Society

"Society" (1989, Brian Yuzna, Wild Street Pictures) is a body horror film which was actually the directorial debut from Yuzna who brought us "Re-Animator" and "From Beyond" so... you know what you're in for.

Bill Whitney (Billy Warlock) is a teenager in Beverly Hills. He lives with his wealthy parents and sister, Jenny (Patrice Jennings). Despite his luxurious lifestyle, Bill feels alienated from his highfalutin family, and this is the main focus of his weekly meetings with his therapist, Dr. Cleveland (Ben Slack). Bill becomes obsessed with finding out what's going on when Jenny's ex-boyfriend, Blanchard (Tim Bartell), gives him a cassette tape which seems to implicate his family in a disturbing and murderous act. As Bill begins to delve deeper into the mystery of his family and the apparent elite cult that they are a part of, he begins to suspect that he may be more alone than he thought.... And that his enemies may have gruesome plans for him...

An entertaining and gooey horror comedy which builds to a fairly disturbing and equally funny climax. The effects (by Screaming Mad George (Joji Tani)) are surreal, perverse and delightfully gruesome and are, in all fairness, the true star of the film which is admittedly a little clunky in the plot department.

This is definitely a must-see for any body horror fan and will leave you chuckling and possibly also a little traumatised.

[Image: Wild Street Pictures]

Hani

Perfect Skin

**This review contains spoilers**

"Perfect Skin" (2018, Kevin Chicken, Perfect Skin Productions, KEW Media Group) is a psychological horror film about an obsessive tattoo artist who goes way too far in his attempts to create a masterpiece.

Katia (Natalia Kostrzewa) is a Polish woman who moves in with her Australian friend, Lucy (Jo Woodcock), in her London flat. While out partying Lucy introduces Katia to Bob (Richard Brake), an American tattoo artist who Lucy had received some tattoo work from in the past. Bob offers to design Katia her first tattoo, but he becomes obsessed with her as a perfect 'blank canvas' and kidnaps her in order to turn her into his personal masterpiece.

An extremely dark and sinister plot which is well executed and creates uncomfortable but intriguing viewing. As Katia wakes to discover more and more changes to her body she becomes both horrified at the transformation being done without her consent and also interested in spite of herself in what Bob has planned, as well as in his other dark interests.

A study in obsession, dominance and retaliation which manages not to vilify the sub-culture of body modification, despite the antagonist's misuse of it. The film straddles the void between exploitation movies and torture films becoming fairly difficult to fit into any one box. While certainly not pleasant viewing, the cast deliver a haunting performance that may leave you looking for the wire brush and dettol afterwards.

Currently available to rent from YouTube.

[Image: KEW Media Group, et al]

Hani

Sleepaway Camp II: Unhappy Campers

"Sleepaway Camp II: Unhappy Campers" (1988, Michael A. Simpson, Double Helix Films) is the sequel to "Sleepaway Camp".

Angela (Pamela Springsteen) has supposedly reformed after her murder-spree at Camp Arawak 8 years prior and has opted to continue to identify as female. Having assumed a different surname, she has become one of the camp counsellors at Camp Rolling Hills. However, Angela is constantly disappointed in her campers and colleagues' behaviour... soon she's back to her old slasher ways!

Springsteen takes up the mantel of Angela from Felissa Rose from the original film. The young adult Angela is an enjoyable antagonist. She's funny, sneaky, a bit nerdy and violent. Plus she enjoys a good sing-a-long.

The sequel enjoys a lot more action than the original, and we are treated to some of Angela's witty slasher repartee and some homages to other slashers of the time. There's some fun gore and the film is certainly more of a comedy satirical horror than the original was, but is definitely bingeable as a double feature.

I feel Angela deserves more recognition as a slasher killer!

[Image: Double Helix Films]

Hani

The Video Dead

"The Video Dead" (1987, Robert Scott, Interstate 5 Productions, Highlight Productions, Manson International) is one of those 80s horror films whose cover art is the reason I got into horror in the first place.

A writer receives the delivery of a television by accident which turns out to be the gateway to the real world for the zombie antagonists of a black and white B-movie called "Zombie Blood Nightmare". Despite being unplugged, the zombies escape through the screen and begin to terrorise the neighbourhood. Some time later a new family buys the writer's house and discover the TV in the attic and the humorous zombie antics begin again!

