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

Final Destination 5

"Final Destination 5" (2011, Steven Quale, New Line Cinema, Practical Pictures, Zide/Perry Productions) is the fifth entry in the Final Destination franchise.

Sam (Nicholas D'Agosto) experiences a detailed vision while setting off with his colleagues on a bus trip. The vision shows the North Bay Bridge suddenly collapsing while they are on it, killing everyone except for his ex-girlfriend, Molly (Emma Bell). Sam manages to convince a few people to leave with him and they get to witness the bridge collapse from a safe distance. But, like always, death has designs on their lives and will stop at almost nothing to claim his due.

Much like its predecessors, the film's main point of interest is the complex Rube Goldberg Machine-esque deaths of each of the characters. The characters are rounded enough to make their deaths worth watching, but they remain mainly cannon fodder for death. Some of the effects suffer from feeling a little too computer generated, but there are certainly enough gruesome ideas to make you squirm. A short scene from the legendary Tony Todd is also always appreciated.

The action is entertaining enough to keep viewers engaged. It is one of the stronger entries in the franchise overall and feels fairly satisfying in where it decides to go throughout the plot.

[Image: New Line Cinema, et al]

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Pet Sematary

"Pet Sematary" (2019, Kevin Kölsch, Dennis Widmyer, Di Bonaventura Pictures, Paramount Pictures) is the second film adaptation of Stephen King's haunting novel of the same name. My thoughts on the 1989 film can be found here.

Dr. Louis Creed (Jason Clarke) moves from Boston to the small town of Ludlow, Maine with his wife, Rachel (Amy Seimetz), young daughter, Ellie (Jeté Laurence) and toddler son, Gage (Hugo and Lucas Lavoie). The point was to get away from their hectic and busy lives in the city, but after a student called Victor Pascow (Obssa Ahmed) is killed in a traumatic accident things begin to get strange for the Creed family. The deceptively quiet country road right by their house turns out to be treacherously busy with fast moving, large trucks and their elderly neighbour Jud Crandall (John Lithgow) knows one or two local secrets more than he should maybe share. Including, the mystery of the pet cemetery in the woods and... what lies beyond...

An interesting retelling that stays true to the spirit of the novel whilst making some key changes. I don't dislike the changes and found them to add a new dimension to the plot. As a big fan of the novel and the 1989 film, I hadn't really known how I would feel about this version, but I found it enjoyable overall.

The film offers a few jumps and jolts throughout and I found the development and reveal of the scenes with Rachel's sister Zelda to be a well realised. The local childrens' tradition of burying their pets in the 'sematary' in creepy masks had a nice Wickerman feel to it which I felt complimented the plot overall.

Clarke and Seimetz give good performances as the Creeds, however, it's hard to contend with Lithgow's Jud who really steals the show. Even as a die hard fan of Fred Gwynne's famous take on the character, I really enjoyed Lithgow's performance. His regret was palpable by the end of the film. Jeté Laurence really shows her stuff as sweet little Ellie... and then some! And Obssa Ahmed gives a nicely creepy, and somewhat less sarcastic, performance as Pascow. The makeup for Pascow is also very juicy... mmm, exposed brain.

The effects are overall very good and the film enjoys some good pacing. The strangest thing for me was the cemetery and burial grounds themselves which felt very much like a movie set and didn't show the depth and realism I was anticipating.

Louis' spiral in his despair and his desperation to get his family back is, as ever, sad and extremely dark. Overall, I felt the changes in the plot in this respect were a refreshing option and allowed us to experience a more talkative and grim analysis of human beings' inability to accept death. Church (Leo, Tonic, Jager and JD) was also extremely well realised.

For me the ending was even more haunting than both the novel and the initial '89 film and worked very well.

Overall, it hasn't dislodged the 1989 film from its pedestal for me, but it was entertaining and dark. While some of the changes didn't quite hit home, and some of the scenes felt like they had not been taken to their full promise, the overall film was an interesting take on the novel and an entertaining retelling.

[Image: Paramount Pictures]

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Calibre

"Calibre" (2018, Matt Palmer, Wellington Films, Netflix) is a thriller set in the Scottish Highlands.

Marcus (Martin McCann) takes his friend Vaughn (Jack Lowden) hunting in the highlands to celebrate Vaughn's recent good news. Vaughn has never hunted before and is not exactly keen to kill an animal, but Marcus thinks it will be good for him. When they reach the small village in which they are staying they enjoy a heavy night of drinking and manage to make some impressions on the locals; some good impressions, but not all...

The next day both men are faced with a life changing tragedy. Their attempts to carry on as normal are thwarted and eventually they are forced to face up to the consequences of their actions.

