The Lighthouse

"The Lighthouse" (Robert Eggers, A24, Regency Enterprises, Universal Pictures) is a black and white psychological film inspired by the avant-garde/experimental style.


Set in the late 19th Century, two lighthouse keepers are sent to the lonely and secluded island for their four week shift. The two do not get on and, trapped on the island in a storm, it seems that they both begin to lose their sanity with deadly results...


Personally, this film was not for me. Technically speaking, however, it's an interesting film. Well shot and bleakly atmospheric, it delivers a disturbing piece. Filmed on 35mm and in an old fashioned ratio adds to the cinematic experience. From what I've read, the set up and filming process were both extremely labour intensive and complicated, so the film is certainly a feat in this regard.


Both Robert Pattinson and Willem Dafoe give intriguing performances as the younger, less experienced keeper and the abrasive older keeper. Their relationship is taught, uncomfortable and ultimately deadly. There's also the added element that both characters are extremely unreliable narrators (given their own secrets, alcohol abuse and apparent cabin fever), so that we are never truly sure what events are happening, and what are figments of the men's imaginations.


Overall, I found the purposefully disjointed style and delivery to be rather boring and I definitely felt the full 109 minute runtime. Whilst I can appreciate the style and aesthetic of the piece, I didn't find it to be particularly entertaining and, unlike Eggers' "The Witch" (2016) or Ari Aster's "Hereditary" (2018) , I wasn't even left with the same grim emptiness or shell-shocked feeling that lingered after the credits rolled. While I think it's sure to become an important film in the future for aesthetic and style reasons, I wasn't overly impressed with it as a film and wouldn't hold it in the same esteem as I do David Lynch's surreal and uncomfortable "Eraserhead" (1977) (which no doubt played some part in inspiration). For me it played out a little too much like a project piece rather than a finished article.


So, although I can and do appreciate the film's technical and aesthetic merits, it's unlikely to be one I'd choose to revisit. However, for the intrigued, it's certainly worth catching for the experience.

[Image: A24, et al]

Hani

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]

Hani

Haunter

"Haunter" (2013, Vincenzo Natali, Wild Bunch, IFC Midnight) is a haunted house story with a slant.


Lisa (Abigail Breslin) is a teenager in 1985. She's also dead. Lisa 'lives' in her house with her mum (Michelle Nolden), dad (Peter Outerbridge) and little brother, Robbie (Peter DaCunha) who appear unaware that they are also dead. Lisa's stuck in a Groundhog Day-esque timeloop of the same day; the car is always broken, the laundry is always needing done, dinner is always the same...


When Lisa becomes aware of her predicament, she tries to highlight it to her family but they seem to be oblivious to their situation. Lonely and angry, Lisa begins to try to find out what is going on. She starts to find clues and discovers that she is the ghost haunting the teenager, Olivia (Eleanor Zichy) now living in her room in 2013. To add to this, there may be a sordid history in the house and many other ghosts trapped there... Can Lisa stop it before Olivia's family are doomed to be next?!


A fun little film with a good performance from all of the cast, but especially from Breslin who is a sympathetic protagonist but also a strong character. She manages to walk the line of moody teenager and girl-in-peril without coming across as whiny or overbearing.


While the plot is fairly straightforward and the antagonist suffers from some confusing scenes throughout; the overall film is entertaining and creates an engaging atmosphere. The repetitive nature of the timeloop is something that has been done extremely well before (the previously mentioned Groundhog Day) and since (Happy Death Day). "Haunter" manages this timeloop fairly well also, with slight tweaks in the loop to show progression and just enough repetition to highlight what's going on. It also captures some elements reminiscent of the Amityville House.


"Haunter" nicely tells the tale from the ghost's perspective without getting too caught up in the ghost mythos, and delivers an intriguing little mystery. It's fairly light on the scares, however.

[Image: IFC Midnight, et al]

Hani

Velvet Buzzsaw

"Velvet Buzzsaw" (2019, Dan Gilroy, Netflix, Dease Pictures Inc.) is a film about haunted art.

We follow several somewhat repellent people working in and around the Art world as they discover the art of a disturbed and isolated man named Dease who recently died in his apartment. Despite strict wishes of the deceased to have his art destroyed, art agent Josephina (Zawe Ashton), gallery owner Rhodora Haze (Rene Russo) and art critic Morf Vadewalt (Jake Gyllenhaal) become determined to make their fortunes and names selling the pieces. As Dease's work becomes a success and begins to garner attention, however, the people involved in the deal begin to mysteriously disappear or turn up dead...

A fun supernatural horror which satirises the Art world and delivers some humour along with some cheesy gore. The film takes its time to set up the scene and introduce us to its cast of colourful characters played by a collection of well respected names. In addition to those mentioned above we also have Toni Collette, Tom Sturridge, John Malkovich, Daveed Diggs, Billy Magnussen and Natalia Dyer all playing parts of artists, curators and others involved in the world of Art all keen to be the one to discover the "next big thing".

