V/H/S/94

 "V/H/S/94" (2021, Jennifer Reeder, Chloe Okuno, Simon Barrett, Timo Tjahjanto, Ryan Prows, Steven Kostanski, Radio Silence Productions, Bloody Disgusting Films, Shudder Original Films) is a found footage horror anthology and the fourth installment in the V/H/S franchise. 

It's 1994 and a SWAT team enter an abandoned building and discover a series of VHS cassettes which we then watch in order. 

"Storm Drain" is an entertaining story of a reporter (Anna Hopkins) and cameraman (Christian Potenza) who are investigating the sighting of local urban legend "Ratman" and enter the storm sewers to uncover the truth. Upon finding a group of people living in there, they decide it's an opportunity to do a more serious human interest story but, unfortunately for them, the local legend may be more real than they thought! 

A pretty good segment with good pacing and some fun effects. 

"The Empty Wake" is by far my favourite segment of the film. Hayley (Kyal Legend) is a young woman working at a funeral home. She's been asked to hold the wake of a man named Andrew alone at night. After a while with no visitors, she begins to try and find out more about the death of Andrew when suddenly she hears what sounds like knocking coming from the coffin...

A pretty decent jump-fest. The segment builds up slowly before unleashing the actual scares, but, once there it's pretty fast paced. Some fun effects and, even if you feel like you knew where it was going, it's a really strong execution. 

"The Subject" is a story of a mad scientist (Budi Ross) engaging in human-machine vivisection and a team of army personnel on his trail to try and rescue some of his unwilling test subjects. 

We see most of the story in first-person style through the 'eyes' of one of his creations (Shania). The segment boasts some creative camera-work and pretty impressive 'off-screen' acting from our determined 'creature'. However, the action is pretty videogame-like and did feel like it overstayed its welcome a little (and I say this as someone who likes playing videogames). But the action is truly gory and pretty satisfying to watch.

"Terror" is about a group of insurrectionists in America who are planning to attack a federal building. This segment was the weakest in my opinion and didn't hold my interest extremely well. The humour felt somewhat misplaced in comparison to the other segments, although it maintained the same level of gore. 

The wraparound "Holy Hell" is functional but not a standout part of the film, although I did enjoy the 90s advert for "The Veggie Masher". Very entertaining. 

All in all, this is the first time I've really enjoyed a V/H/S installment since the original film, and it felt pretty innovative. The pacing is still an issue, but this is part and parcel with horror anthologies as a whole. 

Available to stream on Shudder.

[Image: Shudder, et al]

Hani

Death Note

"Death Note" (2017, Adam Wingard, LP Entertainment, Vertigo Entertainment, Lin Pictures, Netflix) is an American horror film based on the Japanese Manga by Tsugumi Ohba and Takeshi Obata.

Light Turner (Nat Wolff) is a high school student. He's not popular, he's not athletic and he makes cash on the side through doing others' homework. When Light comes across a mysterious notebook and meets the sinister Ryuk (Willem Dafoe), a demonic death god, his life begins to change. Quickly unlocking the secrets of the notebook's power: to kill any individual properly targeted using the book, Light finds a kindred spirit in his crush, Mia (Margaret Qualley), and also attracts the unwanted attention of L (Lakeith Stanfield) , an FBI agent seeking to halt their murderous spree.

Although Light's original intentions may have been good, things become complicated and messy as time progresses and he becomes suspicious that Ryuk may not be on his side after all. The overall taking from this film is the old adage: 'power corrupts'.

The film offers some good qualities: Dafoe's performance as the creepy and charming Ryuk is very effective, and the aesthetics of the film are nicely put together. However, the film attempts to pack so much in to the run time that it feels slightly unfinished and focuses perhaps too much attention on the puppy-love aspect of the sub-plot as opposed to mysteries of the notebook or of Ryuk. The ending is also convoluted and felt unhinged from the rest of the film.

