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Reviews
Hotel (2004)
Spare storytelling
Irene takes a job as a receptionist at a chilly hotel in the Austrian Alps. She soon learns that the previous employee in her position disappeared from the locale under unclear circumstances, and later discovers a local legend about a witch who dwelled in a nearby cave centuries prior.
This debut from Austrian filmmaker Jessica Hausner is an ominous, at times totally oppressive offering that will divide (and has divided) viewers since it premiered at Cannes in 2003. "Hotel" is the kind of film that employs a storytelling mode that is sparse, at times tantalizingly so. The audience is fed bits of information just as the lead character herself is. We don't necessarily know what to do with it, nor do all of the strands fully converge in the end, but the overall impression that is created stands very strongly.
The location is integral to the film's power, and it also leaves a strong impression on the viewer. The hotel itself appears as a WWII monolith with a newly-fabricated modern millennium sheen. These contrasting elements are most clearly highlighted in the sleek, modern-looking lobby and the crumbly, cavernous, bunker-like basement which comes to take a prominent role in the film.
As is the case with everything else in "Hotel", the performances here are both immediate and distant, with characters that leave strong impressions despite rather threadbare characterization. In the end, the film as a whole will frustrate viewers who wish for more detail and less opaque conclusions--and on one hand, I understand this sentiment. On the other, however, "Hotel" does serve as a haunting, strange film whose power largely derives from the fact that it is comfortably seated in a liminal world. If you yearn for a moderately creepy sort of fable from the realm of the vague, look no further. 7/10.
Azrael (2024)
Brisk, gory backwoods apocalyptic horror
"Azrael" follows the titular character, a woman living in a post-rapture world where humans (or at least those in the cult of which she is a member) have removed their vocal cords, living a life of speechlessness, which they interpret as a virtue. Ousted from her group in the wilderness, Azrael is forced to fight as she is led to be a sacrifice to the humanoid creatures that prey on the living.
In a film where spoken dialogue is nearly non-existent, storytelling can become tricky, though it has been executed nicely more than once. While some have pointed out this facet of "Azrael" as a gimmick, the truth is that a story like this doesn't (surprisingly) actually need dialogue. The framework here is indeed skeletal, and there is a lot of context that is never expounded upon, but I found that this film seemed to function effectively despite this, as the film's own logic is also pretty straightforward.
There are clues and suggestions throughout that I found myself mentally chewing on after leaving the theater, but more out of curiosity than sheer frustration. What made the film work for me I think, above all else, is that it is a highly immersive viewing experience, and I suspect the lack of dialogue has something to do with this. It is also very slickly shot, and there is nary a dull moment as the lead character faces a series of visceral, violent trials and tribulations as she faces the creature-ridden forest in which her group of rapture leftovers reside. The gore is very much pronounced, and the practical effects are all very impressive.
Samara Weaving gives a high-octane performance here, and the supporting cast all turn in equally effective work. The film really kicks into high gear in the last fifteen minutes, and ends with an image (and implication) that will keep you thinking afterward. Is it perfect? No. But it is certainly more inventive and interesting than any of the "A Quiet Place" sequels are. 8/10.
The Substance (2024)
A gruesome parable on self-loathing
"The Substance" follows Elisabeth Sparkle (Demi Moore), a renowned fitness TV star whose career (and life) comes crashing down on her 50th birthday when her boss, Harvey (Dennis Quaid), calls it quits on her long-running series. Through a chance encounter, Elisabeth learns of a mysterious black market substance that claims to replicate her DNA, leading to the birth of a second, "newer, better" version of herself. Desperate, Elisabeth takes the gamble, giving life to Sue (Margaret Qualley). The two selves must trade off in seven day intervals (leaving the other in a comatose state), but maintaining this balancing act proves troublesome, leading to disastrous consequences.
While I enjoy body horror films, it is not necessarily my favorite sub-genre, but I had fairly high hopes for "The Substance" with a few reservations. I walked out of the theater nearly speechless. It may be the best horror film I've seen this year, and there have been a lot of great ones thus far. While "The Substance" is certainly not for all tastes, it is a film that has a little bit of everything. It's gruesome and ghastly, but it's also at times jet-black humorous. There is action, gore, dance sequences, car crashes, blood-soaked fights and broken glass, and more than a few interior visual homages to Stanley Kubrick's "The Shining". There are even audacious special effects pieces that rival (and recall) the bonkers creations of Screaming Mad George (see Brian Yuzna's "Society" for reference), something I never in a million years could have imagined I'd see on display in a movie starring Demi Moore.
And yet, behind all the monstrous spectacle and bloody entrails, "The Substance" also has thematic weight that renders the film's more violent elements an emotional dimension that is at times painful to watch. At its core, this film is a parable on self-loathing. Yes, there is a strong commentary on beauty standards (particularly those of women) and the corporate machines that power (and distort) the images we have of ourselves. When you boil it down, though, this is a story that has a universal appeal because the nature of it is very much human.
Visually, the film has a hyperreal look and smart, effective pacing that leaves its 2 hour and 20 minute-runtime feeling like a breeze. A film like this would not work without competent performers, and we get that in droves from Demi Moore here. Nobody has ever seen her in a film like this, and she gives a gung-ho performance that hits the emotional beats just as expertly as the grotesque. Margaret Qualley is her counterpoint as Sue, and matches Moore on both of these levels, as the two women (or rather, one--an important distinction in the plot) do a sort of dance that is part "Dr. Jekyll and Mr Hyde", part "The Picture of Dorian Gray". Dennis Quaid rounds out the principal cast here as Moore's (and later, Qualley's) boss, a gross pastiche of the slimiest of slimiest entertainment executives.
The film ramps up in the last act in a way that I didn't exactly see coming. I expected a credit roll after a few key moments, but no--Coralie Fargeat kept pushing. I can only describe the finale as a perverse collision of something like "Ziegfeld Girl" and the climax of "Hello Mary Lou: Prom Night II", but in all truth, I'm not sure I've seen anything quite like it before.
