Freaky

 "Freaky" (2020, Christopher Landon, Blumhouse Productions, Divide/Conquer, Universal Pictures) is a horror comedy.

Millie Kessler (Kathryn Newton) is a typical movie high school teenaged girl... she's also the school team's mascot. After getting within stabbing distance of murderer and local urban legend, The Blissfield Butcher (Vince Vaughn), she wakes to discover that she has traded bodies with the madman and is now faced with navigating life as a middle aged, wanted man while said man's consciousness is cavorting around town in her body! 

A hilarious and well-crafted horror comedy from Landon, who also brought us the amazing "Happy Death Day" franchise. The film takes the well-known concept of "Freaky Friday" and adapts it for a slasher film experience with such wonderful ease and tongue-in-cheek hilarity. 

Vince Vaughn excels as Millie, bringing humour and heart in equal measure and then is equally terrifying as The Butcher. Similarly, Kathryn Newton, gives an excellently disturbing performance as The Butcher, countered by her time on screen as Millie.

A fun premise that delivers exactly what you want from it and in a way that is completely rewatchable. I love a good horror comedy and this is a good horror comedy.

[Image: Universal Pictures]

Hani

The Changeling

 "The Changeling" (1980, Peter Medak, Chessman Park Productions, Pan-Canadian Film Distributors).

John Russell (George C. Scott) is a composer who moves to a large rented mansion from the city after the tragic death of his wife and young daughter in a road accident. After experiencing some supernatural phenomena in the house, John begins to hope that he may have found a way to communicate with his daughter's spirit. However, the house has a dark past and John's digging instead leads him to uncover the truth behind a prominent family's history. 

A haunted house classic. The film delivers an unsettling atmosphere and a beautiful, haunting setting. The child ghost's voice still gives me the shivers and the scenes with the ball rolling around are eerie. Not a slow film, we are treated to a possessed wheelchair chase scene down a large, ornate staircase and some disturbing scenes of the murder taking place in the house as well as an eventful and satisfying finale.

George C. Scott gives a fantastic and sympathetic performance as our protagonist, John Russell. He is grief-stricken and lonely. We see him break down and we see him working to get himself back together. It's such an honest and heartfelt portrayal of a bereaved husband and father that doesn't shy away from emotion but still maintains the determined and capable characterisation of the time. John is sad and determined to sort out this haunted house business. Even if he looks completely unhinged doing it. 

Supposedly based on actual events, the unravelling of the mystery is punctuated by the reaction of the spirit in the house who is tragic but also still a petulant and demanding child. John is manipulated by the spirit, but later takes the spirit's plight on-board as his own way of dealing with his own loss. 

A genuinely beautiful and entertaining haunted house film that should be a must-see for any horror fan. 

[Image: Pan-Canadian Film Distributors, et al]

Hani

The Night House

 "The Night House" (2020, David Bruckner, Phantom Four Films, Anton, TSG Entertainment, Searchlight Pictures) is a haunted house film centred around grief.

Beth (Rebecca Hall) returns home after the funeral of her husband, Owen (Evan Jonigkeit), to the beautiful lakeside house he designed and built for them. She attempts to go about her normal life as much as possible, but at night she is haunted by increasingly disturbing and realistic dreams. She finds herself waking up in different places around the house and, against the warnings of her concerned friend, Claire (Sarah Goldberg) and neighbour, Mel (Vondie Curtis Hall), she starts to dig into Owen's secrets uncovering some things about her husband and their home that she did not know. 

A truly beautifully shot film which is slow burning and laced with intrigue. I found myself rapt for 107 minutes and even jumped at one or two places (which is not something I find myself doing often). The story straddles the daily horrors of dealing with grief with the haunted house elements very well, creating a balance rather than feeling like two different themes. The grief of Beth's loss and her building feelings of betrayal intertwine with her unravelling of Owen's life and the dreams that Beth is experiencing.

Rebecca Hall gives a wonderful performance as our protagonist, Beth. She is sad and forlorn, but she is also angry and driven to uncover the meaning behind Owen's sad fate. We feel sympathy for her, but we also appreciate that she is lashing out at those with her best interests at heart. She has such a wonderful range of emotions in every scene. We really share her emotional journey. 