Cheesy, clunky and bizarre this little gem of B-movie ridiculousness is one of those pizza and beer movies that will keep you and your friends laughing and eye-rolling in equal measure. From crazy characters, weird scripting and zombies in wigs this movie enjoys some amusing ideas.... and oddly no video tapes at all!

[Image: Interstate 5 Productions, 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 (2018)

"Suspiria" (2018, Luca Guadagnino K Period Media, Frenesy Film Company, Videa Mythology Entertainment, Memo Films, Vega Baby) is the arthouse re-imagining of the 1977 Dario Argento film of the same name.

Susie Bannion (Dakota Johnson) leaves Ohio and enrols in a dance academy in West Berlin. She becomes the favourite of the instructor, Madame Blanc (Tilda Swinton), but begins to suspect that something very strange is going on at the school as she and her friend Sara (Mia Goth) begin investigating. At the same time, a psychologist (also Swinton in impressive prosthetics making this, minus some minor roles, an all-female cast) is investigating the school after the disappearance of  his patient, Patricia (Chloë Grace Moretz), who had left journals stating that she believed the matrons of the school to be witches.

Cards on the table I did not love this film. I found the length excessive with long winded shots and scenes that seemed artsy for the sake of it, rather than a statement or style. The film's pacing was tedious and I found the plot to be somewhat incoherent (and that's saying something from me, a fan of some of the most incoherent B-movies ever made). The whole side-plot with the Doctor seemed unnecessary and the grim styling, which I'll get to below, coupled with the pacing made the film seem even slower. Unlike the original, the remake also didn't have a strong memorable score. In honesty, I can't imagine how this could be achieved without infringing on the original, but I felt that I barely noticed the score at all.

That's not to say that I didn't find things I liked about the film. The styling and colouration of the original could not be matched or recreated without seeming like a pointless copy, so I admire the direction of Guadagnino to go his own way. The style seems consistent with West Berlin in the 70s. The scenery is also reminiscent of the original but much more drab, grey and gritty. I also appreciated that the film was immersed completely in its German setting. As a German language learner I was thrilled to pick up most of the German dialogue without the need of subtitles. However, for non-speakers of the language it perhaps made a long film feel even longer.

The body-horror elements were really good; lots of bone breaking, gut spilling and pants pissing, and a very chaotic and Giallo-homage ridden scene filled to the brim with nude dancers and grizzled old witches. However, the journey to reach the payoffs was long and, although the gore and effects were stunning, even these scenes seemed overly long and lingered too much which, for me, robbed them of some of their effect.

While I didn't hate the film, I am unlikely to watch it again and view it as an experience as a genre fan, rather than a piece of entertainment. Clearly it just isn't for me.

[Image: K Period Media, et al]

Hani

Knucklebones

"Knucklebones" (2016, Mitch Wilson, Midnight Releasing) is a supernatural slasher film.

Julin (Neesa Avery) had thought things were going well until her fiance ended their relationship. To cheer her up her friends decide to take her with them on a misguided night of partying at an abandoned factory which was the site of a brutal and mysterious massacre several decades previously. The friends come across a creepy, arcane looking dice game which includes amongst its pieces, some old human knuckle bones. Of course, being young and merry, the friends decide to play the game and accidentally conjure up the demonic presence of Knucklebones (Tom Zembrod) who makes it his business to brutally slay everyone in his path.

A fun genre entry which follows a well-trodden, but no less entertaining, slasher plot and format. The titular demonic entity has elements of some familiar antagonists such as Freddy Krueger and Jason Voorhees in that he's talkative (obviously a Freddy trait rather than a Jason one), seemingly omnipotent, disfigured and menacing. Our cast of killer-fodder are fairly standard beautiful characters (some in short-shorts) but this familiarity works to the film's benefit. Protagonist Julin, however, goes above and beyond the typical final girl role and takes command of her fate.

The kill scenes are well put together and imaginative with some nice bone breaking effects and the right dose of cheese. We're also treated to some cheesy Nazi experimentation and a nicely grim hand scene.

While it's not trying to break the mould, the film delivers an enjoyable B-movie slasher worthy of a view. Currently available on Amazon Prime.

[Image: Midnight Releasing]

Hani