In the end, though, I cannot help but feel that the most harrowing and powerful sequence in the film is a protracted, brutal physical battle between the two leading women, which serves as a distillation of everything it is speaking to. Underneath all the blood, the teeth, the bone, and every pound of flesh, "The Substance" is really an agonizing portrait of just how much we can hate ourselves--and more importantly, the price we pay for doing so. 10/10.
Strange Darling (2023)
A playful and eccentric cat-and-mouse thriller
"Strange Darling" focuses on a one-night stand between two strangers in rural Oregon which, as the plot expands, becomes a portrait of a serial killer's rampage.
Deliberately told in a nonlinear fashion (literally with chapter title cards which unfurl the story in a non-chronological order), this psychological thriller is another welcome addition to the numerous independent surprise genre efforts of the year. The story here is deceptively simple, and the devil is entirely in the details: It is the narrative arrangement that makes this a particularly engaging experience, and the film maintains a playfully macabre sense of humor and self-awareness that keeps the proceedings entertaining no matter how grim the circumstances become.
"Strange Darling" echoes a bit of the Coen brothers in terms of its wry sense of humor set against a down-home bloodbath, and there are also blatant odes to horror classics like "The Texas Chain Saw Massacre" in the John Larroquette-style rolling intro that presents the film as the true events of a killer's murder spree that spanned years and several states. The lead actors, Willa Fitzgerald and Kyle Gallner, have solid chemistry and give raw performances that make the film all the more effective. Barbara Hershey and Ed Begley Jr. Are also a welcome surprise playing a memorable pair of kooky backwoods hippies.
I do feel that the film begins to slightly putter out a bit in the final fifteen minutes, and a subplot briefly comes into focus which was only hinted at in flashes earlier on, only to be ultimately left purposefully vague. On that front, I was left wanting a bit more, though it did not detract from the film as a whole.
All in all, I found "Strange Darling" to be a refreshingly crafty thriller that toyed with conventions and expectations in a way that was nuanced and effective. More than anything else, though, it is just plain fun, and maintains a punk rock spirit that doesn't feel contrived. As far as independently-produced thrillers go, it is one of the best I have seen in quite a long time. 8/10.
Cuckoo (2024)
A pleasantly strange surprise
"Cuckoo" follows teenaged Gretchen who begrudgingly moves to the German Alps where her father has been hired to design a new resort for proprietor Herr König. Once there, Gretchen takes a job running the reception area of the current (and decaying) resort lobby. After a series of odd occurrences, she finds herself being pursued by a strange cloaked woman.
I went into this film with tempered expectations, despite the fact that the trailers intrigued me, and I am happy to say that "Cuckoo" was a pleasant--albeit imperfect--surprise. Tonally and atmosphere-wise, writer/director Tilman Singer strikes gold. The Bavarian Alps locations are breathtakingly captured, and the set pieces (specifically the dusty, retro hotel lobby and bungalows scattered at the forested foot of a mountain) feel like a cross between "Twin Peaks" and Dario Argento's "Phenomena".
Script-wise, where "Cuckoo" works best is in its ability to keep the audience in a state of limbo and intrigue. The formula here is familiar: Protagonist comes to a new location; things are not as they seem. However, the parameters of utter strangeness that this story is stretched to really makes it completely unique and unlike anything I've ever seen. As it progresses, it veers into science fiction territory, and in moments reminded me of something like 1981's "Strange Behavior", a film about a teenager uncovering a strange plot in his small Midwestern town. "Cuckoo" similarly follows its own logic without reservation, and the outcome might be too much for certain tastes. As others have noted, I do think the film nearly goes off the deep end in the last act, as the plot threads established early on do not feel as though they fully coalesce.
While I did not find the film particularly scary, the strange cloaked mystery woman who serves as the chief antagonist here has some effective and bizarre appearances, and her overall getup (trench coat, boats, sunglasses) feels like something straight out of a giallo. Performances here are uniformly solid, with Hunter Schafer playing the rebellious but likable lead, and Dan Stevens as the strange resort owner. Jan Bluthardt is also great as a detective that ultimately ends up teaming up with Gretchen, and the two develop a quasi-buddy kinship. There is in general a consistent sense of humor throughout the film that most of these actors have the opportunity to tap into, and which makes the proceedings especially fun.
All in all, while I think the film could have benefitted from some tinkering in its last act, I nonetheless enjoyed "Cuckoo" for the mere fact that it is wholly original in more ways than one. The atmosphere and performances only give the film more bang for its buck, and the utterly strange places the story goes were more than enough to keep me intrigued. If you're hankering for a strange trip into the Alps, look no further. 7/10.
Criminally Insane (1975)
A strangely unforgettable 61 minutes
"Criminally Insane" follows Ethel Janowksi, a San Francisco spinster released from a mental institution to the care of her grandmother. The dissociated Ethel's main problem seems to be her insatiable desire for food, and grandma's attempt to curb her appetite leads Ethel down a destructive, bloody path.
This no-budget schlocker has much in common DNA-wise with John Waters's early films--there are moments that recall the absurdity of works like "Multiple Maniacs" or even "Female Trouble", albeit "Criminally Insane" is notably less subversive and a bit more goofy in demeanor.
You know within the first two minutes exactly what you're getting here, which is a shoddily-edited, generally terribly-acted exploitation flick with abysmal special effects and fake blood resembling tomato bisque. That being said, it is really all in good fun, and fans of Z-grade horror flicks will find plenty to enjoy here. Though far from scary, the film does retain an oppressive atmosphere, as it largely takes place in the confines of an old San Francisco row house, and really provides a time capsule of the city in the mid-'70s.