The effects and styling of the haunting are captivating and creative. The use of negative space, shadows and the feeling of something being there that cannot be seen keep you watching the background of every scene for signs of 'life'. The house feels both extremely open and extremely claustrophobic. And, as we build to the climax, the presence becomes more and more threatening.

There are a few clues dropped quite early in the film that may give the game away for some of us seasoned horror viewers, but it didn't ruin my enjoyment of the journey. And I feel like the film does a good job of explaining just enough to come to a satisfying conclusion without getting too bogged down in explaining its lore and rules. 

The film has an interesting take on what happens after death which does not fully conform to the usual Christian religious leanings and I personally found this thought-provoking and unique in a genre so often tied to Christian beliefs.

Certainly a film I'm glad I watched in a cinema, but one I would also like to experience again in my own home. Although, it might make me look twice at some of our corners and furniture...

[Image: Phantom Four Films, et al]

Hani

Adverse

 "Adverse" (2020, Brian Metcalf, Black Jellybeans Productions, Potato Eater Productions, Red Compass Media, Lionsgate).

Ethan (Thomas Nicholas) is trying to make up for a shady past. He is the sole guardian of his little sister, Mia (Kelly Arjen), and is barely making ends meet with a job as a ride share driver. His life is about to turn upside down, however, when it transpires that Mia has gotten herself into debt with some dangerous people. Taking the job as the driver for chief gangster, Kaden (Mickey Rourke), Ethan infiltrates the crime syndicate in an attempt to exact some revenge.

A dark tale with no true winners. The film starts off as a gritty neo noir thriller before ramping up into a more action driven piece. We follow Ethan as he reluctantly invades the criminals' operation, driving not only Kaden around, but also his associate Jake (Matt Ryan), who is suspicious of Ethan and has an unpredictable temper. Ethan also has to win over the other gang members in order to work his way up to Kaden; swallowing his pride to get close to them. 

The film takes its time to introduce Ethan, Mia and their world before ramping up in pacing. We meet Ethan's parole officer, Dr. Cruz (Lou Diamond Phillips) and his overbearing ride share boss (Sean Astin) and are introduced to his lonely, chain-smoking neighbour. Metcalf himself appears as the desperate nightclub owner and drug dealer who sets the whole sorry tale into motion. 

As Ethan's world begins to collapse, he attempts to take back control. The film boasts some impressively violent scenes and a fantastic 'first shooter' (or should I say, 'first tyre iron') style scene in a warehouse that demonstrates that Ethan has been pushed over a line he will not be able to come back from. 

Despite the short time we spend with the characters, the cast bring a depth to them. Mickey Rourke delivers an excellent performance as the ailing crime boss, Kaden, who is both disgusted at but resigned to continue his crime legacy. The film also lets Thomas Nicholas pull away from the more comedic roles he's known for to deliver the sympathetic, but gritty performance as lead man, Ethan. Kelly Arjen brings out the vulnerability in the feisty, headstrong Mia. And Matt Ryan's Jake is a quick tempered sadist who takes pleasure in violence, but also has a separate, softer façade for the outside world.

Available now on several VOD services in the US and also available to purchase on Region 1 DVD. The film is also playing the Ramsgate International Film Festival in the UK on 3rd June 2021. Hopefully, it will roll out onto other platforms globally in the not too distant future.

[Image: Lionsgate, et al]

Hani

The Stylist

"The Stylist" (2020, Jill Sixx Gevargizian, Sixx Tape Productions).

Claire (Najarra Townsend) is a lonely, awkward woman and a hair dresser. She wishes she could be someone else and, occasionally, she takes this desire to extremes...

When she is asked by an acquaintance, Olivia (Brea Grant), to be her wedding hairstylist, Claire finds herself invited into Olivia's life... and, what's more, she finds herself wanting Olivia's life...

A dark tale about obsession. We feel for Claire despite the atrocities she commits; she is awkward and intense, people don't know how to take her. She is obsessed with becoming someone else; being accepted. These obsessions lead her from gruesome act, to gruesome act in her unrelinquishing desire to become these other women. 

More of a thriller than a slasher, the film has a fairly slow pace that is punctuated by the violent and bloody murders Claire commits. She is methodical, determined and almost whimsical in her pursuit of becoming someone else. 