Once the set up is complete we are treated to some amusing deaths and some effective imagery delivered in a offbeat style while poking fun at its subject matter. The film has a slick art house feel while also mocking that exact thing but doesn't go out of its way to be anything beyond entertaining. And that is the point! The kill scenes are amusing and creative, if a little silly, and all in all I found it to be a pleasing 109 minute ride.

If you're looking for hidden layers, there aren't really any there. The film has the feel of a Goosebumps book plot turned into a film for a more adult audience. And that, in my book, is no bad thing.

[Image: Netflix et al]

Hani

Suspiria

"Suspiria" (Dario Argento, 1977, Seda Spettacoli, Produzioni Atlas Consorziate) is a supernatural Giallo horror set in Freiburg, Germany.

Suzy Bannion (Jessica Harper) is a young American ballet student who enrols at a prestigious German dance academy. In a memorable opening scene she arrives at the school at night during a thunderstorm to find the building locked up. Before giving in and leaving to try again during the day she glimpses what appears to be another student leaving the school in a panic and running into the woods. The next day Suzy is welcomed to the school by the stern Miss Tanner (Alida Valli) and headmistress, Madam Blanc (Joan Bennett), but learns of the grim murder of one of the students; the girl she saw running the previous night... During her studies, and having befriended neighbouring student, Sara (Stefania Casini), Suzy begins to suspect that something very grim is going on at the academy...

An intriguing film that enjoys stunning scenes. The lavish styling, setting and lighting are some of the most recognisable in film. The scoring by prog-rock band Goblin is also very unique, striking and effective. I am also a fan of the wardrobe. Every character is adorned in some beautiful garment or quirky suit - it's a real stylish piece of cinema.

Harper provides a strong but sympathetic protagonist who spends the duration of the film working things out head-on and without shying away. As with most movies of this type, keeping up with the plot can be an exercise and it's the kind of film that seems to unlock more and more detail with each viewing. We are treated with action from the onset with stabbings, hangings, razor wire pits and reanimated corpses to keep us entertained.

There's very little reference made in the film, aside from the introduction, of it being set in Germany and the scenes involving Dr. Mandel and Professor Milius can seem a little jarring and out of place. But the beauty of this movie is in its stylish flair and the urgency of its pacing.

I was first introduced to this film at an all-night horror film festival and I have enjoyed many re-watches since then. It is also the first of Argento's "The Three Mothers" trilogy.

[Image:  Produzioni Atlas Consorziate]

Hani

Bird Box

"Bird Box" (2018, Netflix, Susanne Bier) is a dystopian, post-apocalyptic film based on the novel by Josh Malerman.

The world as we know it ends when mysterious creatures descend upon Earth which take the appearance of the worst fear or regret of anyone who looks upon them and drive that viewer to immediate suicide.

We follow Malorie (Sandra Bullock), who was heavily pregnant when the creatures struck, as she fights to survive in this horrifying new world where you cannot look outside without risking immediate death. We follow her through two timelines; the immediate aftermath of the creatures' arrival and 5 years later...

A very tense, very effective film that is particularly scary due to what it doesn't show you, rather than what it does. The victims see the worst thing they can imagine and the fact that we only see the impact on them rather than the vision in front of them is very, very effective.

Stellar, emotional performances from the whole cast really bring the horror of the situation to life and Bullock's distant, smart, shell-shocked lead character is both relatable and difficult at times to watch as she desperately chastises the children in order to ensure their safety and hide her own feelings. Each character is its own short study whether they are angry and cut off, brave and self-sacrificing or scared and foolish.

Truly a suspenseful and emotional ride which is more about the journey than the destination or, in this case, the answers to the mystery.

[Image: Netflix]

Hani

Radius

"Radius" (2017, Caroline Labrèche, Steeve Léonard, EMA Films, Peripatetic Pictures, Title Media, Filmoption International) is a supernatural thriller.

Liam (Diego Klattenhoff) awakes to find himself suffering from amnesia after a car crash. He flags down a car looking for a lift only to find, to his dismay, a corpse within. Spooked, he walks on to a roadside diner to find everyone within also dead. Convinced that there is some airborne virus, he makes his way to his home (known to him because of his driving licence) to wait out the epidemic. Soon, however he finds that it is his own close proximity, and not a virus, that is the cause of the mysterious and sudden deaths. Things become even more confusing when a woman (Charlotte Sullivan) finds Liam who not only also has amnesia, but whose own close proximity to Liam stops his deathly curse. As the pair are hunted by the authorities, who are following up on the mass deaths, they begin to uncover more and more about their lives and how their stories are intertwined.