The only somewhat recognizable face here is George Buck Flower as a detective, while Priscilla Alden plays the deranged Ethel with an atonal blasé attitude that is more humorous than anything; the character herself is ridiculous and bumbling, and her efforts to conceal her crimes (including a lazy, failed attempt at throwing body parts into the ocean from a lookout) are so thoughtless that you cannot help but laugh.
In the end, it's fans of low-budget grindhouse horror who will most appreciate "Criminally Insane". From a mere technical standpoint, there is so much wrong with it, but it has a gleefully demented heart beating at its core. Even for those who find themselves loathing it, the good news it barely runs an hour's time. 6/10.
Oddity (2024)
Semi-predictable screenplay, but appropriately understated and brimming with atmosphere
"Oddity" focuses on Darcy, a blind clairvoyant who believes her twin sister Dani's killer was wrongly identified, and that the assailant is still walking free. She arrives at Dani's remote home--the residence she was in the process of renovating when she was murdered there--with the intent of avenging her.
This slowburn supernatural horror offering from writer/director Damian McCarthy gets a lot of things right, principally its atmosphere. The film largely takes place in a rustic, newly-renovated Irish country home that is by turns cozy and downright ominous, depending upon the meticulous lighting of the location. It is beautifully shot, at times feeling like a warm haven, and others, a cold hell.
Carolyn Bracken plays dual roles here, and a lot of the film's best moments hinge on her portrayal of the distant, unusual Darcy, who proclaims psychometric powers and clairvoyance, and who operates an oddities store in Cork. When she arrives at Dani's home, she is met by Dani's widowed husband, psychiatrist Ted (Gwilym Lee) and his new girlfriend, Yana (Caroline Menton). Some of the most compelling and suspenseful (as well as humorous) scenes revolve around Darcy and Yana's interactions when they are left alone at the house for the night while Ted takes a nightshift at the psychiatric hospital in the city.
McCarthy's screenplay for "Oddity" is filled with unique working parts and flourishes that make it a novel experience of sorts, with the main attraction being a large wooden mannequin gifted to Darcy by her and Dani's mother, whom it is suggested also possessed supernatural powers. Darcy hauls the mannequin to the house as a gift for her former brother-in-law, perturbing Yana and setting forth a series of chilling sequences involving the carved effigy.
Where the film falters slightly is in its pacing as it rounds out the final act; the momentum begins to feel slightly clunky, and the reveal is not particularly shocking and can be telegraphed from early on. That being said, the dense atmosphere and character interplay of the first three quarters more than make up for this. Though not a perfect film, "Oddity" serves enough understated mood and a handful of frights to warrant a viewing from genre fans. 7/10.
Longlegs (2024)
Drew me in by degrees
"Longlegs" follows Lee Harker, a newly-minted FBI agent in 1990s Oregon whose intuitive abilities land her at the helm of solving a cold case: A series of murders spanning decades, which have shared distinguishing features and cryptic letters left behind by the killer.
I had seen writer/director Oz Perkins' first film, "The Blackcoat's Daughter" and found it an engrossing and at times truly chilling. Given the media storm surrounding "Longlegs", I had high expectations that I tried to keep tempered going into this film, and I was not disappointed. It has been a long time since a horror film has managed to completely engross me by such slight degrees. In the first thirty minutes, I was slightly worried we were going to get a paint-by-numbers Satanic-themed serial killer movie, but as it progressed, I found myself completely riveted and eager for further revelations. This is largely owed to the storytelling mode here, which is deliberate in its construction and lends itself to building a fair amount of intrigue. It snuck up on me.
There's also the atmosphere, which is oppressive and eerie from start to finish. Though shot in Vancouver, the film authentically captures the look and feel of the Willamette Valley region (I can vouch for this as a native Oregonian). Perkins plays with shifting aspect ratios here to delineate scenes from events past, framing many of these bucolic yet dreary locales to look like vintage Kodak shots. An ominous, similarly oppressive sound design also permeates, furthering the film's sense of downbeat dread.
Lastly, there's the performances, which are uniformly great. Nicolas Cage is the spectacle that audiences are flocking to see here, and he delivers a stomach-churning performance as what I can only describe as a pale Tiny Tim figure from hell. He is at times difficult to watch, yet you cannot take your eyes off the screen. Maika Monroe effectively plays the nervy, serious, deadpan Lee, and has great chemistry with Blair Underwood, who plays her stern but fatherly superior on the force. Alicia Witt also appears here in a substantial and effective role as Lee's reclusive and religious mother, who comes to embody her own darkness as the plot progresses toward its surprising conclusion.
Overall, "Longlegs" completely won me over, and I had my reservations while watching it in the film's early stages. Not only was I truly captivated by this movie, but it is also the first time in quite awhile that I've found myself genuinely unnerved in a movie theater. There are a number of moments in throughout "Longlegs" that you won't be able to forget--and you'll probably want to. 9/10.
MaXXXine (2024)
West's love letter to Hollywood-set exploitation of the late '70s and '80s
This audacious conclusion to Ti West's "X" trilogy follows that film's final girl, Maxine Minx, an aspiring actress who, several years after surviving a mass murder, is attempting to forge a mainstream acting career in Hollywood. Unfortunately, someone has other plans for her.
While it may not plumb the emotional depths that something like "Pearl" did (exquisitely and at times devastatingly, I thought), and although it is not as slasher-heavy as "X", "MaXXXine" takes this trilogy of films to the most popcorny of popcorny heights--and I mean that in the best way possible.
"MaXXXine" is downright fun--a typical murder mystery with Italian giallo elements and an intoxicating mid-'80s Los Angeles setting that hits the right notes of video glam and the ugliness lurking underneath. There are noticeable echoes of films like "Vice Squad" (1982), "Hollywood Boulevard" (1976), and "Hardcore' (1979), but the film it perhaps most reminded me of was 1984's exploitation classic "Angel", which stars Donna Wilkes as a prostitute trying to evade a serial killer on Hollywood Boulevard. "MaXXXine" owes more to this Hollywood sub-genre of exploitation than it does any slasher film. Where "X" was West's love letter to southern horror a la Tobe Hooper, and where "Pearl" was his homage to the 1950s Technicolor epics, "MaXXXine" is really a grandiose bow to the numerous Hollywood-set exploitation films of the late '70s and '80s.