Her odd behaviour sets off red flags around Olivia's friends, but their catty remarks just spur the obsession further on and eventually this leads to Claire's crescendo in a final, shocking act that closes the film in a memorable way.

Beautifully acted and with some very nice and bloody effects.

Despite some slower pacing in the middle, The Stylist is a really interesting film and delivers a feature film that truly builds on the powerful 2016 short of the same name. 

Currently available to stream on the Arrow Player.

[Image: Sixx Tape Productions]

Hani

Saint Maud

"Saint Maud" (2019, Rose Glass, Escape Plan Productions, Film4 Productions,  British Film Institute).

We meet Katie (Morphydd Clark); covered in blood, sitting on the floor. She is a nurse. On a gurney beside her lies a deceased patient. Katie is distraught, having failed to save them. 

Some time later we meet Katie again, but she has found God and reinvented herself. Now known as Maud, she takes a position as a private, live-in palliative care nurse to a wealthy dancer and choreographer called Amanda (Jennifer Ehle). Amanda is terminally ill and has lost the use of her legs, which as a dancer, she finds particularly hard to live with. Amanda is embittered by her situation, but Maud feels like they have a connection. When Amanda tells her of her fear of death, Maud comes to the belief that God has sent her here purposefully to save this woman's soul. Amanda perhaps further cements this belief by jokingly giving Maud a book of William Blake paintings, which are very religious in content, with an inscription penned on the cover calling Maud her 'saviour'. She also feigns a similar experience of ecstasy with Maud during a prayer.

But Amanda is still her own person and, despite Maud's best efforts to keep her "pure", Amanda enjoys too much booze, an endless supply of cigarettes, and the company of her friends. Including a friend called Carol (Lily Frazer), whom Amanda pays for sex. Maud's attempts to scare off Carol eventually lead to her own abrupt dismissal.

Distraught and furious, Maud practices self-flagellation and then gets extremely drunk. After a night of debauchery and a one-night-stand; which brings back vivid visions of her initial trauma, and a visit from an old colleague, Maud has a revelation and decides what it is she must do to fulfil her purpose as Amanda's saviour. 

An interesting film and a great character piece. Maud is a scary concept; so sure that she is in the right. Although she is not a physically imposing person, her power lies in her position as a care giver and her strong conviction. She is also continually dismissed by her peers; seen as an outcast or as harmless. 

Clark is excellent in the role as the obsessed and warped care giver and Ehle portrays the feisty, but broken spirit of Amanda with heartbreaking effect.

Maud's delusions and hallucinations are very subtle and effective and the effects and imagery slowly build up in impact throughout the film's duration. 

The locations and the contrast between Amanda's tragic life in her grand, ornate home and Maud's tragic life in her sparse bedsit, are beautifully stark.

I enjoyed the film, however, it does drag a little in places from a plot perspective. Definitely a slow burning film.

I wondered what the significance of Maud and "God's" communion being in Welsh was,  but a bit of research and an interesting interview piece I read from the director informs me that this was actually due to Glass overhearing Clark speaking Welsh to her family and it sounding good. Which, in honesty, is as good a reason as any and did inspire me to go hunting for answers in the first place!

Worth checking out, but less scary and more unsettling.

Currently available to rent from various VOD platforms, including Sky Store and Prime in the UK.

[Image: Film4 Produtions, et al]

Hani

Spree

 "Spree" (2020, Eugene Kotlyarenko, Forest Hill Entertainment,  DreamCrew, SuperBloom) is a found footage film.

Kurt (Joe Keery) is intent to go viral on social media after a kid he used to babysit, Bobby (Josh Ovalle), becomes a social media star. Taking a job as a rideshare app driver, he rigs up his car with webcams and begins his tutorial live stream on becoming viral. We follow him as he picks up and then murders customers, finding new ways to make his content increasingly interesting for his viewers. When he picks up a comedian, Jessie Adams (Sasheer Zamata), he hopes for a spike in followers, however, upon realising that his viewer figures are still low, he decides to find a more drastic way to gain notice! 