A really superbly made film that is not only atmospheric, but dark, daring and engaging. Our protagonists are well rounded characters with flaws and plans and personality. Our villagers are not just two dimensional characters either, with an almost "American Werewolf in London" meets "The Wickerman" vibe that sets you on edge. Of particular interest is the character of Logan (Tony Curran) who shows the city boys understanding, but is not to be taken lightly.

The film provides some shocking action that will leave you feeling a little empty and haunted afterwards. Much like the other recent genre great, "Hereditary", this film makes you think. With scenes that are expertly crafted with the use of silence being as important as good scripting and skilled use of the highlands setting which can be as ominous as it is breathtaking.

None of the characters are 'the baddies'. Everyone has shades of grey and a very human mix of good and bad intentions. The outcome of the tragedies in this film are neither justice nor injustice and none of the characters give the impression of getting to move on comfortably with their lives.

An excellent piece that is definitely worthy of your time and will question your own morals and sense of selfishness.

Thanks for the recommendation, Stephen King!

[Image: Wellington Films]

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

Dig Two Graves

"Dig Two Graves" (2017, Hunter Adams) is a tale of loss of innocence and revenge.

Jake (Samantha Isler) is obsessed with the death of her elder brother. One day she is offered a chance to bring him back, but at a terrible cost. Her grandfather, Sheriff Waterhouse (Ted Levine), tries to make up for his own terrible choices, but can he help Jake in time or will she make her own way?

An intriguing premise with some interesting characters and substantial core acting, but a slow, meandering plot that didn't keep my interest. Some of the cinematography is striking and the themes of the loss of childhood innocence and the dangers of obsession and revenge are strong. Although the film explores some dark themes, including power, rape and murder, the styling of the film and its pace rob it of some of its more shocking strength.

All in all, not a terrible film by any stretch, but the artistic choices make it seem like nothing of note really happens and everything seemed a bit muddy.

Hani

The Void (2016)

"The Void" (2016, Steven Kostanski, Jeremy Gillespie, Cave Painting Pictures, Astron-6) is a Canadian monster movie set in a small town's hospital at night.

We open to an exciting and horrific scene where a man called James (Evan Stern) flees a house while two other men, Vincent (Daniel Fathers) and Simon (Mik Byskov), kill a screaming woman. James is later found by local Deputy, Daniel Carter (Aaron Poole), who takes him to the nearby hospital.

James turns hysterical upon entering the hospital and is sedated by Dr. Powell (Kenneth Welsh). Soon Vincent and Simon appear hunting James. They are closely followed by a Marshall (Art Hindle) and a group of strangely garbed cultists brandishing knives. Aside from being surrounded by creepy, hooded figures, the group are terrified to find that some of them are becoming less than human...

I really wanted to like this movie. The marketing had made it look like an updated answer to Carpenter's "The Thing", but unfortunately, the reality was nowhere near as comprehensive.

The initial build up is excellent: dark, atmospheric and brutal. There's enough going on to get you involved as a viewer, and the characters have just enough screen time to establish their personalities before the real horror begins. The effects are really fun and the action moves... Until it doesn't.

Around the third-way mark we move away from Carpenter and into Clive Barker terrirtory where the plot takes a sudden "Hellraiser"-esque turn and things become bogged down in trying to be artistic and weird instead of scary and weird. Although there is an enveloping theme established, it felt like there had been two concepts and the directors decided to try merging both with disjointed results.

While I commend the technical aspects of the film and the creatures, the story-telling really let it down and we ended up with a muddy, bloody mess that isn't sure if it wants to be a Lovecraftian epic or a gritty, 80s gorefest. With a bit more of a decisive direction, however, the Astron-6 guys will undoubtedly bring us some really great stuff.

[Image: Cave Painting Pictures]

 

Hani

Masque of the Red Death

"Masque of the Red Death" (1964, Roger Corman, Alta Vista Productions) is the film version of Edgar Allan Poe's story of the same name.

Prince Prospero (Vincent Price) terrorises a plague-ridden, medieval Italian village whilst holding lavish parties in his castle home with the local, desperate but disillusioned gentry and a young, red-headed village maiden named Francesca (Jane Asher) whom he is holding captive.

The film boasts a macabre, spiteful and gleefully malicious prince in the form of Vincent Price, but we are also treated to a devious, dwarf court entertainer named Hop-Toad (Skip Martin) who likes his revenge served searing hot, a surprisingly strong female lead and two heroes, Francesca's lover, Gino (David Weston), and her father, Ludovico (Nigel Green). Ever present also, is The Red Death (John Westbrook), for you see death comes in all colours!