Mia Goth reprises her role of Maxine here and is as strong as ever, creating a heroine who is likable despite having her own moral flaws. Like Hollywood itself, Maxine is really a cipher for the spirit of the town and the industry--she is all about ambition and all about surfaces, her rocky past be damned. There is a large host of characters circling around her here, with a number of older, highly recognizable stars (Kevin Bacon, Giancarlo Esposito, Michelle Monaghan, Bobby Cannavale) along with a younger cast of Goth's peers (Elizabeth Debicki, Halsey, Moses Sumney), and the chemistry among everyone works nicely.
My one minor gripe with the film is the final act, which boasts a somewhat predictable reveal and a finale that almost stretches itself too thin for its own good. Despite this, "MaXXXine" remains irresistibly fun and witty, which alone makes it worthwhile. Fans of the above-mentioned Hollywood exploitation films will especially enjoy it. She's a star, all right, if only in her own movie. 8/10.
In a Violent Nature (2024)
An experiment for slasher diehards
Have you ever wanted a peek behind the curtain on Jason Voorhees as he stalks his teenage Camp Crystal Lake fodder? If so, "In a Violent Nature" gives horror fans the opportunity, as it follows a hulking killer who is supernaturally awakened from his grave deep in the woods, and begins stalking and brutally killing off anyone who crosses his path.
While this film is sure to alienate general audiences, fans of the horror and slasher genres are likely to have some fun with this novel (albeit simplistic) concept. First things first: This film is languorous in its pacing. There are countless protracted sequences in which the killer is followed by the camera as he lumbers through the terrain (which is gorgeously photographed), occasionally encountering (and eventually preying on) the unfortunate people who happen to be having a nature outing. Despite this, I didn't find the film veering into tedium, and, ultimately, this is a low-stakes watch by any measure: Because the focal point is the killer, there is little narrative commitment and the characters are sparsely drawn. It is all ultimately an experiment in perspective that takes some gambles but I think ultimately reaps rewards.
The most casual filmgoers will note the "Friday the 13th" and Jason Voorhees references here, which are aplenty, but the film also shares a lot in common with lesser-known '80s slashers such as "The Prey" or even "Madman" (the latter in regard to its eco-horror subtext, the former more so in terms of the mythology building of its killer). The film is really a love letter to these movies, albeit with a built-in gimmick. The actors here do what they can with the skeletal screenplay and serve their roles as ciphers for brutality--and there is in fact plenty of it. In terms of gore, the film delivers on its title, boasting some nasty and over-the-top murder sequences that are true showstoppers.
There is a shift in the last act of the film that in some sense betrays the commitment to its exercise, but slasher alumna Lauren-Marie Taylor (those who know will recognize her from "Friday the 13th Part 2" and "Girls Nite Out") is more than enough to make this worthwhile. All in all, "In a Violent Nature" is not a film that will have a wide appeal, but slasher fans who have pondered the more mundane mechanics of how a killer like Jason Voorhees earns his keep will find this experiment of a film worth watching. 8/10.
The Strangers: Chapter 1 (2024)
A paint-by-numbers imitation of the source material
"The Strangers: Chapter 1" follows a young couple who get stranded in an off-the-beaten-path town in Oregon and end up spending the night at an Airbnb lodge in the woods. Unfortunately for them, three masked strangers are about to make their night a living hell.
To be clear, some may consider this review biased as I count myself as a major fan of Bryan Bertino's original 2008 film "The Strangers". To date, it is possibly the most nerve-shredding experience I've had seeing a film on the big screen. Sixteen years have passed since I first saw it, but I've never forgotten it. And while its 2018 sequel, "The Strangers: Prey at Night" took a notably different tone, it at least managed to function as a stylish and energetic slasher film in the same vein.
This reboot (or prequel, according to some sources--having seen the film now, I am unsure of how this could possibly function as such) does no such thing. Rather, it follows the framework of the 2008 original nearly beat by beat, save a protracted first quarter in which we are served the "city kids in redneck town full of leery locals who are sinister for no apparent reason" trope (by the way, I am a native Oregonian, and I can vouch that people there do not speak with southern accents, even in the backwoods).
The things that "The Strangers: Chapter 1" gets wrong are numerous, but the subtlety, stillness, and down-home feel of its source material is one of the glaring things that is most sorely missed. This film is loaded with dramatic musical cues, predictable scares, fog machine-shrouded forests, and trite dialogue. There is little to no gravity to be found here in the characters or the setting, and without that, a film with a barebones story like this swiftly goes off the rails into the land of cliche after cliche after cliche. The lead actors here do what they can with the material, but the stilted dialogue often renders them at the mercy of a lifeless and clunky script.
In the end, "The Strangers: Chapter 1" simply feels like a soulless paint-by-numbers imitation of the 2008 film, using the template as a vessel only to fill it with bland, uninspired recreations of that film's most tense and frightening moments. There are no scares to be had here, and even worse, there are few thrills either. "The Strangers: Chapter 1" is frankly boring, which does not bode well for a further two installments. "To be continued"? No, thank you. 2/10.
Late Night with the Devil (2023)
The show must go on
Presented as a documentary film, "Late Night with the Devil" focuses on Jack Delroy, an ambitious talkshow host who, after the death of his wife and a career downswing, attempts to revive his late-night show "Night Owls" with a Halloween 1977 special profiling the supernatural, particularly a young girl who is purportedly possessed. The unedited broadcast footage follows. Naturally, things do not go well.