I've learned that as well as removing the story from Japan to suit a more Western audience, the film has made other changes to the plot and characters as to make this version very different from the base material. I am not much of a Manga reader, but I feel intrigued now to search "Death Note" out and give it a whirl, if anything to understand the base material more and perhaps seek a better appreciation for this interesting story.

[Image: Netflix]

Hani

Sadako vs Kayako

"Sadako vs Kayako" (2016, Kōji Shiraishi, Kadokawa Daiei, NBC Universal Entertainment Japan) is a crossover of the Ring and Ju-On series. The film actually began life as an April Fools' Joke, but was actually turned into a real feature length film after having a good reception.

When college students, Yuri (Mizuki Yamamoto) and Natsumi (Aimi Satsukawa), come across the cursed video tape they had learned about in class they unwittingly watch it, releasing the curse of the forever creepy and forever vengeful Sadako (Elly Nanami).

In another part of town high school student, Suzuka (Tina Tamashiro), moves in next door to the infamous Saeki house and begins to notice creepy things. After unwittingly following some young trespassers into the house she becomes 'grudged' by the ghosts of Kayako (Runa Endo) and Toshio (Rintaro Shibamoto).

The girls' seek to rid themselves of their respective curses, with the help of psychic, Keizō (Masanobu Ando) and his associate; brutally honest, blind, psychic girl, Tamao (Mai Kikuchi). The psychic team decide to try to pit the ghouls against one another in a bid to end both curses forever!

While the film is a little cheesy, busy and definitely favours Sadako's screentime over her rival, Kayako, it works well as a crossover due to its fun characters and humorous fight scenes. There are still some eerie scenes reminiscent of both franchises' roots, but also some comedy in there that oddly works with the offbeat, and somewhat ridiculous plot. I also enjoyed Keizō and Tamao's extremely random repartee.

The film is oddly charming and, like all crossovers, has a strange fanfiction-like atmosphere.

[Image: Kadokawa Daiei)

Hani

The Forest

"The Forest" (2016, Jason Zada, Al-Film, Lava Bear Productions, Focus Features, Gramercy Pictures, Icon Film Distribution) is a supernatural horror set in the infamous Aokigahara Forest, also known as "the suicide forest", in Japan.

Sara (Natalie Dormer with blonde hair) travels to Japan to seek her kind of flaky, missing identical twin sister, Jess (Natalie Dormer with brown hair). Jess was last seen going into the suicide forest and Sara feels certain that her twin is still alive.

She meets a reporter called Aiden (Taylor Kinney) who handily speaks Japanese and helps find her a 'guide' in the form of Michi (Yukiyoshi Ozawa) who will take them into the forest to look for her sister in the daylight, but not after dark. Sara is also warned several times to stay on the path. Upon finding some hope in the forest shortly before nightfall, Sara refuses to leave and Michi eventually relents, leaving her there with Aiden who decides to keep her company. But the forest is full of sorrowful and angry spirits and Sara's mental state puts her in peril. She also definitely ventures off the path.

A moody, slow film which delivers some effective jump scares but relies a little too often on tropes to maintain any kind of fear factor. The film also suffered from a patchwork feel due to its stylistic flashbacks and dream scenes. I like Natalie Dormer, but her character's descent into madness felt more like a psychotic ex turning on somebody mid-date than a spiral into sorrowful insanity. However, within the forest itself I did appreciate the atmosphere. The final few scenes felt kind of rushed, however, and the film felt overall a little hokey. Japanese horror films have a special kind of scare factor that really make them different. Simply setting a horror movie in Japan, even in somewhere so emotive as Aokigahara Forest, doesn't constitute a scary film.

Although, this girl I liked. She was my favourite thing about the film, really.

[Image: Lava Bear Productions, et al]

Hani

Shutter

"Shutter" (2008, Masayuki Ochiai, Regency Enterprises, New Recency, Vertigo Entertainment, 20th Century Fox) is an American ghost horror based in Tokyo about a haunted camera.... Kind of. It is a remake of the 2004 Thai horror film with the same name.