The Masque was to be one of Corman's most faithful Poe adaptations, and gladly so as the story is so outlandish and fun that there was little need to change it. The sets, costumes and colours are fabulous and lavish; well suited to the tale.

The gothic surroundings, debauched party atmosphere and the final lesson: that death does not discriminate, come together as a fun and characteristically cheesy horror tale.

[Image: Alta Vista Productions]

Hani

Flatliners

"Flatliners" (1990, Joel Schumacher, Columbia Pictures, Stonebridge Entertainment) is a sci-fi horror about the dangers of fooling around with the afterlife.

Medical student, Nelson (Kiefer Sutherland), has a theory he wants to prove: he wants to die and then brought back under controlled conditions to prove that there is something beyond death. He convinces fellow students; Rachel (Julia Roberts), Dave (Kevin Bacon), Joe (William Baldwin) and Randy (Oliver Platt) to help him achieve this experiment. When the experiment turns out to be successful, each of Nelson's associates are keen to have their own turn to see beyond the veil. However, Nelson has withheld some disturbing information about the aftereffects of his discovery: he did not come back from the netherworld alone...

A really excellent film that enjoys an amazing cast and a really striking style which has been mimicked by many films since. Abstract, inventive and entertaining this film enjoys a deserved cult status and it's cast went on to achieve great things in their own right. The only negative plot point would be the repetitiveness of the story. We do eventually go through the motions after the first couple of characters flatline.

A fun bit of sci-fi that has aged well.

[Image: Stonebridge Entertainment]

Hani

The Babadook

"The Babadook" (2014, Causeway Films, Cinetic Media/eOne Films International, Jennifer Kent) is the story of an unlucky family who become plagued by a nightmarish creature after reading from a mysterious, creepy children's storybook.

Amelia (Essie Davis) is a woman who has had a tough hand in life; the early death of her husband has been something that she has struggled to cope with. Couple that with a her imaginative but unruly, undisciplined child, Sam (Noah Wiseman), and you have a pretty sad tale.

A slow burning and depressing tale, the film is more about feeling and presence than scares and I found that the lack of action did become a bit monotonous after a while. However, the scenes with the creepy shadow monster are really quite chilling and atmospheric and there is a horrible reality of the fear of bad parenting and the black pit of grief in there too.

The acting is great. The characters feel realistic, if slightly unhinged, and there's even a few nice jumpy bits. I especially liked the styling of the story book which in itself is terrifying.

Mr. Babadook could be a terrifying monster, joining the infamous ranks of our other favourite boogeymen. Unfortunately, the slow, artsy style of the film did take away some of the pace of the story, even if it did make for an elegant looking end product.

A great debut piece, and a thoughtful take on a boogeyman story, but style overtook substance a little too much in my view.

[Image: Causeway Films]

Hani

Proxy

"Proxy" (2013, Zach Parker) is a film about a young pregnant woman called Esther (Alexia Rasmussen) who is attacked outside of her doctor's office by a hooded assailant and loses her baby.

 

She begins attending support groups and encounters another grieving mother, Melanie (Alexa Havins), who could be as damaged as she is...

 

Actually the film is about so much more than that but that would be giving an awful lot away.

 

Definitely not a horror film, this chiller is a weird, artistic and violent piece which enjoys some gore, splatter and a shockingly brutal opening scene.

 

There's also a good change in direction, but on the whole the film is very slow to unfold. If you're prone to letting your mind wander you may be unable to sit through the whole slow burning mystery-ride.

 

However, if you go in with only a vague notion, you can certainly enjoy watching this odd and intense plot unfold.

 

 

Hani

Savaged

"Savaged" (2013, Michael S. Ojeda) is a rape-revenge story which explores some pretty dark themes but manages to create a funny and gory film.

A pretty deaf mute girl called Zoe (Amanda Adrienne) heads out on a road trip to move in with her fiancé. As she goes she documents her trip with her camera phone. A habit that both saves and condemns her.

A near miss on the road causes her to stop and she's taken by surprise by a group of American Indian-hating red necks who have sickening plans for her, ending in her death.

She's found by a witch doctor who tries to revive her with magic, but what comes back is so much more than Zoe, and it's out for revenge.

The film touches on several dark themes: rape, racism, murder, black arts, the destruction of the indigenous race of the USA, brutality towards women and police corruption.

But "Savaged" is not a cerebral or preachy film. It's a self-aware, gory, silly horror with lots of action, excellent gore effects (a scene with barbed wire will stick with you for a while) and an interesting, if completely batshit, plot.