While "Late Night with the Devil" is largely made up of ingredients that genre fans are all too familiar with, the presentation here is really what makes the film tick--and that it does. The screenplay is an intelligent mashup of "The Exorcist" and "Ghostwatch" with a bit of the cutthroat TV careerist themes found in something like Sidney Lumet's "Network". It succeeds greatly at capturing the '70s kitschy late-night talkshow stylistics, furnishings, and general presentation. In moments, the set and cinematography resembles something akin to "The Dick Cavett Show". On a purely aesthetic level, the filmmakers really managed to capture the hazy, nostalgic fever dream feel of so many of the variety shows of that era.
Plot-wise, it is further fleshed out by B-roll footage of the host, guests, and crew as they interact during commercial breaks. While at first I worried these breaks would detract from the live broadcast footage that makes up the bulk of the film, I can see why they were necessary in terms of actually making the plot function. The screenplay manages to build sufficient intrigue over the course of the show, as the origins of the possessed girl and the background of the host reach high occult peaks.
In the vein of "Ghostwatch", things go truly bonkers in the last act, but the cast hold it all together nicely. David Dastmalchian is pitch perfect as the ambitious and appropriately hokey Delroy, and the supporting cast all hit their notes as they attempt to keep the show going despite mounting supernatural occurrences and chaos. The film explodes into a hallucinogenic finale that could nearly derail the understated buildup, but it comes out strong in the end in the sense that it leaves you pondering.
While the gimmick of "Late Night with the Devil" is going to be the main draw for most, the film has more than enough spectacle, atmosphere, and a layered plot to help it rise above mere flimsy artifice. I envision it will have a long life playing on home televisions at many Halloween parties in the years to come. 8/10.
Immaculate (2024)
A formidable if not imperfect effort
"Immaculate" follows Cecilia, an American nun (Sydney Sweeney) who is relocated to a remote Italian convent after her Michigan parish closes its doors. She is met with skepticism by some of her sisters in Christ, and acceptance from others, but her divisive ingratiation into the convent is deepened when it is discovered she has apparently conceived a child through immaculate conception.
This Catholic horror offering gets a number of things right, mainly in terms of atmosphere and visuals. The convent locale is lush and hauntingly beautiful, showcased via some impressive cinematography. Despite a plot that in all truth has the comportment of a B-movie, the visual flair here rises above the film's pulpier nunsploitation elements. The performances also help elevate the material, with Sweeney making for a likable lead, and the supporting cast of actors portraying her fellow nuns and clergy giving respectable performances.
The plotting of the film is deliberate and the pace quite swift, perhaps at times too much so for its own good. What the film is lacking is a strong connective tissue, particularly in terms of fleshing out the background of the lead character and several key characters in the convent. There is some background lightly eked out in dialogue, but it at times feels stilted; furthermore, the somewhat abrupt transitions between the trimesters of Cecilia's pregnancy left something to be desired.
These issues aside, "Immaculate" succeeds greatly at keeping the audience guessing, and there are a number of effective scares incorporated. The film smartly toes the line between a supernatural horror flick and a straight-up thriller, and succeeds in not revealing its cards too soon. When the plot eventually fully shows itself for what it is in the final act, the pacing goes into a bloody fever pitch that really demands attention.
Overall, "Immaculate" is a formidable if not imperfect entry into the canon of Catholic horror and nunsploitation films. While it may not be as diabolical as something like "Alucarda" or as extravagant as "The Devils", it is no less a reasonably smart and effective horror film that has enough surprises to warrant viewing from the most hardened nunsploitation devotees. 7/10.
The Boogens (1981)
A creature feature for those who aren't necessarily fans of creature features
"The Boogens" focuses on two young mine surveyors in a Colorado town who release a horde of otherworldly monsters from a long-shuttered silver mine. After the arrival of the men's two girlfriends, the group find themselves under siege in their rural cabin by these bloodthirsty creatures.
While the garish (albeit nicely done) poster artwork for "The Boogens" may lead one to imagine the film to be a hokey, tongue-in-cheek monster flick, I was surprised to find this film to be much more of a mood piece than an outright creature feature. The reason for this is that the film is extremely restrained and subtle for the first two-thirds; the "boogens" themselves are never actually shown, aside from a glimpse of a tendril. The film also has a homegrown feel to it with rustic snowbound locations (it was shot on location in Utah) that lend it a chilly and memorable atmosphere, and an elegant and surprisingly ominous musical score only adds to its aura.
For all intents and purposes, "The Boogens" plays like a suspense mystery until its final act, when the creatures rear their ugly heads and finally start engaging in bloodshed. While the wait may be too much for those who want swift gratification, I personally felt that this kept the film more engaging. The creature design we do see in the finale is admittedly hokey, but the special effects overall are nicely executed, especially given the time period and budget restraints. Genre favorites Rebecca Balding ("The Silent Scream") and Anne-Marie Martin ("Prom Night") feature here as the two female leads, with Fred McCarren and Jeff Harlan as their respective male counterparts.
All in all, I enjoyed "The Boogens" much more than I ever expected to, and I think it is precisely because it doesn't operate like most other films in its subgenre. In some ways, it is more of a suspense horror flick disguised as a monster movie, emphasizing mood and tone long before it shows all of its cards. As someone who loves the horror genre but is not a fan of monster movies, "The Boogens" wins my graces. 8/10.
The Zone of Interest (2023)
Mundanity at the edge of hell
The fourth feature from Jonathan Glazer (and his first in a decade), "The Zone of Interest" follows Auschwitz commandant Rudolf Höss, his wife Hedwig, and their children and servants living just over the wall of the concentration camp.
While I count myself a fan of Glazer's previous films (especially "Birth" and "Under the Skin"), this adaptation of Martin Amis's novel is possibly his most potent work to date. Glazer utilizes the notion of "less is more" here to the nth degree; much has been said about the fact that the film never really shows what is occurring on the other side of the wall from the Hösses' lush living quarters, but the intricate sound design and subtle visual cues are left to speak volumes.
