus clown possessed. Skarsgard leaves a helluva impression, the subtle touches he goes with makes it all the more terrifying; the drool, the screwy eye, the rabbit-toothed smile… There were moments of pure terror and his actions felt so unpredictable. Skarsgard’s Pennywise can happily be added to the list of iconic horror villains.
Even with a lengthy running time of 135 minutes, the film never feels like it has over stayed its welcome and there is never a dull moment. Pennywise is cleverly sparsely seen, making it all the more powerful for when he does pop (pop! pop, pop, pop!) up. The locations and set pieces too are amazing and are characters themselves. The Neibolt House (a personal favourite) offers inventive scares in the twisted maze like haunted house style.
Whilst being terrifying, the films also holds some tender moments. Pennywise brings the scares, but the kids bring the heart. At its core the story touches on some quite dark themes; murder, death, grief, bullying, rape, abuse and all that bundled in together can hit you right in the feels.
It brings you scare after scare and Muschietti so kindly doesn’t resort to using jump scares as a tactic. I say it’s scary, but it is scary in a way that a rollercoaster is scary because all throughout the film I was smiling like a mad woman.
The most exciting aspect of It, is the fact that a big studio has spent a lot of money on a horror. In saying that, I don’t think all horrors need massive budgets but it is refreshing to see a horror do so well in mainstream cinema. It’s time to kill the superhero blockbusters and bring in something a little darker.
Muschietti’s It is an absolute classic, the film itself is a gorgeous piece of cinematography and there is the added bonus that all the children actors can act so well. Alas, the film is not perfect with some patchy CGI taking centre stage… I’m looking at you twisted face flute lady, but the film perfectly captures adolescence and overcoming your fears. Bring on Chapter Two!
A bridegroom is possessed by an unquiet spirit in the midst of his own wedding celebration.
It feels unfortunate to start a review for a film I adored, to read the news that the director, Marcin Wrona, sadly committed suicide whilst this film was no doubt shining brightly in the film festival circuit. What Wrona has done with Demon is not only create a dramatic twist on the possession subgenre, but have it laced with Polish history and political messages, all the while looking absolutely beautiful.
Demon is 2015 Polish film that is enticing from start to finish. All through out the film there is a sense of unease and everything just feels a little off… Its earthy sepia tones are hypnotic, the wedding itself holds a soft elegant touch of lighting, which contrasts nicely with the dark grittiness of the storm that carries on just outside the doors. The cinematography here is one of the nicest I have seen, it builds such atmosphere that the film begins to sink in your skin.
There are sparks of dark humour that effortlessly blend into the macabre events of the evening and leading man Itay Tiran (Piotr) delivers one of the finest performances I’ve seen in a horror. Tiran undergoes an incredible and physical transformation over the film, that at time feels gut wrenching to watch, but it is played well against the humorous in-laws who are working over time to keep party guests convinced that everything is fine.
Demon is both gripping and sad. Whilst wrestling with cultural conflict Wrona brings an atmospheric ghost story that holds one of the best physical performances in the genre. A somewhat ambiguous ending results in a rather anticlimactic ending, but regardless this is a film that is going to sit underneath your skin for days.
8.5 / 10
“Is it possible… a spirit of a dead person… can appear before us?”
When will teenagers learn… camping in the woods is never a good idea…
Every camper’s worst nightmare came true at Lake Bodom in 1960 when four teenagers were stabbed to death while sleeping in their tent.
Taking a real life homicide case as inspiration for a slasher flick is a risky and somewhat insensitive step to take. But, what Taneli Mustonen has done here has created a sinister campfire tale with more twists and turn than anything else and before not you quickly forget that a group of people really did get murdered at Lake Bodom.
Lake Bodom is a 2016 Finnish film that starts out as a typical slasher but quickly unfolds into something more complex. What exactly is it about teenagers heading out into the woods that makes us drop everything to indulge in what no doubt will be a blend of adolescent crimes, passions and rites? Well, this film has it all; blood, murder, mystery, lies, drugs, alcohol, naked swimming and even a little lesbian romance.
Lake Bodom is energetic in its story telling, but unfortunately the narrative felt a little underdeveloped, as if this was only a first draft and not final. The opening direction of the story I felt was dropped far too quickly, that being Ida (Nelly Hirst-Gee) and Nora (Mimosa Willamo) are two lovely ladies sneaking out into the woods with two fellow male classmates who plan to use the girls to recreate the decades old murder. Sounds interesting, right? I thought so too, but the moment the first murder comes along this storyline is dropped! What follows next, are plot twists that seem a little easy to predict, a quite large expository flashback sequence that some could call lazy writing and an unfortunate anti climatic final scene.
Regardless, Lake Bodom is a fun, gloriously bloody slasher that is shot beautifully and contains one helluva car chase (?) scene that will keep your eyes glued to the screen.
6.5 / 10
“The killer is still on the loose isn’t that reason enough?”
A secret agent exacts revenge on a serial killer through a series of captures and releases.