A creative and gory ride helmed by an increasingly manic, but very engaging performance by Keery. The commentary on society is far from unique, but the film manages to be both entertaining and provide a couple of surprises along the way where it did not go where I had assumed it was inevitably heading. The live stream and CCTV style works really well and does not suffer the same motion sickness impact that some more traditional found footage films seem to have. 

Definitely worth checking out. I had a genuinely good time with this one.

[Image: Forest Hill Entertainment, et al]

Hani

The Mortuary Collection

"The Mortuary Collection" (2019, Ryan Spindell, Trapdoor Pictures, AMP International, Shudder) is a horror anthology film.

We are welcomed to The Raven's End Mortuary by creepy mortician and keeper of many stories, Montgomery Dark (Clancy Brown), who recounts a few of his tales to us and his new prospective apprentice, Sam (Caitlin Custer). 

A very fun collection of tales which fit nicely into the wraparound story and provide the right level of humour, familiarity and freshness to make this anthology a must-see. 

Each short links well to the wraparound, and the wraparound itself if an intriguing tale of its own.

Brown delivers Montgomery Dark with a relish that is utterly captivating and Custer provides not only some wit and cynicism but also a few surprises of her own.

The effects are on the whole excellent and enjoy an 80s style appeal without trying too hard to be too nostalgia driven. 

I don't want to go into too many details about the shorts because they are great fun and deserve to be seen, but this film has a few humorous and gory gems to share as well as some emotional moments that are really effective.

Definitely worth checking out and currently streaming on Shudder and available to buy on physical media.

[Image: Trapdoor Pictures, et al]

Hani

The Babysitter: Killer Queen

 "The Babysitter: Killer Queen" (2020, McG, Netflix, Wonderland Sound & Vision, Boies/Schiller Film Group) is the sequel to 2017's "The Babysitter".

Judah Lewis reprises his role as Cole, now 2 years older and a bit of a social pariah, having shared his story of the eventful night with Bee (Samara Weaving) and her murderous pals with friends and family... No one believes him, of course. 

An unusual new girl called Phoebe (Jenna Ortega) joins the school who catches Cole's eye, but she seems to have her own problems.

On learning that he is being enrolled in a special school by his parents, Cole runs off with his friend Melanie (Emily Alyn Lind) and her pals for a party. Everything seems to be going as awkwardly as he anticipated until... tables turn and, with the help of Phoebe, he finds himself once again pitted against the odds. 

A fun follow up to the original that continues in a similar style with tongue-in-cheek tropes and a weirdly paced sense of humour. The action remains fun, gory and cartoonish and there are many familiar faces from the first film. However, liking the first film may not necessarily mean this one will tick your boxes; taking the plot out of one location does widen the scope of the story, but does in some respects make it feel a little more disjointed and less neat than the original film.

[Image: Netflix, et al]

Hani

Patchwork

"Patchwork" (2015, Tyler MacIntyre, Infinite Lives Entertainment) is a horror comedy inspired by various Frankenstein tropes.

A self proclaimed mad scientist (Corey Sorenson) reanimates a corpse made of three different women:
- snooty business woman, Jennfer (Tory Stopler),
- bimbo with a heart of gold, Ellie (Tracey Fairaway), and;
- shy-but-unstable, Madeline (Maria Blasucci).

The woman-women then go on a rampage while they try to work out what's happened to them and how to cope with their new normal... and also to hook up with a guy called Garret (James Phelps) who tries to help them out.

A fun and imaginative take on the popular Mary Shelley-esque tale. Well made and engaging, the film keeps you smiling as you go and doesn't outstay its welcome at 1.5hrs.

Lots of visual gags and a couple of thoughtful moments amongst the mayhem as well as the memorable line "my favourite colour is sparkly".

[Image: Infinite Lives Entertainment]

Hani

Der Wixxer

"Der Wixxer" (2004, Tobi Baumann, Rat Pak Filmproduktion) is a German parody film based on elements of the Edgar Wallace crime films of the 1960s.

Set in London (although mostly filmed in the Czech Republic), we follow alcoholic chain-smoking Chief Inspector Even Longer (Oliver Kalkofe) and his new partner Inspector Very Long (Bastian Pastewka) who are on the case to uncover the identity of skull-masked crime lord, Der Wixxer (a corruption of the German slang for 'wanker'), who is both responsible for the murder of Even Longer's previous partner, Inspector Rather Short (Thomas Heinze) and hellbent on taking over the rule of London's crime syndicate.