On one hand, "The Zone of Interest" is not your typical Holocaust film in the sense that much of the horrors of it are implied. However, by bucking all expectations and merely circling the membrane so to speak, the nucleus of evil becomes more striking than in any other representation I've seen committed to film. Narrative-wise, "The Zone of Interest" largely plays as a languorously-paced family drama, as Rudolf steers his career with the SS while Hedwig tends to the family's domestic slice of paradise.
Christian Friedel and Sandra Hüller portray the patriarch and matriarch (Hedwig on one occasion jokes to her mother that they call her "the queen of Auschwitz"), and both performances are as chilling as they are human. The couple's mundane domestic world almost exists in a vacuum, and if it weren't for the auditory (and occasionally visual) grim reminders of what is transpiring in their backyard, one could almost forget what the film is truly about: The Holocaust, yes--but I think that Glazer's message here on a broader level speaks to the human ability to both compartmentalize and normalize evil. Bloodied boots, locomotive exhaust, and erubescent crematory stacks fall into the background, making up a perverse and disturbing tapestry which these characters (based on real historical figures) both live against and, to varying degrees, participate in and create.
When a relocation order is made to Rudolf by the SS, the Hösses' domestic bliss begins to fray, and there are subtle moments in which the real-life horror of the situation appears to penetrate the cores of at least a few of the characters (save Hüller's, who is shown to be covetous and possibly more ruthless than her commandant husband). The younger children of the home, in particular, are shown to be most effected by the atrocities lurking in their backyard, whether they are aware of it or not.
Unfortunately, no amount of human empathy can keep such a machine from pressing on. Hedwig's mother, apparently disturbed by her visit, abruptly leaves in the middle of the night; when the youngest son hears a prisoner over the wall being singled out and ostensibly murdered, he responds by simply closing his bedroom window; when human cremains fill the children's swimming hole, Rudolf ushers them away. The characters in the film never truly have to look, nor are we, the audience, technically allowed to--and that is what I think Glazer's ultimate exercise is here. The Hösses' sprawling garden is placid and beautiful, but a potent sense of rot permeates nonetheless.
Psychic Killer (1975)
Surreal low-budget affair with a heart
"Psychic Killer" focuses on Arnold, a prison inmate wrongly convicted of killing his mother's doctor after he refuses to perform life-saving surgery on her because she has no medical insurance. When Arnold is ultimately vindicated, he sets forth on a killing spree using astral projection to keep him physically disconnected from the crimes.
This oddball mid-'70s effort predates the more popular Australian film "Patrick", which has a similar premise, and is actually a rather effective albeit strange mixture of science fiction and horror. Visually, the film has the look of a number of low-budget movies of this era, particularly those set and shot in Los Angeles--it at times almost has the feel of a made-for-television affair, except it is more violent and generally more scandalous.
The film boasts a somewhat distinguished cast, with Jim Hutton leading as the protagonist, with Neville Brand, Nehemiah Persoff, Julie Adams, and Aldo Ray appearing in supporting parts. Adding to the appeal here is the series of death sequences perpetrated psychically by Arnold, which, as others have noted, possess a "Final Destination"-esque quality to them (there is one particular protracted sequence featuring a crane and a large stone block that is almost comic). There is also a number of black-and-white flashback sequences featured that are undercut with an unnerving score that are unexpectedly eerie.
All in all, one has to take "Psychic Killer" as it is: A low-budget effort that is imaginative and mindlessly entertaining. Arnold's motives for revenge lend the film a bit of pathos that makes him a sympathetic character, which add a unique flavor to the film as a whole. 7/10.
Fatal Games (1984)
Repetitive but weirdly charming slasher
"Fatal Games" focuses on students at a sports academy who are training for a Nationals competition to become Olympic hopefuls. Unfortunately, someone is intent on dispatching them all with a javelin before they can make it.
This little-seen slasher from the mid-1980s is just about repetitive as it is charming. The film has an off-kilter sensibility almost from the very start, stemming from its hokey theme song. What ensues is a repetitious rinse-and-repeat of teenagers getting butchered in the halls of their sports academy after-hours.
While there is little connective tissue between the murder sequences to keep the proceeds particularly engaging, "Fatal Games" is wonky enough to be memorable and reasonably entertaining. The gritty cinematography and wide shots (the film tends to rarely use close-ups) give it a cheap-ish feel redolent of a number of films of its ilk.
Though its murder sequences tend to be repetitive, there are a handful of spooky shots of the cloaked killer (or their shadow) that are effective and ominous. Sally Kirkland appears here as a lead sports coach, while Nicholas Love (perhaps remembered by some genre fans for his role in "The Boogeyman") appears in a minor supporting part as a javelin player.
All in all, "Fatal Games" is a rote slasher offering that, despite its very visible flaws, is still enjoyable as both a relic of the '80s low-budget slasher market, as well as the sports culture of the period. Worth watching for genre fans who have a taste for the less refined. 7/10.
Night of Fear (1973)
Grimy, threadbare, and effective
"Night of Fear" focuses on a young woman who is tormented by a psychotic backwoods hermit after crashing her car in a remote area. This early Australian horror film (some cite it as possibly the first) in many ways resembles something like "The Texas Chain Saw Massacre" which came the following year, albeit a more insular and shorter version.
Originally intended as a TV pilot, the film is not even an hour in length, but the threadbareness of its plot perhaps makes the proceedings more effective because of it. It also contains no spoken dialogue, but is riveting none the less. The two cast members give solid performances as predator and prey, and the film is accentuated by dark, dingy cinematography and atmospheric locations.
While optically it may not appear as such by today's standards, there is an argument to be made that "Night of Fear" was one of a number of progenitors of backwoods slasher movies, albeit a lesser-known offering from down under. It is certainly worth viewing for fans of this subgenre of horror. At 54 minutes, it manages to engage and offer a number of macabre set pieces and other surprises that are more than worth the price of admission. 9/10.
