Inhuman Kiss

"Inhuman Kiss" aka "Sang Krasue" (Sitisiri Mongkolsiri, 2019, Nakid, CJ Major Entertainment, M Pictures, Transformation Films) is a Thai horror romance centred around the Southeast Asian myth of the female Krasue spirit (aka Kasu or Ahp); the flesh eating floating head of a beautiful woman trailing entrails and tentacles, and the male Krahang; a ferocious male spirit.

We meet four children, Sai, Noi, Jerd and Ting, who are playing in the forest near an abandoned house. Jerd tells the group that the house is haunted by the spirit of a woman and then the children play hide and seek in the house. 

Years later Ting (Darina Boonchu) is married with a baby, Sai (Phantira Pipityakorn) is training to be a nurse, Jerd (Sapol Assawamunkong) is working with Sai as well as falling in love with her and Noi (Oabnithi Wiwattanawarang) has moved away from the village to live in Bangkok, much to the despair of Sai, who is in love with him. Everyone seems to be getting on with their lives when suddenly Noi returns to the village with a band of hunters on the trail of a Krasue spirit who is killing and eating the livestock. But Sai discovers to her horror that the Krasue is actually a curse and she is the one they are hunting...

Having just appeared on Netflix, and seeing a clip of the insane Krasue transformation online, I knew this would be my kind of film. But I was pleasantly surprised to find it was much more than I had expected. The film delivers a full and interesting plot as well as the gore and effects and manages to strike a balance between the cheesiness of the action and the rather straight-faced character development of our main three characters; Sai, Jerd and Noi. With a run time of just over 2 hours, I had expected to feel things were dragging a little, but the film's action is quite evenly spaced and the run time wasn't really a factor.  The effects are excellently achieved, and I felt the fact it wasn't trying to be funny really worked in its favour. Definitely worth checking out.

[Image: Nakid, et al]

Hani

Imitation Girl

"Imitation Girl" (2017, Natasha Kermani, Illium Pictures, Cup of Joe Film, Epic Pictures) is a sci-fi drama about a shape shifting alien.

A quick learning alien life form crashes to earth and assumes the form of a porn star cover girl called Juliana (Lauren Ashley Carter) from a discarded magazine. The creature then proceeds to investigate her new world where she finds help in the form of Saghi (Neimah Djourabchi) and his sister, Kahar (Sanam Erfani).

Concurrently, we follow the real Juliana who keeps catching glimpses of the alien using her face in the mirror...

"Imitation Girl" is a very character-driven piece. Carter gives an amazing performance as both the curious alien creature and her human counterpart. The film gives us a study on modern life and the common question "who am I, really?". Juliana is discontented with her life and her career and is seeking a way to achieve more. She seems to be constantly at odds with herself as to whether she considers her achievements to date to render her life successful. She attempts to recapture old talents and new, exciting experiences but just can't shake the impacts and habits of her life, job and character flaws. She's in a rut and she can't find her way out. It's a struggle that I'm sure a lot of people relate to on at least some level. The creature wearing her skin is asking herself the same question as she goes through various experiences and builds a relationship with Saghi. In a somewhat poignant manner, it is the alien who gets the most out of the human experience; she finds love, learns to speak Persian and embraces what her time on earth has to offer her.

The sci-fi aspects of the film are really secondary to the exploration of identity and are used to drive the plot forward. However, the effects are good and have a serene quality that fits extremely well with the narrative. The film is very thoughtful, slow burning and beautiful. If you're looking for a more energetic alien story this is probably not for you, but if you're looking for a contemplative, art house piece this could tick a lot of your boxes and is definitely worthy of your time. Currently available on Amazon Prime!

[Image: Illium Pictures, et al]

Hani

The Greasy Strangler

"The Greasy Strangler" (2016, Jim Hosking, Drafthouse Films, Rook Films, SpectreVision, Timpson Films, Filmrise) is a surreal dark comedy horror film about a killer who strangles victims to death while wearing nothing but a layer of grease... It's also a film about love, betrayal, weirdos, nakedness and disco... Kind of.

Big Ronnie (Michael St. Michaels) is a strange man who runs a disco walking tour with his son, Big Brayden (Sky Elobar). The tour offers little in the way of facts, disco or free refreshments; much to the chagrin of the customers. The father and son also live together, hang out a lot in their underwear and eat a lot of excessively greasy food; just the way that Big Ronnie likes it. Big Ronnie also enjoys moonlighting as a greased up murderer in the buff, washing himself off at the end of his escapades at a car wash run by his blind disco friend, Big Paul (Gil Gex).

Big Brayden meets Janet (Elizabeth De Razzo) on one of his father's walking tours, and the pair fall in weird love, much to the distaste of Big Ronnie. The perturbed Ronnie begins a campaign immediately to win Janet over from his son.

A very marmite movie that will either have you rolling your eyes and laughing or completely repulsed. Maybe both. The characters are outlandish and dirty and the dialogue is purposefully stilted. If you're up for watching some fully frontal nudity with a lot of swinging prosthesis' and a fair amount of cartoonish gore then this is the movie for you.