Kim Jee-woon, from A Tale of Two Sisters fame, delivers what can easily be stated as a modern masterpiece, with his 2010 film I Saw The Devil. This twisted game of cat and mouse is highly stylized with gritty violence that doesn’t shy away from showing you all the details. It’s bloody. Oh yes! It’s bloody and its bloody brilliant.
I Saw The Devil is not going to be for everyone. Not only is it shockingly violent, but it delves into the taboo of casual cannibalism, sexual sadism, paedophilia and torture. The film is relentless from start to finish and for its entire running length of 2 hours and 21 minutes that film doesn’t let up. But, it’s hard to hate a film that looks the way this one looks.
From its opening scene the film is staged beautifully, the camera glides effortlessly over intense action sequences and it is lusciously shot in shades of black, green and blood red. The hand to hand combat choreography is quick and cut throat. Two specific action sequences stand out as being the most memorable in any revenge film I’ve seen. A fight in a green house stands amongst one of the most intense introductions to two characters, quickly followed by a dizzying yet phenomenal out of control taxi sequence that feels never ending as the camera violently spins around the inside of a taxi for an insane murderous sequence.
It’s not just a film about violence, but it’s about the selfishness of violence, revenge and grief which at times is emotionally gut wrenching. Both Lee Byun-hun and Choi Min-sok (title charcter from Park Chan-wook’s Old Boy) bring solid performances both emotionally and physically. Choi is downright terrifying as the leading antagonist and Lee is emotionally obsessive that leaves you grasping for closure.
I Saw The Devil is yet again another Korean film that doesn’t disappoint, it’s tense, dark and demented and at times disturbingly hilarious. The gore level is off the chain, but it never feels ultra violent. Captivating with each and ever frame, I Saw The Devil is an experience that’s all else I will say.
9.0 / 10
“I don’t know what pain is. Fear? Don’t know that either. There’s nothing you can get from me”
I wonder how many people wish they had their own Death Note after seeing this…
Light Turner, a bright student, stumbles across a mystical notebook that has the power to kill any person whose name he writes in it.
Adam Wingard is back and he’s back at taking another stab at a studio remake. It’s a ballsy move to remake/reboot something that is already much loved. Last year he broke my heart rebooting my all time favourite film The Blair Witch Project which I now no longer can just shorten to say Blair Witch… ugh
Death Note; originally a Japanese magna series from 2003, with major success spawned into an Anime series, several live action films, video games, endless merchandise and now a USA based adaptation for Netflix.
Undoubtedly a cult classic, one that is praised for its exploration into death, murder and power. But, Netflix weirdly has decided to take a different route and not delve into these darker themes, rather montage and breeze through the most interesting aspects and focus more on a forced romantic angle that lacks any real chemistry between Light (Nat Wolff) and Mia (Margaret Qualley).
The characterization is shoddy at best. Leading man Light (Wolff) is a whiny teenager, Mia (Qualley) is underdeveloped and L (Lakeith Stanfield) is a wasted opportunity, his character’s antics felt far too exaggerated. Each character lacks a clear motivation and is hardly likeable, that is except for Ryuk (voiced perfectly by Willem Dafoe) but unfortunately his character only fades in and out of the film, a regrettable action missed as this is a character that could have been far more utilized.
Death Note is another unfortunate misstep for a director I still hold hope for. The kills don’t shy away from spraying blood and brain, they are fun inventive acts and resonant with the guilty pleasure film franchise Final Destination. Wingard’s style can be fleetingly seen, visually the film is very pleasing, at times we are thrown into shades of neon enchantment and the soundtrack has a synth-y 80s vibe, reminiscent of the directors earlier brilliance of The Guest (2014).
With a tighter script and less teenage melodrama Death Note could have been a success. But the uneven tone and building moments of convenience leave this film feeling a little undesirable. I say bring back the Adam Wingard from over stylized memorable thrillers like You’re Next and The Guest and let’s all take a moment to pray that the rumours aren’t true that his next step is remaking I Saw The Devil. LEAVE IT ALONE!
5.0 / 10
“Every human spends the last moments of his life in the shadow of a death god”
Don’t you dare mistake the name for the 2014 mini-series…
A young couple move into an apartment, only to be surrounded by peculiar neighbours and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.
Rosemary’s Baby is undoubtedly a cult classic of the horror genre. Adapted from Ira Levin’s best selling novel of the same name, Roman Polanski’s 1968 diabolical chiller plays on the vulnerabilities of a young frail woman and the possibility of strange occurrences surrounding her. It’s a frightening tale of Satanism, witches and pregnancy that all lead to a slow trip through paranoia anguish.
Polanski effectively builds an eerie frightening world. The pacing is enticing from the opening scene and its a slow burn throughout with sophisticated and bold intensity. Mia Farrow is perfect as the increasingly frantic title character, Rosemary Woodhouse, her performance is both convincing and committed. Ruth Gordon too is hilariously fantastic in the role of Minnie Castevet.
Rosemary’s Baby successfully blends the moods from a constant state of suffocation to moments of morbid humour. Farrow is enchanting and Polanski’s direction is brilliant. It’s one of the all time slow burners, with its escalating dread that leads to a bewitching finale.