A really excellent yarn that was engaging, twisted and kind of beautiful. The film plays out the mystery at a good pace and we uncover the clues along with the characters. Despite their amnesia, we develop a link with Liam and "Jane" that makes the twists and turns of their journey that much more hard-hitting.

The deaths of the unfortunate humans and animals who encounter Liam's deadly radius are quick but chilling and the bloodless white-blue eyes were a haunting and stylish touch.

A film definitely worth checking out, "Radius" delivers its intrigue and its thrills in a steady balance and manages a couple of pulse-pounding scenes where our protagonists must fight to stick together or else doom those around them.

 

[Image: EMA Films, et al]

Hani 

The Presence

"The Presence" (2010, Tom Provost, Khartoum, Saturn Harvest Films, Flatland Pictures, Lionsgate) is a quiet, eerie ghost story.

A woman (Mira Sorvino) is staying at a secluded cabin to get away from it all. She is being stalked by an apparition (Shane West) who has taken up residence in the cabin. When the woman's boyfriend (Justin Kirk) turns up unexpectantly to surprise her, the ghost becomes more possessive, jealously trying to keep the woman for himself.

A quiet film that needs your attention to have impact. The ghost wonders around in the background, following the woman as she goes about her day. Although she can feel that there's something there, she is unable to see him.

As time goes on, and especially as their peace is broken by her boyfriend's sudden arrival, the ghost begins to step up his haunting and the woman also begins to behave more erratically as a result.

The film is slow, quiet and eerie without much dialogue. The scenes are beautifully captured and somewhat melancholy in essence. Although I enjoyed it, despite its slow nature, the ending is somewhat muddled and didn't match the rest of the film, which was a little disappointing.

More of a contemplative and mysterious thriller than an exciting horror, it's definitely not one for everyone. And the lack of explanation within the plot could be a sticking point for some viewers.

[Image: Lionsgate, et al]

Hani

Hell House LLC

"Hell House LLC" (2016, Stephen Cognetti, Cognetti Films) is a found footage mock-umentary film set in a Halloween haunt.

The film circulates around a film crew trying to unravel the mystery of a tragedy which struck a haunted house in an abandoned hotel. Although authorities reported a 'malfunction' as the cause of the panic, survivor footage and accounts have made it seem like something more sinister happened. When someone steps forward as a witness who was involved in the tragedy, along with a lot of new, unseen footage, the crew think they might be on the verge of a breakthrough. We follow the story of the group of haunters setting up shop in the small town just outside of New York city and see first hand the events as they unfolded.

I'm not the biggest fan of found footage as a rule. The jumpy camera style gives me motion sickness and often the acting is unnatural and distracting. But, "Hell House LLC" manages to be dark, entertaining and filled with effective jump scares. The camera motions are very typical of a found-footage flick, but the effective screen cutting, styling and overall storytelling keep the viewer engaged and stop it from becoming boring.

The characters are well evolved and a good sense of camaraderie (and animosity) is built up effectively. Some of the jump scares are pretty by-the-book, but these are well paced and nicely shot. There are a few, however, that actually elicited a jump from me and the use of one of the haunt props is extremely well done. It is definitely this that made the film stand out for me and has brought it into my annual Halloween watch list.

The film delivers an effective scare fest and neat plot twist that creates a great Halloween party atmosphere. And while the plot isn't exactly breaking any new ground, it does inject the jump-scare, found footage genre with a fun, atmospheric entry.

[Image: Cognetti Films]

Hani

Julia's Eyes

"Julia's Eyes" aka "Los ojos de Julia" (2010, Guillem Morales, Rodar y Rodar Cine y Televisión, Double Dare You, Universal Pictures) is a Spanish thriller about blindness. 

Julia (Belén Rueda) is a twin, whose sister, Sara, has committed suicide shortly after becoming blind. Sara's blindness was caused by a hereditary condition from which Julia is also suffering, and she and her husband, Isaac (Lluís Homar), are already preparing for her own inevitable fate. 

Julia becomes convinced that Sara's death was not a straightforward suicide, and she begins to investigate herself, as her own sight begins to slowly diminish. Alas, time is running out and she is assigned a care worker, Iván (Pablo Delqui). Can she avoid the fate of her sister?

A fun thriller with some good effects and some chilling scenes dotted throughout what is otherwise a slow-burning mystery, more than a horror. Julia’s slow, but steady march towards blindness is effectively portrayed through lighting and skilfully keeping other characters just out of sight.

An effective thriller that packs possibly too many twists, but delivers with a fun, but straight-faced style that makes our heroine’s sense of loss and hopelessness palpable. 

Hani 

The Tall Man

"The Tall Man" (2012, Pascal Laugier, Image Entertainment) is a thriller with a disturbing message masquerading as a horror film. It is not a horror film.

Beware, spoilers below...