Ben (Joshua Jackson) and Jane (Rachael Taylor) seem  like a perfect couple at first. We see them at their wedding, smiling away. We see them coming home together - still smiling. We see them set off to live in Tokyo where Ben, a photographer, has gotten a job with some friends he used to work with in Japan before. On their travels, Jane accidentally hits a young girl in a white dress who was standing in the middle of a dark road. They wreck their car and Jane frantically hunts for the girl, but to no avail; she is gone, along with any trace of her.

With their new exciting life in Japan already off to a less than idyllic start, Jane is further disillusioned once she reaches their destination. Although their apartment is huge, Ben is working all the time. She also doesn't speak any Japanese and feels like an outsider as she wanders aimlessly around the city and when she gets home she is surrounded by beautiful models and fashion entourage who make her feel even more like an outsider. Ben doesn't really notice any of this as he gets stuck back in with his friends and colleagues, getting to shoot fancy magazine pieces.

Jane is so happy when their wedding photos arrive and is dismayed to find that there is a white, ghostly mark through most of them. Confused she asks Ben, who convinces her that there was something faulty with the development and that it will be OK. But Jane is unconvinced as she goes through their honeymoon photos and even her own city snaps to find the same mark is present on all of them - and they were all taken with different cameras in different mediums...

Ben is not convinced, but Jane is adamant that the girl she struck on the road had died and is haunting them. She sets herself to uncover the mystery, but as she delves deeper she begins to regret it as things begin to make sense...

A really good jump scare horror with a dark and twisted plot and some creepy imagery. It has all of the edge and creep of a good J-horror movie, but also a few hollywood horror tropes. The girl haunting them, Megumi (Megumi Tanaka), is your average onryō vengeful spirit with a sad tale to tell, but she is perfectly realised and does not just lift all of the hallmarks from other famous J-horror ghosts. She is sadder. It is like she doesn't want to kill them, but she is compelled to. All of the cast are pretty good in their roles and the sliding of the perfect relationship into this hellish nightmare is captured well.

While it's nothing novel the film is effective in a Saturday night movie kind of way and has a couple of scary moments that I appreciated. I really want to see the Thai version now as it is bound to be much, much scarier!

[Image: 20th Century Fox, et al[

Hani

End Call

"End Call" (2008, Kiyoshi Yamamoto, Monte Cristo Entertainment, T.O. Entertainment) is a Japanese tech horror. 

A group of schoolgirls come across the Devil's phone number and discover if you phone it at midnight he will grant your greatest wish at the cost of taking the duration of your call from your lifespan. Naturally, he's like a crappy text message Wishmaster, so nothing you wish for ever works out well for you.

The film is not in chronological order and jumps back and forth a lot. It's also not terribly scary, which I was disappointed with considering how freaky some other larger budget J-Horror films are!

The action scenes are few and far between and there's a lot of quiet dialogue. 

One thing the Devil also seems to excel at is running up a large phone bill for his callers, so one girl resorts to becoming a hooker to pay her bill...

Most of the girls' problems are trivial teen girl issues. "Oh, I don't have a boyfriend.", "I'm not popular" and such, although there was a chilling scene with an abusive father that gets his comeuppance. 

Quite an average film and not the best introduction to J-Horror, so if you're new to the genre I recommend watching "One Missed Call" or "The Ring" instead (and no, I don't mean the American remakes!).

Sometimes a film's obscurity is for a reason...

 [Image: T.O. Entertainment]

Hani

The Machine Girl

"The Machine Girl" (2008, Noboru Iguchi, Fever Dreams) is the Japanese action horror comedy about a schoolgirl who loses an arm, replaces it with a machine gun and uses it to take down all of those who have wronged her!

And it's in-keeping with my running theme of tough chicks with weaponry body-mods (it seems to be my thing this week).

Ami (Minase Yashiro) takes on a ninja-yakuza mob family after the murder of her brother, Yu (Ryosuke Kawamura). When she loses an arm at the hands (pardon the pun) of the Kimura family, she finds a way to make her disability a positive and heads on to take the family down in this horror-comedy schlock-fest.