With a tone of humour somewhat between a "Carry On..." movie and "Young Frankenstein", the film is entertaining but full of eyeroll moments. We have a castle which is 'the last remaining black and white castle in England', a servant called Hatler (I'll let you guess where that joke goes), a couple of dance numbers, a lot visual and verbal puns, a catalogue of humorous villains and a lot of purposefully stilted acting. A few jokes don't quite land (the racist flower seller we could have done without), but overall Der Wixxer delivers exactly what it says it will and does so with humour and a knowing wink.

As a student of the German language this film really appealed to me and I was pleased to be able to pick up on the jokes and plot (however ridiculous) pretty easily. Unfortunately, it is quite difficult to get a hold of a DVD with the English subtitles for this film which does limit the audience a little.

Definitely worth checking out if you have the means. A film that deserves a wider audience.

[Image: Rat Pak Filmproduktion]

Hani

The Mad Magician

"The Mad Magician" (1954, John Brahm, Colombia Pictures) is the tale of a frustrated magician who turns to murder.

Don Gallico (Vincent Price) makes illusions. But truly, he aspires to perform them as a famous stage magician himself. Adopting the name Gallico the Great, he arranges a fantastical stage show where he will disguise himself as his previous famous clientele and perform the tricks that he invented for them and also his newest invention; a terrifying buzz-saw trick. But his show is halted by legal action and his inventions are taken. Utilising his flare for disguise, he turns instead to murder in order to exact his revenge...

A fun film which has some similarities to "The House of Wax" but with Price playing a slightly more sympathetic villain. The disguises are fun and the action is delightfully shlocky. The film was originally released during the 50s boom of 3D mania and enjoys some of the hammy shots that were made with that in mind. Price, as ever, delivers a fun and gleefully dastardly villain.

[Image: Colombia Pictures]

Hani

Midsommar

"Midsommar" (2019, Ari Aster, Square Peg, B-Reel Films) is a folk horror set in a cult in Sweden.


I really liked "Hereditary" so I was keen to see "Midsommar".


We meet the very tragic character of Dani (Florence Pugh) who is not having a great time at the moment. Despite their relationship coming to the verge of ending, she agrees to join her boyfriend, Christian (Jack Reynor), and his Cultural Anthropology student pals; Josh (William Jackson Harper) and Mark (Will Poullter); on a summer trip to Sweden to visit the Hårga Commune where their friend Pelle (Vilhelm Blomgren) grew up and to experience the huge cultural Midsommar festival there.


When they arrive everything seems idyllic and otherworldly, but little do they know that all the flower petals in the world couldn't hide the grim undercurrent of the Commune's plans.


Working in a similar vein to 1973's "The Wicker Man", "Midsommar" delivers an upsetting vibe and some extremely effective and gruesome special effects. The group of Americans act as our eyes to the strange world of the Commune. The film does a great job of visualising the psychedelic effects of the drugs the students take and also of their building terror as they start to understand the situation.


For me, the plot felt distractingly slow and I did not particularly like any of the characters, which isn't always necessary, but would have possibly helped keep my interest more. The sound design is meant to be disturbing, but after a while the droning wails and group sobbing kind of ground me down a bit.



The special effects and grim details are really amazing and this alone kept me on board until the end, but I wouldn't necessarily be in a huge hurry to revisit. It also didn't deliver the same level of hollow, savage punch that "Hereditary" had upon initial viewing.


Definitely worth checking, however, as it's certainly a cinematic experience.

[Image: Square Peg, B-Reel Films, et al]

Hani

The Invisible Man (2020)

"The Invisible Man" (2020, Leigh Whannell, Blumhouse Productions, Nervous Tick, Goalpost Pictures, Universal Pictures) is a modern retelling of the classic H.G. Wells story, and a poignant story about control and abusive relationships.

Cecilia Kass (Elizabeth Moss) flees in the night from her rich boyfriend, Adrian (Oliver Jackson-Cohen) with the help of her sister, Emily (Harriet Dyer). The two women make their hasty escape, and Cecilia begins living temporarily with her cop friend, James (Aldis Hodge) and his teen daughter, Sydney (Storm Reid).