It's an odd mix of rape-revenge, zombiism, spirit warriors and comedy gore. The feel is a cross between The Crow, I Spit on Your Grave and an x-rated episode of Goosebumps (I blame the green mist for that last comparison, an effect that was often used in the children's horror show).

While nothing new, it's entertaining and a good first film at Glasgow Fright Fest 2014.

Beyond Re-Animator

"Beyond Re-Animator" (2003, Filmax International, Lionsgate Entertainment, Castelao Producciones, Fantastic Factory, Brian Yuzna) is the third Re-Animator film.

We find Dr. Herbert West (Jeffrey Combs) in prison using meagre scraps in order to continue his experiments on rats. A young new doctor, Howard Phillips (Jason Barry), joins as prison MD and reveals himself as interested in West's research for personal reasons. His personal reasons get a load more personal, however, when the pretty young journalist he's dating, Laura (Elsa Pataky), is killed and reanimated.

West's rat experiments have opened the door to him to allow him to control his reanimated creations further, but the results can be messy when he is reunited with his neon green concoction....

Soon the prison is overrun with violent reanimated zombies and under the control of the psychotic reanimated Warden (Simón Andreu). Oh, and there's also a vicious zombie rat cutting about with a severed human zombie penis....

Yes, this is a OTT, hilarious, gore-soaked splatter romp, just as its predecessors were. No complaints here. It's brilliant. Not a cerebral film, but wonderfully silly. Combs brings back West in all his glory.

 

 

[Image: Castelao Producciones]

Hani

Split

"Split" (2014, Andy Stewart, Shining Example Films) is a short horror film from the talented Scottish director and writer, Andy Stewart.

Last year I blogged about another of Andy's body horror short films, the wonderfully raw and sickening "Dysmorphia" you can find that here: http://horrorev.blogspot.co.uk/2013/09/dysmorphia.html

An unnamed man (Austin Hayden) awakes alone in bed. It soon becomes apparant that he and his girlfriend (Shian Denovan) have split up. As the plot unfolds we become more aware that he is to blame for the breakup and that he is slowly being cosumed by his guilt.

He begins to become ill as his guilt manifests itself physcially. From pustules to losing body bits, the effects are vomit-inducingly detailed and realistic, steering clear of gore-fest cheapness.

As his condition worsens we're treated to flashbacks to his relationship. The use of lighting in the different time zones is really effective. And the scoring is excellently timed and very haunting.

With a larger budget this time less is left to our imagination, and we enjoy some gruesome physical effects teamed with the same powerful use of sound that Andy's technique demonstrated in "Dsymorphia".

More artistic and eerie than the more shocking storytelling style used in "Dysmorphia", "Split" creates a different, sadder atmosphere and again, keeps the audience enthralled for the full 18 minute run-time despite the some truly queezy moments!

Fantastic! You have to check out this film!

 

 

[Image: Shining Example Films]

Hani

Excision

"Excision" (2012, Richard Bates, Jr., BXR Productions, Anchor Bay Films) is an odd film about a creepy teenaged girl with delusions of becoming a surgeon.

Pauline (AnnaLynne McCord) is an 18 year old girl who lives with her overbearing, religious mother (Traci Lords), her scaredy cat father (Roger Bart) and her bright and friendly younger sister, Grace (Ariel Winter), who has cystic fibrosis.

Pauline is an odd girl with ratty hair, an angry demeanor, a history of bad behaviour and a serious lack of moral compass. She aspires to become a surgeon and experiences sexual excitement from blood, conveyed to us her disturbed dreams. She also enjoys practising her surgical technique on herself and on roadkill. The only person who likes her is her younger sister who's health is quickly failing her.

Pauline is an eccentric, mentally disturbed outcast. The character should echo Carrie, but McCord's sinister performance and creepy 'makeover' really create a different kind of antagonist. Unlike in Carrie, Pauline isn't really a victim, although she is still a missunderstood girl. Pauline doesn't care that she's outcast, she doesn't have any remorse and she doesn't comprehend that what she's doing is wrong (why would she, she's cleared it with god first?!).

The gory dream scenes are odd. While they show the diversity of McCord, they lost my interest after a while, but they are very beautifully shot.

The build up is slow, but I enjoyed the journey with this creepy girl. Her demented beliefs and delusions become evident early on, but the finale is really hard-hitting. Not for the faint hearted, this teenage psycho-drama/dark comedy is an interesting watch. Like Carrie meets Donnie Darko, but with less superpowers and more gore.

Not everyone's cup of tea, but interesting in its uniqueness.

[Image: Anchor Bay Films]

 

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