This is a film that will stay with you forever and have you wondering why you watched it for weeks, possibly years, to come. And yet, like me, the experience has probably taught you nothing and you will definitely watch more like it in the future.

[Image: Drafthouse Films, et al]

What a pair of bullshit artists!

Hani

The Shape of Water

"The Shape of Water" (2017, Guillermo del Toro, Double Dare You Productions, Fox Searchlight Pictures) is a dark fantasy about love.... and vivisection.

Elisa (Sally Hawkins) has been mute since infancy and speaks in sign language. She works as a cleaner at a large research facility with her friend, Zelda (Octavia Spencer), -who chats enough for both of them- and spends her free time with her friend and neighbour, an artist called Giles (Richard Jenkins).

During her time cleaning up the suspiciously bloody messes at the facility, Elisa comes to know one of the research specimens; a humanoid aquatic creature (Doug Jones) with whom she shares a bond of boiled eggs, sign language lessons and music. Unfortunately, the scientists and military personnel at the facility, particularly the fairly unstable Colonel Strickland (Michael Shannon), do not have nice plans for the amphibious man and Elisa becomes determined to save her unusual friend.

An unusual love story between a creature worthy of the Black Lagoon and an imaginative and adorable, but lonely woman. The film begins fairly slow-burning and took its time to introduce the set up and characters, but enjoys some more outlandish scenes within the imagination of Elisa. The film explores the nature of the loneliness of being different and touches on some prevalent topics from '60s America, including race and sexuality and the lingering distrust from various global tensions (most notably, of course, the Cold War). Hey, guess not much has changed, really.

The effects are, as ever with the works of del Toro and with the characters of Doug Jones, exceptional and both very realistic and fantastic in their strangeness.

A film that manages to be peculiar, haunting and, at times, humorous, as well as delivering a thoughtful and entertaining piece of cinema. And a nice, cerebral (and oh, so weird) link to the Hellboy universe. It deserves all the awards it can hoover up, in my view.

[Image: Double Dare You Productions, 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

The Love Witch

"The Love Witch" (2016, Anna Biller, Oscilloscope Laboratories) is an homage to the 60s technicolor era.

Elaine (Samantha Robinson) is a beautiful young witch turned femme fatale, who uses witchcraft in her bid to find a lover. Unfortunately, her charms and potions never quite strike the balance leaving a trail of lovesick corpses in her wake...

A beautifully crafted film that merges the style, fashions and feel of the 60s era films with a more modern setting. The film also enjoys the randomness of 60s horror with a ridiculous plot and set of characters. The colour palette is very pleasing to the eye. Stylistically this film is outstanding.

Elaine is used as a metaphor for womanhood and man's fear of the powerful woman, but conversely, Elaine is also a weak character; completely narcissistic, self involved and obsessed with finding someone to fawn over her. Her sudden disinterest in any man she wins over and her ongoing thirst for more affection  drives her to enchant and enslave more and more men. But it's a thirst that may never be sated...

Although the plot veers a little too into the obscure style of technicolor/pulp era with a large diversion to a medieval fayre and with a run-time of 120 minutes the shlockiness and purposefully stilted acting do begin to outstay their welcome. However, the style and humour make up for any short comings, and the film overall creates a very memorable impact.

Definitely something different to try this Valentine's Day.

[Image: Oscilloscope Laboratories]

Hani 

Train to Busan

"Train to Busan" (2016, Yeon Sang-ho, Next Entertainment World, RedPeter Film) is a South Korean zombie apocalypse film set on a busy train from Seoul bound for Busan.

Seok-Woo (Gong Yoo) is a divorced business man who lives in Seoul with his lonely daughter, Su-an (Kim Su-an) and his mother. For Su-an's birthday all she wants is to visit her mother in Busan. A wish that workaholic Seok-Woo decides to grant. He boards a train with his daughter bound for Busan, planning to drop her off and return to work as soon as possible. However, when an infected woman also boards the busy train and becomes a zombie, quickly infecting most of the passengers, the journey becomes a desperate trial to survive and reach Busan in one piece.

Together with fellow passengers; Sang-hwa (Ma Dong-seok) and his pregnant wife, Seong-kyeong (Jung Yu-mi), a high school baseball team, two elderly sisters, an arrogant rich man called Yon-suk (Kim Eui-sung), an elderly homeless man (Choi Gwi-hwa) and the train driver, they attempt to reach safety whilst battling with a fast moving army of seemingly impenetrable zombies.

A fast paced, action packed horror with very little over-the-top gore (for a zombie film), but lots of fun stunts and zombie battles to keep you occupied. The story isn't clever, nor is it trying to be. It's a simple, zombie adventure and a lesson in not being a selfish asshat. The plot delivers some tender moments followed by thrilling zombie chase scenes and exciting action. A truly good movie for the genre and something that a lot of modern Western zombie movies are failing to deliver: scary zombies.

