Malignant

 "Maligant" (2021, James Wan, Atomic Monster, Boom Entertainment, Boom! Studios) 

Madi (Annabelle Wallis) experiences a traumatic event. Left reeling from this and convinced that either an intruder or an intrusive force, has gained access to her home, Madi's sister, Sydney (Maddie Hasson), offers to move in and help Madi recover. However, as time goes on, Madi begins to see things - things that she could not possibly know about. Horrible things that are happening in real time, putting her under the suspicion of Officers Shaw (George Young) and Moss (Michole Briana White).

A new style for Wan, the film kicks off feeling like a much older, campier film, before jumping into more familiar territory with spooky shenanigans in a large house. But this film delivers so much more than the above. With a winding, interesting plot that hops from the bizarre to the outrageous and a gifted cast purposefully hamming it up for effect - but not too much. 

The visuals are excellently used and really appeal to me as a fan of 70s and 80s horror films, J-horror films and practical effects.  "Malignant" pays homage to Henenlotter's "Basket Case" in the best possible way. 

There's so much more to this film, but I don't want to give away too much. My advice is to go in knowing as little as possible.

[Image: Boom Entertainment, 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

Case 39

"Case 39" (2009, Christian Alvart, Paramount Vantage, Paramount Pictures) is a demon-spawn kind of film.

Emily (Renée Zellweger) is a social worker working 38 child abuse cases. She is handed yet another case; that of little Lilith/Lily (Jodelle Ferland) who appears to be being abused by her parents. Feeling that this case is particularly important, Emily steps in and soon becomes the actual guardian of Lilith. However, soon she begins to suspect that perhaps there was good reason for Lily's parents being the way that they were...

Starting off as a bit of a slow burner, I have to admit I was verging into boredom. There are a few scenes where the building feeling of threat is really effective, but I don't think the feeling of panic I was expecting was ever fully developed.

I think this film might have been better had I not seen "Orphan" first, which is a far superior adopted-child-is-actually-evil film. Although I can't fault the creepy acting from Jodelle Ferland in "Case 39", she really can jump from 'butter wouldn't melt' to 'I know too much and I will use it against you' very well.

I wouldn't say I didn't like it, but I'm glad I saw it on Netflix rather than bought it on DVD. It's just a little dull is all.

[Image: Paramount Pictures]

Lilith from "Supernatural" was much scarier, though

 

Hani

Carrie (1976)

"Carrie" (1976, Brian De Palma, United Artists) is the movie adaptation of Stephen King's novel of the same name.

The story, in case you've been living under a rock, is about Carrie White (Sissy Spacek); a strange and put-upon misfit teen with no friends or social skills who's mother is an abusive and unsupportive religious nut.

Carrie's mother (Piper Laurie) tells her nothing of puberty and thinks of everything to do with anything to be unclean and sinful. And so, when Carrie finds herself bleeding from an intimate place in the girls' shower room at school she panics and is resultantly ridiculed by all of her peers until a well-meaning teacher, Miss Collins (Betty Buckley), intervenes.

Throughout the film timid young Carrie becomes stronger and begins to exhibit telekintetic powers which finally manifest with tragic consequences after the bullies (including John Travolta) get the better of her in the infamous Prom scene.

A great book and an equally great adaptation, I really like this version. Spacek's performance as Carrie is really excellent, especially in that tear-filled slow motion prom scene. Typical of King stories, however, I would say it is not scary in a conventional sense... well, except for that key iconic end scene. That hand coming from the grave always gave me the chills as a kid!

Looking forward to the remake to compare.

[Image: United Artists]

Hani