Poor Things (2023)
Lanthimos at his most charming
Based on Alasdair Gray's novel of the same name, "Poor Things" focuses on Bella Baxter (Emma Stone), a Victorian-era woman resurrected by an experimental doctor (Willem Defoe) through a macabre series of circumstances. Bella, who knows the doctor merely as "God", begins to regain her physical faculties and psychologically develop, and seeks to explore the outside world with varied outcomes.
Stone reunites with Yorgos Lanthimos here after their stellar collaboration in "The Favourite", and the result is impressive for a number of reasons. The "Frankenstein"-esque plot of the film is shot through with a mean streak of eccentric (and at times quite dark) humor that mostly hinges on Bella's developing grasp on language and social norms. In the beginning, as she is introduced to God's protege, Max McCandles (Ramy Youssef), Bella is infantile in demeanor and coordination, but as she "grows" so to speak, her clunky use of English creates a number of hilarious lines that Stone delivers impeccably. As she is taken under the wing of a selfish and corrupt attorney (Mark Ruffalo) and becomes his lover, the character is springboarded into a number of adventures that have a "Gulliver's Travels" sort of nature about them.
Of course none of this would work well if the screenplay were weak, but the writing and dialogue here is whipsmart and witty. As it progresses, Bella's perverse origins come further into focus, and she begins to analyze humanity and the cultural customs around her through an at-times painfully objective lens. It goes without saying that Stone carries the film on her shoulders, but Ruffalo, Defoe, and Youssef also give uniformly strong performances and lend these characters a robustness that matches that of the lively, guileless Bella.
Visually, the film is sublime: It appropriately begins in gothic black-and-white and utilizes fisheye lenses and a number of other period visual flairs before it shifts into full color, where the surreal Victorian-meets-futurism locales feel both ancient and almost Disney-like. While the thematic content here is dark in nature, "Poor Things" is probably Lathimos's most charming work to date--and I'm not sure I can really think of anything about it that I did not like, which rarely happens. 10/10.
Benny's Video (1992)
A nasty family portrait
"Benny's Video" focuses on a maladjusted teenager who is obsessed with technology, particularly video recording and television. He is largely ignored by his upper-class parents who feed his obsession by arming him with the latest and greatest technology, until mom and dad are forced to confront a shocking act of violence he commits.
For anyone who knows Michael Haneke's filmography even on a tertiary level, they will be aware of his bleak depictions of society and frank, unembellished representations of human depravity. This earlier work from the director has his trademarks all over it, and is bolstered by strong performances from Arno Frisch as the disturbed Benny, with Angela Winkler and Ulrich Mühe giving disturbing and calculated performances as his emotionally detached parents.
While the film gets off to a rather startling beginning, some will find the midsection and conclusion to be a bit slow; although they may be correct in pointing out slight pacing issues, the latter part of the film allows the character dynamics between parent and child (and parent and parent) to be expanded upon, and what is perhaps most shocking about it is that the audience grows to develop some sympathy for Benny despite his sociopathy; his parents, less so. There is also a notable contemplation of technology and its function in society that underpins the screenplay.
All in all, "Benny's Video" is an effective, disturbing film that speaks more to the brokenness of the family unit than it does of the malignant outcomes that may arise from it. Certainly not for the lighthearted, but it offers a drab and uncompromising window into the dark. 8/10.
Eileen (2023)
Christmas noir
"Eileen" focuses on the titular lead character (Thomasin McKenzie), a young woman in 1960s Massachusetts. Her life is less than ideal: she is sexually repressed, professionally stifled in her job as an administrative worker in a young men's prison, and has to deal with her widowed and neurotic alcoholic father (Shea Whigham) at home. Eileen's downbeat existence is upheaved, however, by the arrival of Rebecca (Anne Hathaway), a glamorous and charismatic psychiatrist who is hired at the prison. The two women's encounters with one another eventually lead down a dark path.
Based on the novel of the same name by Ottessa Moshfegh (who co-wrote the screenplay), "Eileen" is immediately striking simply on a visual level, as every frame of it is steeped in atmosphere. The film is bathed in a wave of rusty sepias and cool blues, the only real color popping up in the form of Christmas lights or Thomasin Mackenzie's bright red lipstick. The time period and place in which it is set (1960s New England) is also demonstrated impeccably. This works greatly to the film's advantage, given that its narrative arc is quite sparsely drawn (and I don't mean that as a demerit)--simply that the story is lean and succinct.
The first two acts largely work to establish Eileen's loneliness and depressing interpersonal dynamics with her father, with Hathaway's character jutting in and unknowingly shaking up Eileen's humdrum routine. It is at times difficult to discern where the story is exactly going; there are hints of a budding lesbian love affair, though the character perspectives and their foggy motives more or less put the brakes on this avenue (at least for one of them). There is a dark twist in the last act that feels somewhat arbitrary, though it functions in terms of driving the timid Eileen to take drastic actions for once in her life (for better or for worse). If nothing else, the climax of the film is disturbing.
While I feel that the film comes across as slightly irresolute in terms of character motives and their relationship to the events that transpire in the climax, what makes it all ultimately work is the well-written dialogue paired with McKenzie and Hathaway's performances. McKenzie excels in her portrayal of the emotionally downtrodden protagonist, while Hathaway goes full-throttle (bordering on camp) as the Harvard-educated, freewheeling Rebecca, a woman with her own unnamed demons. Shea Whigham also gives a memorable performance as Eileen's alcoholic ex-cop father.
While I think the screenplay leaves behind a few loose ends in the wake of arbitrary events and decisions, I suppose it is also worth noting that these loose ends, arbitrary events, and decisions are also sometimes demonstrative of life itself. The film effectively depicts just how the chemistry between two humans can quickly spiral into a grim and dangerous place, with neither party foreseeing it. The fact that it is visually stunning and robustly acted make it worth viewing. 8/10.