A small former mining village called Cold Rock has seen a lot of child disappearances over the years. The villagers have associated these disappearances with an urban legend known as The Tall Man, a figure who is seen taking the children into the woods where they disappear without a trace. Jessica Biel plays Julia, the town's nurse. We see Julia's son, David, being kidnapped and follow her as she fights for his return...

The film starts off as a horror, but quickly boils back to a confusing mystery plot that seemed to be going in a different direction, before quickly jumping in yet another direction and passing into a plot quicksand pit that delivers a garbled message about child abduction being a good thing? Provided, apparently, that the children are taken from the poor and delivered to the rich. Besides this somewhat misguided premise, the film suffers from a jumpy, complex plot which wasn't intriguing enough to make the big twist very forceful.

For me, the only redeeming feature of this film is Biel's character showing injuries throughout the film that didn't miraculously heal themselves in that good ol' fashioned Hollywood manner.

[Image: Image Entertainment]

Hani 

Devil

"Devil" (2010, John Erick Dowdle, Media Rights Capital, The Night Chronicles, Blinding Edge Pictures, Universal Pictures) is a horror set in an elevator.

Detective Bowden (Chris Messina) is a recovering alcoholic who lost his wife and child in a hit and run several years beforehand. He's assigned to a suicide case where a man has jumped from a tall building in Philadelphia. Meanwhile, five strangers all become trapped in an elevator within the same building from which the man jumped.

The elevator lights go out, and to the dismay of the trapped people and the security guards watching the monitors, when they come back on one of the elevator's occupants is dead. Suspecting that someone inside the elevator is responsible, Detective Bowden becomes involved.

As the day goes on, more and more mysterious deaths happen inside the elevator. Everyone becomes more suspicious and tensions run high. Each character quickly reveals the darker sides of their personalities, and each trapped person has a dark secret. It soon becomes apparent that darker forces are at work here than just a murderer in their midst, as they begin to suspect that something evil is in the elevator with them, or maybe within one of them...

The film has a relatively slow build up after the initial shocking falling scene, but creates a good sense of tension throughout which I enjoyed. It's not a gory film, but enjoys some quick, jumpy scenes and a mystery vibe that kept me engaged as a viewer. As our trapped characters become more panicked and more paranoid, they reveal more about themselves. This film acts as a good character study and a morality message.

Whilst the general premise is simple, it's intriguing.

[Image: Universal Pictures, et al]

Hani

Cube

"Cube" (1997, Vincenzo Natali, Odeon Films, Viacom Canada, Ontario Film Development Corporation) is a Canadian sci-fi horror about a bunch of strangers finding themselves inexplicably locked in a cubic, booby trapped prison.

The only way to escape is to work together, but can everyone hold it together long enough to survive?

Cube is a low budget film, and if you're looking for flaws you'll find them; the sets are all the same with different lighting, the traps are relatively simple and the premise and plot don't develop much. However, it doesn't stop me from loving this film. It's a clever film. While the premise and setting are both simple, the characters develop, creating intrigue as each reveals more and more of their increasingly flawed personalities. Each new room has a sense of threat and builds excellent and claustrophobic tension as we travel through the deadly maze.

"Cube" plays out as an interesting character study with a sci-fi setting and manages to remain engaging despite its limited setting.

[Image: Odeon Films, et al]

Hani

Don't Blink

"Don't Blink" (2014, Travis Oates, EchoWolf Productions, Engine Film Group) is a suspense horror about a group of young people (not that young) who drive up to the countryside to an idyllic cabin resort for the weekend. Only, there's no one to check them in, no other guests, no wildlife and no signs of a struggle.

A movie which is a victim of itself. It has the promise of a creep factor and a good base concept. Unfortunately, the base concept never develops into anything more than an idea jotted on a scrap of paper during a meeting, and the character development is just not good enough to make me care about the characters' situation.

They are all pretty much asses. We learn early on that they're also irresponsible (who goes up the mountains without stopping for fuel?!). In fact, the best bit of character development is a rather chilling and brutal descent into madness. That is by far the best and most impressive scene of the film.

But the slow pace, lack of any action for a good while and the fact that nothing is explained at all. No tidbits. No revelations by our characters. Nothing. Doesn't build mystique for me, it just left me feeling bored and empty like I'd just wasted 2 hours of my life.

Now, it's not awful. It's beautifully shot, with a nice location. Mena Suvari is in it. And there are some hints at darkness that whetted my appetite for that complete lack of pay off.

There are messages scrawled in blood that our characters fail to notice. There are some good gore scenes and there are even a few truly humorous moments.

Unfortunately, this does not override the complete lack of anything at the end of this film and the unsatisfying feeling it left me with. Nope. It wasn't a chilling, ground breaking plot it smacked of lazy writing.

It's a shame, too. Doctor Who had built up so much promise around the phrase "Don't Blink".

[Image: EchoWolf Productions]

 

Hani