Amongst the usual trappings of any B-movie horror comedy (eg. lots of blood spurting scenes), we also have tempura battered appendages, human sushi and a drill bra to look forward to.

Not one for the subtitle haters unless you can access the dubbed version.

Fast, dumb, gory and silly enough to be funny. 

[Image: Fever Dreams]

Hani

Pacific Rim

"Pacific Rim" (2013, Guillermo del Toro, Legendary Pictures, Warner Bros. Pictures) is a big budget blockbuster monster movie.

A world war begins when colossal alien monsters (Kaijus) emerge from a rift under the sea and begin to attack humanity. In an attempt to fight back, the humans create enormous robotic suits (Jaegers) which can be controlled by two pilots who have shared their minds and memories to act together as one massive soldier. The apocalypse looks set to happen... Can they stop it?

It seems like your average Giant Monster movie but I found it to be so much more than just a love letter to Godzilla or Cthulhu.

For one thing the characters are rounded and feel very real.

Even the comic relief characters; the hyper monster-awestruck scientist Dr. Newton Geiszler (Charlie Day known best for his role as endearingly disgusting Charlie in "It's Always Sunny in Philadelphia") and his stiff upper lipped rival/partner Dr. Hermann Gottlieb (Burn Gormann - Owen from "Torchwood"); have a much larger role to play in the film than first appears and are both humorous and layered. It seems even when Charlie isn't Charlie he's still stuck doing Charlie Work!

And of course Ron Perlman's character, Hannibal Chau, just adds a creepy layer of humour and class. Not to mention his natty golden toe'd shoes. There's a bit of shoe thing going on in this film...

For another thing the special effects are wonderful and the fight scenes use minimal shaky cam, letting the viewer enjoy the action without feeling sea sick and unsure of what the hell is going on.

The whole film knits together very well and the design of each monster has a horrific charm of its own.

The acting is spot on for all of the characters and I really enjoyed that the script touches upon dark elements without being just another dark and gloomy heroic action epic. I mean, Batman's great and all, but I'm getting bored of broody protagonists with a 'dark past'...

Becket (Charlie Hunnam) and Mako's (Rinko Kikuchi) paring works excellently and you find yourself not just routing for them, but their whole team, especially also their dedicated commanding officer Stacker Pentecos (Idris Elba).

A great switch-off-your-brain-and-enjoy monster movie with some very human undertones and one I recommend seeing!

[Image: Warner Bros. Pictures]

Hani

The Ring (2002)

"The Ring" (2002, Gore Verbinski, Dreamworks Pictures) is the American remake of the 1998 Japanese film. Although I prefer the Japanese version and find it to have superior scares, this film is spooky and I highly recommend seeing it! I'm also thinking of trying to pick up an English translation of the book!

The basis of the plot: There is an urban legend of a VHS video tape which, if you see it, will kill you 7 days from first viewing. Some teenagers accidentally view it while in a cabin for the weekend, and soon all die off. Worried aunt, Rachel (Naomi Watts), of one of the deceased begins to investigate this phenomenon upon hearing of the legend and seeing the peculiarly timely deaths. She is also worried for her son, Aidan (David Dorfman), who was very close to his cousin.

In true horror movie form, and fairly reminiscent of "Candyman", Rachel watches the strange tape and then proceeds to show her ex-husband, Noah (Martin Henderson), and so on. Soon it's a race against time to try to solve the tape's origins and stop her impending death, while also experiencing the week-long haunting which comes with the sentence.

I enjoyed Naomi Watts' performance as the determined protagonist, as she slowly unravels the history of the tape and attempts to find a solution in order to help herself and others. She manages be both intense and strong without going into that annoying 'female lead' mode which involves a lot of screaming and hysterics.