Cecilia is naturally affected by her ordeal and we learn that Adrian emotionally controlled her during their relationship and she lives in constant fear that he will find her and punish her for leaving. She also reveals that he'd boasted that she would 'never see him coming'.

James is supportive, but as Cecilia's behaviour becomes more erratic he, Emily and Sydney begin to distance themselves from her leaving her to the mercy of her unseen, controlling stalker, who is hellbent on ruining her life...

A film which is very uncomfortable in places and which does a great job of showcasing how a gaslit relationship can look from various angles (the friends', the sister's, the victim's). The action and horror scenes are excellently achieved and there's several parts where I found myself on the edge of my seat. There are a few holes that took me out of the film a bit - time seems to be an elastic concept at points with characters managing to achieve quite a lot in an extremely short space of time (i.e. the fastest and most efficient washing off of paint I've ever seen) and it seems that our titular invisible man is able to hold his bladder for quite an impressive amount of time. On the other hand, however, the modernising of the plot to be more technology based was extremely effective. My trypophobia was going off the charts in some places, though *shudder*.

Moss gives an excellent performance as Cecilia. We feel for her but we're also with her in her fight to prove her innocence. She's not a quitter, but she's also not a textbook heroine, either. She's normal, relate-able and fallible.

Jackson-Cohen also gives a great, if small (visibly) performance as our main antagonist. We never see the abuse first hand but his mastery is in his supposed reasonable demeanour.

Definitely a film worth checking out. It's currently available to rent online from various sources. As scary as a violent, malicious and invisible stalker is, the real horror comes from the helplessness our protagonist feels and they way that her control can be so easily taken away. That, and that whole trypophobia thing...

[Image: Blumhouse Productions]

Hani

Land of the Minotaur

"Land of the Minotaur" aka "The Devil's Men" (1976, Kostas Karagiannis, Crown International Pictures) is a horror film set in 1970s Greece.


A group of archaeology-loving tourists begin to go missing when visiting a particular site. Could the shifty Baron Corofax (Peter Cushing) be involved? Could the whole town be in on it?! It's up to Irish Priest, Father Roche (Donald Pleasance), Milo Kaye (Mr Director himself, Kostas Karagiannis - billed here as Costas Skouras) and Laurie Gordon (Luan Peters) to uncover the mystery and put a stop to the worship and sacrifice to the Minotaur.


Both Cushing and Pleasance have led varied and extensive careers and were extremely supportive of the horror genre and its many aspiring creators, being game to appear in a true variety of quality of films. But, in spite of this, the biggest mystery by far is how they ended up in this one with so much screen time considering the other larger budget pieces they were in around the same time! Truly, we did not deserve them.


This film is a delightful piece of B-movie nonsense that includes;

• Donald Pleasance doing an Irish accent and wearing (and losing!) several hats,
• a few females in short shorts and other skimpy outfits,
• a creepy teenaged girl,
• a leading character resembling a young 70s Father Ted (I dare you to not think of it whilst watching Milo) who is nude quite a lot,
• cult worshippers in multi-coloured outfits (it seems the Baron got a discount on several metres of coloured satin at Remnant Kings - and those bejewelled eyeholes, dahling!),
• lots of shots of a convertible driving quite sensibly around Greece coupled with Donald Pleasance berating the driver for being careless,
• people haplessly digging up things on sites of archaeological interest with their bare hands,
• a mysteriously deserted town where the few townsfolk like to enjoy a beer with breakfast,
• Peter Cushing drinking beer and shooting a grandfather clock, and,
• lots of cult sacrifices to a statue of the Minotaur with a bad case of the fire sneezes and a dislike of people in his special room. 

At only 95 minutes long, it's also not too taxing a spectacle and is currently on Amazon Prime in the UK under it's UK title.

[Image: Crown International Pictures]

Hani

Mandy

"Mandy" (2018, Panos Cosmatos, Spectrevision, Umedia, XYZ Films, RLJE Films) is an arthouse horror thriller starring Nicolas Cage.



