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]

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I Trapped the Devil

"I Trapped the Devil" (2019, Josh Lobo, IFC Midnight, Scream Factory) is an indie suspense horror about a man who believes he has the devil trapped in his basement.

Steve (Scott Poythress) is a paranoid man living alone. When his brother, Matt (AJ Bowen) and sister-in-law Karen (Susan Burke), unexpectedly show up to spend Christmas with him, he announces that he has captured the devil and imprisoned him in his basement. His brother and sister-in-law become increasingly concerned by Steve's erratic behaviour and the fact that they can hear someone trapped in the eerily lit darkroom/basement.

A very slow burning film where very little happens until the finale. The pacing was too slow for me and I found the plot did not have enough to it to fill the full run time. The characters seemed to behave somewhat illogically, which could be explained for the main character, Steve, where we are supposed to be on the fence about his sanity, but all of the characters were distractedly odd.

It does enjoy some moments of dread and an overall grim feeling with some cheerfully poignant Christmas lights, but overall I found the film a bit tedious.

[Image: IFC Midnight, et al]

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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]

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Jacob's Ladder

"Jacob's Ladder" (1990, Adrian Lyne, Carolco Pictures, TriStar Pictures) is a psychological horror.

Jacob Singer (Tim Robbins) is a Vietnam war veteran living in New York with his girlfriend Jezzie (Elizabeth Peña) and working as a postal worker. We see glimpses of his experience during the war where his unit came suddenly under attack but also started acting very strangely with some going into violent seizures and others turning on one another.

Jacob is haunted not only by his past as a soldier, but also by his past as a happy husband and father of young children, especially his youngest, Gabe (Macaulay Culkin), who had died before the war.

Everywhere Jacob goes he sees strange apparitions of faceless men and monstrous creatures and he begins to lose time. He attempts to find help from his former platoon mates, but everywhere he turns people seem to be plotting against him or being plotted against themselves... What is going on?

A feverish film filled with intrigue and deeper messages. Jacob's journey is fractured, as are his memories and the audience follow him along this strange tale trying to fathom out the real from the hallucinations. By the end we learn the truth and the journey makes sense in a satisfying but melancholy way. A truly fantastic film filled with effective imagery and certainly one to have on your movie bucket list.

[Image: Carolco Pictures, 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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Us

"Us" (2019, Jordan Peele, Monkeypaw Productions, Universal Pictures) is a horror film about a family who are confronted by violent doppelgangers.

We meet Adelaide (Madison Curry) as a child with her parents at the pier attractions. While her parents are distracted, she wanders off and finds her way to a hall of mirrors. Whilst inside she sees something terrifying...

Adelaide (Lupita Nyong'o) is now all grown up. She, her husband, Gabe (Winston Duke) and their two kids, Zora (Shahadi Wright Joseph) and Jason (Evan Alex), are enjoying a holiday at her family's cabin. After a day at the beach with their friends, the Tylers, Adelaide appears out of sorts and tells Gabe about the encounter she had in the hall of mirrors. Gabe, naturally does not believe her, but soon they notice a family standing threateningly outside the cabin. A family that looks disturbingly familiar...

An unsettling and thoughtful film that also delivers a fair amount of violence, gore and action. The moments of comedy are well timed, amusing and compliment the more tense points of the film. I enjoyed that the film felt almost nostalgic in its story telling, styling and scoring but was set in present day.

The characters are well rounded and relatable which makes it all the more effective when we meet their doppelgangers who are similar yet animalistic and antithetical in nature. There isn't a bad thing to say about any of the cast's performances, but Nyong'o's emotional performance steals the show both as Adelaide and her counterpart.

The film makes a point of not answering all the questions raised leaving a couple more holes than was perhaps necessary but delivers enough turns in the plot to leave you pondering over it in the wake of viewing. An amusing piece that says a thing or two about human nature and what defines a villain.

[Image: Monkeypaw Productions, Universal 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]

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Emilie

"Emilie" (2016, Michael Thelin, Uncorked Productions) is an unnerving home invasion thriller preying on the fears of a lot of parents leaving their kids alone with someone new.