[Image: Next Entertainment World]

Hani

The Man Who Laughs

"The Man Who Laughs" (1928, Paul Leni, Universal Pictures) is a wonderfully dark silent film based on the book by Victor Hugo. Whilst it was not intended to be a horror film, the plot and the gloomy expressionist styling of the production lend itself to the genre.

Based in England in the late 1690s, we are introduced to King James II and his psychotic jester. A Nobleman has insulted the king and is swiftly executed via the infamous Iron Lady. Before his demise, the nobleman learns that his only son, Gwynplaine, has been captured and delivered to the monstrous Comprachico surgeon, Dr. Hardquannone, who has surgically disfigured the child's face into a horrific and permanent grin.

On a cold evening, young Gwynplaine (Julius Molnar Jr.) is seeking shelter when he finds a dead woman clutching a still-living, blind infant. He takes the baby girl with him and seeks help at the nearest house, that of Ursus (Cesare Gravina). Ursus quickly sees an opportunity to use the disfigured boy to make money.

Years pass and the now adult Gwynplaine (Conrad Veidt) is making a relatively good, but unhappy, living as a sideshow attraction known as "The Laughing Man", with Ursus and the captivating and kind hearted, blind girl, Dea (Mary Philbin). Gwynplaine has fallen in love with Dea, but although Dea returns his feelings and Ursus has offered to marry them, Gwynplaine does not think his grinning visage is worthy of such a beautiful creature.

On their travels, Gwynplaine's noble heritage is discovered and Queen Anne (Josephine Crowell) decides that the raunchy, badly behaved Duchess Josiana (Olga Vladimirovna Baklanova) should marry Gwynplaine as the true heir to his father's estates. Things do not go well, as you can imagine.

This film is wonderful. It is shocking and dark with such a horrific premise. The styling of the "Laughing Man" character is very ahead of its time with impressive prosthetics and makeup. He portrays a grotesque yet sympathetic character.

The silent era of films created such beautiful and disturbing films. If you have not seen one yet, I would recommend starting with The Man Who Laughs due to its beautiful score by Ernö Rapée, Lew Pollack and Walter Hirsch (which you will recognise as having been sampled for some of the Batman movies), clear imagery and acting, relatively fluid plot and swashbuckling scenes.

The Man Who Laughs was also the key inspiration behind the Joker character from Batman and Rob Zombie also has a track named in the character's honour.

[Image: Universal Pictures]

 

Hani

 

Zombie With a Shotgun

"Zombie With a Shotgun" (2012, Hilton Ariel Ruitz, FilmBrewery) is a zombie themed web series.

We meet Aaron (Braeden Baade, a man with a fine set of arms! Those are good arms to have) and his girlfriend, Rachel (Lynnea Molone), who are caught in the beginnings of the zombie apocalypse. Unfortunately Aaron has been infected by "some kind of virus" and appears to be heading for zombiedom.

In the first episode we find out how Aaron comes to be in the possession of a shotgun. Now, zombies toting firearms is not a new idea, we've seen it in Romero's "Day of the Dead" for example, but it's certainly interesting to see someone slowly becoming a zombie with a gun and find out what they will do with it when they get there.

At only 4-6 minutes long each the episodes are snappy and short keeping the viewer entertained. A dark atmosphere is still successfully built up despite the short run-time, with the use of some effective scoring, dark sets and the presence of vigilante human characters who constantly threaten our protagonist's existence.

Perhaps a little slow in plot and with a surprising lack of gore for a zombie film, the series focusses more on the gradual degradation of our leading man and his relationship with Rachel, than it does on gory fight scenes.

The acting is professional and the editing of the final product is shiny with a gritty realism. The makeup and prosthetics are effective and quite traditional, reminiscent of the older, less drool-y zombies. The special effects appear to be all physical, too (yay!).

A good Indie series with excellent potential for transforming into a larger series!

Catch episodes of the series here: http://vimeo.com/zombiewithashotgun 

[Image: FilmBrewery]

 

Hani

REC 3: Genesis

"REC 3: Genesis" (2012, Paco Plaza, Canal+ España, Filmax) is the third installment in the 'REC' franchise. This sequel takes the setting out of the house in Barcelona, and instead to the wedding of Clara (Leticia Dolera) and Koldo (Diego Martin) in a large country estate. The film setting is in parallel with both first and second "REC" films.

The first thing which struck me about this film was that it has taken an almost "Evil Dead 2" turn into gory comedy! The film does still use the 'Found footage' film technique, whether it be by mobile phones, the professional wedding camera man's footage or Koldo's cousin Adrián (Àlex Monne)'s camera. However, for some of the film, they have resorted to a normal third person filming style.

I liked this film. It was funny, gory, linked and yet completely separate from the other films in the series. You could happily watch this film as a stand alone. The two main characters are good fun and the action remains high energy. Although, they maybe tried a little too hard to create a "Resident Evil" 'Alice' character in the form of Clara.

I would say that this film loses something for the franchise, but as a film alone, it's pretty entertaining but not really very scary.

[Image: Canal+ España]

Hani