Set in the 80s, we meet logger Red Miller (Nicolas Cage) and his fantasy artist and gas station attendant girlfriend, Mandy Bloom (Andrea Riseborough) at their lakeside cabin.


A cult calling themselves Children of the New Dawn along with the help of a drugged-up, cannibalistic biker gang called The Black Skulls, kidnap Mandy for their leader, Jeremiah Sand (Linus Roache). However, Mandy rejects Sand and he instead burns her alive in front of Red.


Red then goes on a vengeful rampage armed with a special crossbow, a handmade axe and a whole tonne of hallucinogenic drugs... Oh, and there's a chainsaw battle also.


For me, the description sounded a lot better than the finished article. While I don't dislike Nicolas Cage, there's only so much entertainment I can glean from the famous Cage Rage - and this film is chalk full of it. The plot is pretty simple and the imagery is often really creative but it's all done with a kind of pretentious smirk and a lot of colour filters and starts to wear after a while. Some scenes are fantastically metal but the style likes to jump all over the place. For a film where all the characters are on drugs, however, I guess this makes sense. I guess that's also true for the odd dialogue...


The film takes a while to get started, and when it finally does it jumps off the deep end in an impressive way. If it had been cheesier, it would have been superb. But the arthouse pretention keeps this for being a hit for me.

[Image: Spectrevision, et al]

Hani

The Lighthouse

"The Lighthouse" (Robert Eggers, A24, Regency Enterprises, Universal Pictures) is a black and white psychological film inspired by the avant-garde/experimental style.


Set in the late 19th Century, two lighthouse keepers are sent to the lonely and secluded island for their four week shift. The two do not get on and, trapped on the island in a storm, it seems that they both begin to lose their sanity with deadly results...


Personally, this film was not for me. Technically speaking, however, it's an interesting film. Well shot and bleakly atmospheric, it delivers a disturbing piece. Filmed on 35mm and in an old fashioned ratio adds to the cinematic experience. From what I've read, the set up and filming process were both extremely labour intensive and complicated, so the film is certainly a feat in this regard.


Both Robert Pattinson and Willem Dafoe give intriguing performances as the younger, less experienced keeper and the abrasive older keeper. Their relationship is taught, uncomfortable and ultimately deadly. There's also the added element that both characters are extremely unreliable narrators (given their own secrets, alcohol abuse and apparent cabin fever), so that we are never truly sure what events are happening, and what are figments of the men's imaginations.


Overall, I found the purposefully disjointed style and delivery to be rather boring and I definitely felt the full 109 minute runtime. Whilst I can appreciate the style and aesthetic of the piece, I didn't find it to be particularly entertaining and, unlike Eggers' "The Witch" (2016) or Ari Aster's "Hereditary" (2018) , I wasn't even left with the same grim emptiness or shell-shocked feeling that lingered after the credits rolled. While I think it's sure to become an important film in the future for aesthetic and style reasons, I wasn't overly impressed with it as a film and wouldn't hold it in the same esteem as I do David Lynch's surreal and uncomfortable "Eraserhead" (1977) (which no doubt played some part in inspiration). For me it played out a little too much like a project piece rather than a finished article.


So, although I can and do appreciate the film's technical and aesthetic merits, it's unlikely to be one I'd choose to revisit. However, for the intrigued, it's certainly worth catching for the experience.

[Image: A24, et al]

Hani

Fade to Black

"Fade to Black" (1980, Vernon Zimmerman, Leisure Investment Company, Movie Ventures) is about a movie buff assuming the personalities of his favourite antagonists from the screen to exact bloody revenge on those who have done him wrong.

Eric Binford (Dennis Christopher) is a lonely and awkward young man living with a woman he believes to be his aunt (Eve Brent) in LA. She is confined to a wheelchair and constantly shouts at and belittles him, blaming him for her current state of affairs. Eric works at a movie distribution company and is constantly heckled by workplace bullies (including Mickey Rourke) and lives only to watch movies. That is until he sees the beautiful Marilyn O-Connor (Linda Kerridge) an Australian Marilyn Monroe lookalike and aspiring actress, and becomes completely obsessed with her.

When the heckling becomes too much for him, and Marilyn seemingly stands him up on a date something snaps in Eric and he begins to disguise himself as the villains from his favourite movies and murdering those responsible for his misery in ways inspired by the movies...