When their usual babysitter is unavailable on the eve of their anniversary dinner, the Thompson's arrange for a new babysitter called Anna to take care of their three children. When Anna shows up she seems perfect, but it isn't long before the kids come to realise that Anna is not who she says she is....

A well executed film that really builds some tension as it gets going. "Anna" (Sarah Bolger) is revealed to be a twisted young woman called Emilie who is keen to push the kids to dangerous levels. The film is difficult to watch, particularly as it involves the endangerment of the kids. The kids themselves give an excellent and believable performance.

While the film isn't completely without flaws, the pacing for instance can be a little patchy, it does enjoy an excellent shocking creep factor and pushes the boundaries well.

[Image: Uncorked Productions]

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The Invitation

"The Invitation" (2015, Karyn Kusama, Gamechanger Films, Lege Artis, XYZ Films, Drafthouse Films).

Will (Logan Marshall-Green) and his girlfriend, Kira (Emayatzy Corinealdi), are on their way to Will's ex-wife, Eden (Tammy Blanchard)'s house for a dinner party with some old friends and Eden's new husband, David (Michiel Huisman). On the way there they accidentally run over a coyote and Will is forced to put the creature out of its misery.

Will and Eden split up after their son tragically died and Eden met David through her grief support group. Amongst other strange things at this dinner party, the old gang are joined by some of Eden and David's friends and David shows everyone a video from their grief support group where a young woman dies on screen....

Throughout the night Will begins to fear that there is something more sinister going on than just a strange dinner party, but is this fear founded in reality, or is he just feeling emotional seeing friends and Eden again and entering his old home since the death of his son...?

A slow, slow, slow burner that seems to relish in showing very little up until the end. I've seen a lot of positive things said about this film, but I don't fully share the enthusiasm. While others have remarked at an excellent build of tension, I found the plot slow and meandering. The acting is really good and the setting in the Hollywood hills is nice, too, but the film just felt too slow for me. Will's nagging feeling that something is wrong is plausible and real doubt in his instinct is well crafted by flashbacks and nice camera angles. The film is also very well shot. I just didn't feel that the quick, brutal payoff really made up for the pace of the build up.

I do appreciate the lack of usual horror tropes used in the film, however, which was a breath of freshness over some other recent horror efforts which have resulted in a lot of same-old, same-old.

[Image: Gamechanger films, et al]

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Before I Wake

“Before I wake” (2016, Mike Flanagan, Intrepid Pictures, Demarest Films, MICA Entertainment, Relativity Media) is an innovative film about the dangers of having your dreams come true and the imaginative resilience of children.

Jessie (Kate Bosworth) and Mark (Thomas Jane) are absolutely devastated after their son Sean (Antonio Evan Romero) tragically dies. After some time, they decide to adopt a young boy called Cody (Jacob Tremblay) who is the same age as Sean would be: 8. 

Cody is a polite and pleasant child whose mother died when he was only 3. However, Cody does not like to sleep, and Jessie and Mark are surprised to find out why. You see, when Cody dreams, his dreams become temporarily corporeal in the real world. Jessie begins to take advantage of this skill, but they all soon learn the downside when they meet up with one of Cody's recurring nightmares. And Cody's nightmares can kill...

This film has a lot going for it. Jacob Tremblay gives a fantastic performance as the haunted young Cody and both Kate Bosworth and Thomas Jane create realistic and relateable parents. Jessie is consumed with her guilt and pain over the loss of her son, but Mark is determined to make the most of the new opportunity that Cody has given them, and his scenes are frankly adorable. 

The premise is so imaginative and beautifully realised with stunning imagery and a haunting premise. The monstrous nightmare creature is also very different and very creepy. The design of the creature is creative. I love the way it moves. The twists and turns in the plot were good, I found myself thinking about the film quite a lot later on. There are admittedly some leaps in reality at the end of the film, but the full movie comes together nicely. 

Director, Mike Flanagan, was also behind "Occulus", another film I found innovative and haunting to watch. I think we'll be seeing some more from Mr. Flanagan in the future. 