Unlike Raimi, when he remade "The Grudge" some years later, Verbinski opted to take the story entirely out of Japan. I think both styles of remake have worked very well, and take nothing away from the story. But I do find "The Grudge" to be generally more scary, mainly because the ghost moves in a much more eerie manner than in this film, taking more styling from the Japanese originals.

The special effects are enjoyable, the tense scenes built up excellently and the enveloping story is good. There is a particular scene that I just can't watch again (I am a horse lover...)!

As I mentioned, I think the only reason this film just isn't as scary as the Japanese version is just the stylistic movements of the ghost girl, (Daveigh Chase), but the plot, acting and haunting scenes are good. And there are definitely scares to be had here, too! I especially enjoy the child actors in this film, who give a very convincing and unsettling performance.

[Image : Dreamworks Pictures]

Hani

One Missed Call (2004)

"One Missed Call" (2004, Takashi Miike, Kadokawa-Daiei) is the Japanese original horror which was then remade by an American company in 2008.

Unlike "The Grudge", where the American remake is almost on par with the Japanese version, "One Missed Call"'s remake was of a much lesser quality.

If you can withstand the subtitles, the 2004 version is really, very creepy.

The premise of the film is that you recieve a call on your mobile phone (or cell phone for all you non-British folk). The phone doesn't ring with your usual ringtone (instead with a creepy little tune) and will ring regardless of whether the phone is off, broken or without a battery. No matter whether you try to answer or not, you always miss the call, and have to fetch a voicemail message.

The voicemail is always set in the future, is from your own number and features the last sounds you make/hear before dying painfully. There's also always a candy sweet in each victim's mouth..., granted sometimes their mouths are quite far away from the rest of their bodies by the time the candy is found...

Creepy stuff!

Now, like "The Grudge" and "The Ring", "One Missed Call"'s ghost girl kills in a domino effect, beginning with Yoko (Anna Nagata) and then working through her phone book...

It's up to Yumi (Kou Shibasaki), Yoko's best friend to try to stop the curse before it's too late for herself! But in order to stop the ghost, she has to follow the clues to the ghosts' beginnings and face some other spectres from the dead girls' past.

But can she convince the angry spirit to stop with the murder? One can only hope.

Nicely gorey with some disturbingly creepy scenes and it may put you off MMS messages for life!

Japanese ghost horror is always a winner with me as it's always creepy, but I sometimes find the differences in culture make it hard to follow. But a shit-scared person staring into the gruesome eyes of death, is a shit-scared person staring into the gruesome eyes of death in every culture, so the importants parts of the film are easy to follow.

I must also admit to jumping nowadays if my phone has an episode and randomly changes its ringtone from a Black Stone Cherry song to one of the preset ringers; Mimiko's gonna get you!

[Picture: Kadokawa-Daiei]

Hani

The Grudge

"The Grudge" (2004, Takashi Shimizu, Columbia Pictures, Ghost House Pictures) is the American remake of the Japanese original from all the way back in, check this, 2003.

Now the Japanese version is terrifying! And the American version is too. This was my first viewing of the American one, and I have to admit to some jumping.

Similar to "The Ring" and "One Missed Call", two other excellent Japanese horror stories, the plot is based around a terrible death in a house in Japan, a curse and a Chinese-whispers-esque/domino effect resulting in the inevitable pile of corpses.

True to the style of the Japanese original, the remake of "The Grudge" keeps the terrifying can-come-out-of-anywhere ghost with straggly hair (an onryō ghost, Wikipedia tells me). Usually, seeing all ruins the effect, but this film is truly haunting, even if it does show you all the details.

I'm a Sarah Michelle Gellar fan, so naturally I was pleased with her performance as care worker Karen. And it's always nice to see Ted Raimi.

The child ghost Toshio (Yuya Ozeki) is absolutely terrifying in a very sad way. And naturally Kayako (Takako Fuji) is the stuff of nightmares as the vengeful female ghost.

The special effects are awesome and will keep you on the edge of your seat. While I prefer the Japanese original, this remake did everything right. Scary stuff!

[Picture: Ghost House Pictures]

Hani