Anacondas: The Hunt for the Blood Orchid

"Anacondas: The Hunt for the Blood Orchid" (2004, Dwight H. Little, Columbia TriStar) is the disconnected sequel to Anaconda.

A group of scientific researchers journey to Borneo, Indonesia to hunt for the rare Blood Orchid which they believe has important medical properties which could extend human lives. They pay a guide to take them up river in their search, despite severe weather and flood warnings. And snakes. Lots of man eating snakes.

An adventure horror sequel which plays out pretty much as you expect it to. B-movie script, B-movie action, CGI that looks a bit clunky, some back stabbing, an obvious twist and the star of the show; Captain Bill's monkey friend.

A good bit of fun of notably lesser quality than the original film, and with more numerous, but less menacing, snakes.

[Image: Columbia Tri-Star]

Hani

The Ritual

"The Ritual" (2017, David Bruckner, Entertainment One, Imaginarium Productions) is the film adaptation of the novel by Adam Nevill.

A group of friends go on a hiking trip in the Swedish Wilderness to honour the tragic death of their friend. However, the trip goes from melancholy to menacing when they become lost and begin to realise that they are being chased by a dark and powerful presence in the forest.

"The Ritual" is good for a number of reasons and I'm going to try and get these down with as few spoilers as possible. But, as ever, if you'd rather not know any details before watching I recommend you click away now because there's lots of things I want to say about this film.

Firstly, the film (and I also assume the book, but I'm yet to read it, having only learned of its existence through researching this film) explores a lot of deep stuff. Our main protagonist is Luke (Rafe Spall) who witnessed the murder of his friend, Robert (Paul Reid), first hand and was spared a similar fate only by hiding. Throughout the film we see that Luke is haunted even before the forest with his deep guilt over not doing more to save Robert. He's a broken man who hasn't yet started to deal with what's happened. We also get to learn, as the group's friendships unravel in the stress of survival, that he's not alone in blaming himself for Robert's demise. The main journey of the film becomes not just survival of the forest, but of being a survivor ultimately and pushing past guilt to move forward in life. It's a strong message and "The Ritual" handles it well and with care. Luke is no hero. He's not even a particularly charming or likeable character. He's just a guy trying to live with what's happening. And I found that to be very effective and kind of refreshing.

Our other college buddies consist of; charismatic leader, Hutch (Robert James-Collier); quiet but funny Phil (Arsher Ali) and; the guy who doesn't really want to be there at all, Dom (Sam Troughton). The group dynamic is good and the team come across as genuine old college pals all moving on in their lives. We get a hint of everyone's fears in the movie and the characters are rounded enough to care about. Although personally I feel Phil was a bit short changed in the end.

Now to tackle what I really liked about the film; The scares. It's not a huge dialogue driven piece and the strong visuals make this a good thing. There's been a lot of 'thoughtful' 'quiet' horror recently that's more boring than artfully chilling, but "The Ritual" delivers its scares with style. The setting (actually Romania) goes from beautiful and picturesque to menacing and dark very nicely. We have some horror tropes in the form of spooky signs and abandoned cabins that don't feel overdone and are plot-relevant. We even have a skilful build up of our main antagonist from glimpses through the trees to a full on reveal that is both still scary and wonderfully designed. There are jumps and gore, freaky dream sequences, perilous situations and mythology.

The plot moves along at a good pace and the story actually develops as we go without just repeating the same style of scares over and over again. There are, of course, weaker points but they're all pretty arbitrary. Really, in my view, this film deserves lots of praise.

[Image: Entertainment One, Netflix, et al]

Hani

The Cloverfield Paradox

"The Cloverfield Paradox" (2018, Julius Onah, Paramount Pictures, Bad Robot Productions, Netflix) is a loose sequel in the Cloverfield franchise.

Paradox is a good enough sci-fi romp hindered by trying to force it into the confines of a sequel. Most of the action takes place in space following a crew trying to find a solution to Earth's increasing energy crisis. We follow protagonist and space station engineer, Ava (Gugu Mbatha-Raw). In all, the other crew mate characters are mostly thin in characterisation, with the exception of the charismatic Mundy (Chris O'Dowd) who seems to be able to steal scenes in almost everything he's in anyway.

There's some fairly decent space horror scenes which reflect genre greats including Alien and Event Horizon and a nice amount of jumpy bits as well as some humour.

However, the film suffers from some jolting scene jumps with the story bouncing from Earth to the space station and some of the Cloverfield nods and mentions felt a bit tacked on as if they were intended for a separate movie.

I didn't hate it as much as some, but I felt like it was given somewhat of a disservice and would have benefited as a standalone film.

[Image: Paramount Pictures, et al]

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

Daughter of Dr Jekyll

"Daughter of Dr Jekyll" (1957, Edgar G. Ulmer, Film Venturers, Allied Artists) is a low-budget, black and white horror.

Janet (Gloria Talbott) returns to her childhood home with her fiancé, George Hastings (John Agar), to celebrate her 21st birthday and to inform her friend and father figure, Dr. Lomas (Arthur Shields), of she and George's engagement. Upon returning, Janet learns that she is actually the daughter of the infamous Dr. Jekyll and she becomes concerned that she may also suffer from her father's monstrous affliction. However, all may not be as it seems!

A slow moving film which takes it's time to get to the point, but once there is quite entertaining. The setting is a big mansion in the woods surrounded by a small town of superstitious people who are quick to start an angry mob; it feels like most other horror films from the era. And although the scripting is a little clunky in places and the fight and transformation scenes do not compare to other, larger budget films of the era, I did enjoy the overall plot-line.

A film about a young girl's struggle for identity, masquerading as a cheesy monster movie. It's the kind of late night cheese-fest that hits the spot on a dark and stormy night.

[Image: Allied Artists]

Hani

Kong: Skull Island

"Kong: Skull Island" (2017, Jordan Vogt-Roberts, Legendary Pictures, Tencent Pictures, Warner Bros. Pictures) is a monster movie about the infamous giant ape, King Kong. It is a reboot of the legendary King Kong franchise. However, this time the story is not a carbon copy of the original, instead re-imagining Kong's origin tale.

A group of scientists and Vietnam war soldiers travel to an uncharted island to face the legendary beast and a host of other gigantic killing machines. Can they make it back off of the island alive?

A glossy blockbuster with lots of explosions, murderous CGI beasties and angry humans. Although the film is undeniably entertaining, it lacks some of the class of the old-time monster movies. There's a subtle hint to Kong's affection for kind-hearted female humans, but without the dramatic, heartbreaking familiar storyline, most of our drama is human-centric. In the main, the action is relatively repetitive and the real hero, Kong himself, actually sees very little screentime.

A blockbuster with a B-movie vibe that should be great, but feels misplaced. However, the success of the creature design bodes well for the impending face-off between Kong and Godzilla.

[Image: Legendary Pictures]

Hani