Suspenseful and creative, this film was refreshing viewing. 

[Image: Intrepid Pictures]

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The Witch

"The Witch" (2016, Robert Eggers, Parts and Labour, Rooks Nest Entertainment, RT Features) is an atmospheric horror set in 17th Century New England and centred around a very unlucky family.

William (Ralph Ineson) is excommunicated and banished from his puritan Christian plantation, along with his family; wife, Katherine (Kate Dickie), daughter Thomasin (Anya Taylor-Joy), son Caleb (Harvey Scrimshaw) and twins Mercy and Jonas (Ellie Grainger and Lucas Dawson). They set up home at a rough farm and Katherine gives birth to a boy called Sam. The infant disappears whilst Thomasin is playing with him and the disappearance is blamed upon "the witch of the wood". But there really is something lurking in the shadows and, as the unlucky family begin pointing fingers at each other screaming witchcraft, something is tearing them apart.

Oh, and the twins claim to be able to speak to the black goat called Philip.

A slow burning film with a good atmosphere and realistic, harsh depictions of the hardships of the puritan era. The language can be quite difficult to stay in tune with and, although the horror elements are really good, they are relatively scarce and the film is certainly not jumpy. But the tale is grim and the fear and grief of William and his family is palpable. It really explores some of the darker themes of humanity and the little doocots we put ourselves in.

The scenery, costumes and sound design are all absolutely spot on and bring a sense of period drama to the film. The film felt old and it had a lot to say. I expect more great things to come from Mr. Eggers, certainly. I was left with an almost shell-shocked feeling towards the end of the film which is a good sign, but as a whole it wasn't at all what I'd expected and I feel it was more thought-provoking and unsettling than 'scary'.

[Image: Rooks Nest Entertainment, et al]

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Maggie

"Maggie" (2015, Henry Hobson, Grindstone Entertainment Group, Gold Star Films) is a zombie film, but not your average zombie film.

With today's over saturation of zombie everything (movies, comics, jewellery, clothing, TV series, novels, cupcakes.... You name it, there's a zombie version of it), it's nice to see a film that brings something fresh and new to the genre. "Maggie" manages to create a thoughtful, emotive film with a different feel to the usual guts and gore zombie feature.

Maggie Vogel (Abigail Breslin) is stuck in the city during a semi-post-apocalyptic time. Most of the country has been ravished by a terrible virus which slowly turns its victims into the shambling, decaying dead. Those infected, like Maggie, are being rounded up and placed in quarantine, a happy place where the diseased and dying can frolic together, being chomped on by those in a more progressed condition than themselves. Fun, fun.

Maggie's dad, Wade (Arnold Schwarzenegger, in what is a very different role for him, but he still gets to get all badass on a few zombies here and there), finds her and takes her out to the country to stay with his wife, Caroline (Joely Richardson).

There Maggie is to live out her remaining days before the infection worsens and then she is to be taken to the dreaded quarantine area. She mostly spends her time hanging with friends, some of whom are also infected, feeling sorry for herself and occassionally chopping off a few rotting appendages or accidentally killing wildlife... You know, the usual.

But the good times must end at some point, and Maggie and Wade have to make a decision...

A really interesting film, it manages to create solid characters and relationships and still have a few gory scenes to keep it moving. It is a very slow burning plot, however, and definitely doesn't fall completely into the 'horror' basket; I'd label it as more of a thriller myself. But it does benefit from very good effects and makeup. One criticism I would have is that the film is so dark that the full gory beauty of the effects can not be fully realised.

Schwarzenegger creates a very gritty, realistic and endearing character with a lot of depth. You really feel his pain, and the film plays out as more of a study on all the characters' emotions than it does about zombies. Abigail Breslin equally portrays the doomed teen character with a lot of realism and emotion. Her situation is palpable and you truly feel a part of her horrific journey.

All in all, I really enjoyed this film despite its very slow pace. It wasn't my usual kind of film at all, but it was a pleasantly serious take on the genre and something different to watch.

[Image: Grindstone Entertainment Group]

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