A pretty dark premise and a very engaging film that starts as an intrigue and underdog story, and ends with a tragedy about mental health, loneliness and obsession. But there's humour to be found in there, too.

The film takes care to set up the kill scenes with lighting and effects reminiscent of the films Eric is mimicking. It's all in the killer's mind, of course, but it lets the viewer experience the way he's seeing the world from his perspective. Eric is the hero of his own movie, and what he's doing is completely justified. But the fact he selects, with exception of Hop-along Cassidy, mostly villains; the mummy, Dracula, Tommy Udo... hint towards Eric's recognition that deep down he knows he's not really the hero.

The makeup and costumes are good fun and, although the kill scenes have a fair bit of silliness to them, there's an excellent scene with the Dracula makeup that seems to hint at some of Eric's personality still behind the obsession. But he completes the look and loses his senses once again.

Dennis Christopher creates a creepy and distasteful character, but also manages to inspire our sympathies despite his murderous and grim antics and annoying air of superiority when talking about his obsession; cinema. His descent into madness is caricaturish, but the climatic scenes at the Chinese Theatre in LA are intense and tragic.

Managing to be a film about the dangers of movie obsession leading too far, and also oddly not fully condemning cinephiles as a whole (at the end of the day, the target audience), "Fade to Black" remains an effective film today and is definitely worth checking out.

[Image: Movie Ventures, et al]

Hani

Girl on the Third Floor

*Spoiler warning*

"Girl on the Third Floor" (2019, Travis Stevens, Queensbury Pictures) is a haunted house story.

Don (CM Punk) is attempting to renovate an old and dilapidated house for he, his wife, Liz (Trieste Kelly Dunn), and their impending new arrival. As Liz ties up their affairs in the city, Don takes their dog and moves in to the house with his tools and an endless supply of beer. But things in the house aren't quite... right. Strange substances and sweets keep appearing, Don constantly feels like he's being watched and a very flirty stranger called Sarah (Sarah Brooks) won't stay away. He's also receiving strange vibes from the local pastor, Sadie (Elissa Dowling) and seems to be extremely unpopular at the local watering hole/bowling alley.

When he's joined by his friend, Milo (Travis Delgado), things change up a gear and it becomes apparent that the house, or something within it, wants them all out. Or worse...

I'd heard good things about this film and went in open minded and keen for a good spookfest. I'd first say that the set up is overly long. The scenes are well shot, but there are a lot of scenes of Don doing various DIY-ing without anything spooky happening so when the spooky stuff comes along it felt a little long winded. On the other hand, we get a good feel for the kind of character Don is and his less than savoury past and nature. There are also several well done shots where the various old mirrors around the house reveal some creepy happenings which I found to be very effective.

Whenever I see a dog in a movie I know it's not going to be around for long, and spoiler or not, poor old puppy does not last the duration.

The reveal and finale were fun but felt like a completely different film to the first half and didn't meld particularly well. Overall, I enjoyed myself but the film is very slow burning and took its time getting any actual plot started.

[Image: Queensbury Pictures]

Hani

In the Tall Grass

"In the Tall Grass" (2019, Vincenzo Natali, Copperheart Entertainment, Netflix) is based on Stephen King and Joe Hill's novella of the same name.

The pregnant Becky (Laysla De Oliveira) and her brother, Cal (Avery Whitted), hear a child's call for help coming from a large field of very tall grass while stopped at the side of the road. Concerned for the child, they enter the grass and get lost themselves and separated. During their time in the grass they meet young Tobin (Will Buie Jr.), his father, Ross (Patrick Wilson) and mother, Natalie (Rachel Wilson). It becomes apparent that not everything is as it seems in the grass and eventually Travis (Harrison Gilbertson), Becky's ex, will come in search of the pair. A twisty tale with time loops, ancient magic, mystery, madness and murder.

The story itself is pretty interesting and the time looping elements flesh out the overall plot. Will Buie Jr.in particular gives a great performance as the various versions of Tobin. There's also a fair amount of gore, which I hadn't anticipated.

However, the film suffers from a drudging pace, and although the grass is certainly menacing, I found it a long 90 minutes.

[Image: Netflix]

Hani