Lèvres de sang (1975)
Possibly my favorite Rollin film
"Lips of Blood" follows Frederic, a man who is haunted by visions (or memories?) of encountering a mysterious woman during his childhood near the ruins of a seaside chateau. These visions are spurred when he sees a photograph of a landscape that resembles the site of the ruins. He begins to delve into his family's past to discern the origins of these powerful recollections, in particular with the assistance of his evasive mother.
While I appreciate many of Jean Rollin's films, I admit that they are not all particularly suited to my taste; I had long though "Fascination" was my favorite film of his, that is until I saw "Lips of Blood". Rollin himself often referred to this as his most personal work, and it's easy to see how. The story is steeped in repressed memories and how we deal with the past and events from childhood, and it is telegraphed like a classic gothic horror story.
Like most all of Rollin's work, "Lips of Blood" is indeed mysterious, but there is a narrative through-line and a tangible protagonist, which makes the events depicted somewhat more straightforward and easier to grasp than some of the director's more surreal work. Atmosphere is the name of Rollin's game, though, and "Lips of Blood" still has that in spades. Its final sequence, be it symbolic or not, etches into your memory.
Although many (myself included at one time) might recommend "Fascination" as a starting point for Rollin's filmography, I now tend to think that "Lips of Blood" may instead be his most accessible (and most powerful) film. It is certainly one of his more subtle works, but no less a dreamy and potent portrait of past colliding with present. 9/10.
Night of the Comet (1984)
Ambitious and crafty sci-fi horror (with a streak of dark humor)
"Night of the Comet" follows two sisters in the San Fernando Valley who are faced with being among the few survivors of the apocalypse. Naturally, they seize this opportunity to visit the local mall, but a rash of zombie beings puts a damper on the plans.
This beloved apocalyptic horror flick is frankly more of a black comedy than it is outright horror, though it manages to straddle genre lines quite gracefully, remaining extremely quirky none the less.
What makes "Night of the Comet" such a fun watch is that it doesn't take itself seriously. The incredulous lead characters are lovable despite their flaws, and the events are handled in such a way that, though the stakes are high, a sense of adventure and humor manages to run through it all. Visually, the film is a time capsule of mid-'80s Los Angeles, and the barren streets and practical special effects are nicely done for a low-budget film.
All in all, "Night of the Comet" is a palatable sci-fi film that plays nicely for people who may not necessarily be sci-fi fans. While many films that blend genres like it does tend to come out feeling unbalanced, "Night of the Comet" somehow manages to fire on multiple cylinders without ever feeling too entrenched in one genre mode. 7/10.
Thanksgiving (2023)
A tasteless, bloody meal
In the fashion of 1980s and late '90s slasher films, "Thanksgiving" focuses on a group of teenagers who are stalked and slashed by a pilgrim-masked murderer in Plymouth, Massachusetts, one year after a Black Friday shopping tragedy occurs.
As someone who saw "Grindhouse" in the theater back in 2007 and loved Eli Roth's mock concept trailer for "Thanksgiving", I was among many fans who long-anticipated a proper feature film adaptation. Where the 2007 mock trailer leaned heavily on early '80s grindhouse aesthetics, this film more takes on the shape of a robust post-"Scream" '90s slasher film in that it is fast-paced, gory, and has a streak of cynical black humor running through it. It also updates the '80s slasher template for contemporary teenagers, folding social media into its screenplay as a plot device which surprisingly doesn't feel terribly shoehorned.
Admittedly, "Thanksgiving" is entertaining. However, the film is conceptually by-the-books and falters in some of its own trite dialogue and exposition; at times, it borders on mechanical in feel. It also suffers from a clunky last act that fumbles the film's momentum. Still, when the film gets it right, particularly in some of its audacious murder sequences and classic scare set-ups, it is recklessly fun. There is a large cast here of young actors who handle the material well enough, with a number of screen veterans appearing in supporting roles to varying degrees, namely Patrick Dempsey, Gina Gershon, and even "Black Christmas"'s Lynne Griffin in a blink-or-you'll-miss-it part.
All in all, "Thanksgiving" is worth viewing for fans who prefer slashers that don't take themselves too seriously. In many ways, the film plays like a late '90s "I Know What You Did Last Summer"-esque revenge tale, both in its narrative construction and the ways in which it leans into its own outlandishness. Riveting it is not, but it is no less a tasteless and bloody meal of a film. 7/10.
Mystery of the Wax Museum (1933)
Effective pre-code horror
The second Michael Curtiz vehicle to feature Fay Wray and Lionel Atwill (after "Doctor X"), "The Mystery of the Wax Museum" focuses on a disturbed wax sculptor (Atwill) attempting to rebuild his former wax figure museum which was lost in a fire. In the process, he becomes obsessed with a young woman (Wray) who resembles the beloved Marie Antoinette figure he lost; meanwhile, a series of murders begin to occur.
Perhaps best known as the progenitor of the Vincent Price feature "House of Wax" (and the 2006 reimagining of that film), "The Mystery of the Wax Museum" boasts intoxicating (and occasionally perturbing) visuals. More than that, it is also a well-telegraphed exploration of a desperate, mad genius confined by physical injury, and functions nicely as a demented psychological portrait as result.
Shot in two-tone color, the film is classy and nicely shot, at times bordering on the surreal, and the urban, art deco New York City setting serves as a sharp but welcome contrast to the film's opening sequence in London. Atwill is appropriately meaning and nervy here, while Wray is luminescent; Glenda Farrell plays her brash and wisecracking roommate, which brings some zest to the proceedings. All in all, "The Mystery of the Wax Museum" is a thoroughly well-crafted and under-appreciated entry in pre-code cinema, particularly as far as horror/psychological thrillers are concerned. There is a timelessness about it that makes it feel surprisingly fresh, nearly a century on. 9/10.