You know… All this hassle could have been avoided with a fence
Behind a young family’s home in Maine is a terrible secret that holds the power of life and death. When tragedy strikes, the threat of that power soon becomes undeniable.
Adapted from the novel of the same name from horror maestro Stephen King, Mary Lambert’s 1989 film adaptation is a ghastly tale of supernatural rebirth that hammers in on tragic themes but can’t escape from being a little on the silly side.
King unfortunately doesn’t seem to have a tonne of success with his novel to film adaptations. Of all the attempts only a handful stand out as tremendous successes; Carrie, The Shining, Misery. Regrettably, Pet Sematary fails to make the list of honours.
There is terror here no doubt about it and the dark themes of death and grief bring a tragic atmosphere of despair, but Lambert fails to build an enticing pace and plays heavily in the corny realm of comedy at times. Kudos to her though, she would take another stab at the sequel in 1992.
If the sharks don’t get ya, the dreaded bends will!
Two sisters vacationing in Mexico are trapped in a shark cage at the bottom of the ocean. With less than an hour of oxygen left and great white sharks circling nearby, they must fight to survive.
Originally intended for a VOD release last year, 47 Meters Down was saved by the overwhelming success of shock hit The Shallows and was pulled back a week before its release and slated for a theatrical run instead. Yes, it certainly has the qualities of a B-Grade movie, but truthfully I am glad I got to see this on the big screen.
Johannes Roberts, who is following up from the underwhelming supernatural thriller ‘The Other Side of the Door’ delivers a low budget but highly effective shark survival thriller.
Shark films have always been a guilty pleasure of mine (and probably always will be), but only recently has my opinion swayed on what these fun films instigate… which is nothing but a negative impact on the reputation of sharks and further culling on these beautiful creatures. Soooo, putting aside my feelings (sue me!), this surprisingly has got to be one of the better sharks films out there. It is pure popcorn pleasure!
Although thoroughly enjoyable, the film is chock-a-block full of flaws! We are painfully introduced to Lisa (Mandy Moore) where we very quickly find out that she has been dumped by her ex… wait for it… for being boring. Henceforward, the shark diving experience is nothing but a ‘cool’ photo opportunity to impress the ex. COME ON!
The characterization is far from strong. Both Moore and Claire Holt are gorgeous and do what they can with the script, but Moore’s character is extremely unlikable, and Holt is nothing but a one dimensional party girl. The dialogue is clunky, and oh lordy is it heavy with exposition… I am now well versed in what ‘the bends’ are…
What Roberts does succeed in, is the terrific job of utilizing that gut wrenching fear of dark open water. The surrounding environment is portrayed in a tremendously spooky fashion. There a few nail biting point of view moments where we as an audience see nothing but a few meters of murky pitch black water, anxiously waiting for something to surface from the depths.
Although the characters are ugly and the dialogue quickly becomes eye rolling, 47 Meters Down is a tight 89-minute thriller. It is trashy, but deliciously dumb and if it wasn’t, I don’t think this movie would have been as amusing. The underwater scenes are shot extremely well and for a low budget film the CGI sharks are impressive creatures. 47 Meters Down is worth the gamble and worth the extra wait, one particular jump scare works a beauty on the big screen. All that needed to happen was for Roberts to end the film just thirty seconds sooner!
6.0 / 10
“It’s like you’re going to the zoo – except you’re in the cage”
What’s the bet the Scarecrow is next in line for its own spin off?
Several years after the tragic death of their little girl, a doll maker and his wife welcome a nun and several girls from a shuttered orphanage into their home, soon becoming the target of the doll maker’s possessed creation, Annabelle.
Let’s be real for a moment. We all thought Annabelle: Creation was a prequel nobody was asking for, for a spin off no one was really interested in. We all tried to quickly forget about the disastrous 2014 Annabelle, but how could we forget when the film kept ranking in those dollars and it was quickly announced there would be sequel… As a world we collectively groaned. But, a sequel it was not, no, we were gifted with a prequel to a prequel… and my lord… it is actually good!
David F. Sandberg follows up from his 2016 chilling debut Lights Out by taking the reigns and breathing new life into the Conjuring universe with Annabelle: Creation. By no means, does Creation break any new ground, but it is a surprisingly engaging spook-fest that features some genuinely terrifying imagery, clearly influenced from Sandberg’s short film ‘Attic Panic’.
Sandberg clearly has style and is well versed in the land of chills and thrills. Creation indulges in your normal horror tropes but Sandberg is clever never to repeat the scare twice.
The film does have its flaws though. The final act tends to drag, but it also gives us a fantastic barn sequence that is utterly terrifying! Where I forgot just how fucking scary scarecrows can be! Pegging itself as a creation story though is a bit of a stretch. As the actual creation story is told quite quickly in a heavy flashback sequence, which leaves the mythology of Annabelle a little muddled and unclear.
Annabelle: Creation is pleasant treat, it falters here and there with cliché horror territory but Sandberg’s style is highly present and alluring. The film is littered with easter eggs and a cute nod to the ‘real’ story of Annabelle. Overall, it’s a welcome addition to a franchise that hopefully continues to grow in strength, style and originality.
The Final Scene 