Posts Tagged ‘Horror’

A survivor of a virus outbreak goes about finding more uninfected people to come to his sanctuary.

Director/writer Hamid Torabpour offers a competent low budget offering, with plenty of kills, CGI blood, hacking and shooting as survivors take down the zombie-like virus infected hordes. It’s played straight, the music, lighting, make up and locations add up to a solid enough production. While it bogs itself down and runs out of steam in the latter half Torabpour still puts in a nice little nihilistic twist in the closing.

It’s not a found footage type film like Zombie Diaries or Diary of the Dead. Zombies is an average low budget flick but sadly lost in the sea of substandard DTV zombie film hell. Produced by Cameron Romero (son of the late George A. Romero) it doesn’t reach the heights of his father’s work or the likes of The Dead or The Battery but thankfully this digital presentation has an almost film like feel appose to the abundance of bland camera work on VOD and SyFy that lack atmosphere.

Veteran horror actor Tony Todd bookends with a welcomed extended cameo as Detective Sommers. Lead Steven Luke’s Luke plays the subtler scenes well rather than the action segments. Notable is Amanda Day as Tala but most memorable is Raina Hein’s Bena. Despite sporting a zombie cliché killing weapon of choice bow Hein makes the most with what’s she’s given and offers much of the emotional clout.

Overall, looks good for the budget, don’t expect a classic and you may enjoy.

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*** This review contains major doll spoilers ***

Nica Pierce has spent the past four years in a mental institution after being framed by Chucky for the murder of her family but Chucky isn’t finished with her yet or Andy.

Director/writer Don Mancini does the impossible and injects life into Part 7 of a series. Mancini and company simply out do themselves here with Cult of Chucky, where as Curse had a striped back Hitchcock feel this has Brian de Palma on a budget visuals with a Cronenberg icky edge and Mancini’s trademark frank humour. I usually recommend films in my final paragraph, but this is must see from the outset, don’t even read this, just rent or buy it.

Summer H. Howell cameos, Fiona Dourif returns and is excellent as the asylum trapped wheelchair bound Nica that no one believes oozing a Sigourney Weaver vibe and echoing Linda Hamilton’s Terminator 2 locked up in danger craziness. In a surprising twist as the plot unfolds and the body count rises Fiona also channels her father’s serial killing character Charles impressively. Actors Adam Hurtig as split personality suffer Malcolm, Zak Santiago’s Carlos and particularly Ali Tataryn as nurse Ashley are notable. But Michael Therriault leaves an impression as Richard Gere-like warped Dr. Foley.

Alex Vincent Returns as Andy Barclay from the original Child’s Play (1988, yes it’s been that long) building on his previous brief cameo in its predecessor Curse of Chucky. There’s an intriguing element of Andy keeping Chucky’s dismembered head in a safe, only to bring it out to torment it for relief. It could only more get more wacky if someone made Child’s Play Human Centipede style and put Chucky’s talking head between a Garbage Pail Kid and Teddy Ruxpin! The icing on the cake is it’s implied that Tiffany has possessed the real Jennifer Tilly, allowing her and her doll likeness to shows up which connects and brings into cannon the other outings namely Bride and Seed of Chucky not made by Mancini with some outlandish writing which makes perfect sense in the context of the series.

It’s not perfect due to some blown out colour correction and unnecessary CGI skyline backdrops but given the budget using a variety of smoke and mirror movie magic Chucky is brought to life with perfect execution aided by modern technology and Brad Dourif’s voice, complete with quips and inventive nasty murders.

There’s a limited amount of locations, a cabin, an asylum reminiscent of TV’s Hannibal and the snowy setting gives this some Kubrick Shining atmospherics. The stark white corridors hark back to the Exorcist III, One Flew Over Cuckoo’s nest, Mancini throws in enough plot points and flashbacks to peak interest. Thankfully it’s played straight for the most part and doesn’t stray into all out comedy territory a-la Bride and Seed.

Fans are treated to multiple Chucky dolls, graphic killings and dark humour but not only that there’s a surprise treat after the credits where another character returns – Andy’s foster sister Kyle from 1990’s Child’s Play 2! Played by the same talented actor Christine Elise giving thrills that Andy’s cameo did in Curse.

All in all leaves you wanting more and too much Good Guy Doll is never a bad thing.

When music-hall star Elizabeth Cree is accused of poisoning her husband on the same night as the last of a series of ‘Golem murders’ Inspector Kildare discovers both cases maybe linked and sets about solving both crimes.

Based on an an adaptation of Peter Ackroyd’s 1994 murder mystery novel Dan Leno and the Limehouse Golem director Juan Carlos Medina offers an old-school Hammer-style horror anchored by performances by subtle Bill Nighy (who took up the reigns from the late Alan Rickman), Olivia Cooke (of Bates Motel), Eddie Marsan and Daniel Mays. But it’s Douglas Booth as Leno who steels the show.

All the familiar Gothic Victorian elements and crime story beats are there reminiscent of A Study in Terror and countless other yarns and clichés set in the period which are more than likely inherited from Ackroyds source material. Set on the unforgiving, squalid streets of Victorian London in 1880, Jane Goldman’s script captures the Lizzy Borden and Jack the Ripper talk of the time, but where 2015’s comparable Frankenstein Chronicles series had a filmactic feel this is sorely lacking in Limehouse Golem given it’s made for TV look despite a theatrical release. That said the costumes, makeup and music are spot on as Nighy’s Kildare goes effortlessly about piecing the case together aided by some bloody flashbacks and spectres in his mind. There’s a little nihilistic twist which peaks interest showing that the conscious of life isn’t black and white especially when it comes to work politics, promotion and fame.

Overall, it has some gruesome elements and while it may not work as a whodunit reaching heights of In the Name of the Rose, Agatha Christie or a Sherlock Holmes mystery it satisfies as an unconventional immersive period piece in the vain of countless Ripper-like outings. Worth checking out even if for Booth’s memorable performance.

It Comes at Night Movie Poster

*** This review may contain spoilers ***

Two families are forced to share a home in an uneasy alliance to keep the outside evil at bay only to discover that the true horror comes from within.

Director Trey Edward Shults’ It Comes at Night is a taught effective horror drama, its strength lay in the audience using their imagination proving again that what’s left unseen can be just as horrifying as anything on the screen. Reminiscent in tone of Into the Forest (2015), The Thing (1982) (echoing its paranoia) it’s ambiguity, natural setting and Brian McOmber’s subtle score all add up to something quite engaging.

The cast are effective, the child actor is natural, also Kelvin Harrison Jr. playing Travis, a 17 year old suffering from gory nightmares feels believable but it’s edgy Joel Edgerton’s Paul and convincing Christopher Abbott’s Will that are the glue and shine here. Both roles have an intensity and both men ooze tension. Shults offers a well shot horror, drama that’s brilliantly paced, with an eerie atmosphere aided by Drew Daniels immaculate cinematography.

Shults never plays his cards and as a viewer you’re fed little bits of information, not really knowing the scale of what’s going on. With characters with welts, checking teeth, nails and burning bodies, the interesting thing is that you also don’t know if what they’re afraid of changes you into a monster or rabid zombie or something else. Refreshingly the viewer doesn’t see what they fear, and you shouldn’t need to either. There are a few shoot outs and stand offs but it works more on a psychological level, less is more here and with rife paranoia this offering excels. Recommended.

IT (2017) Review

Posted: September 9, 2017 in FILM REVIEWS/COMMENTS
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IMG_7758.JPGSeven young outcasts face their worst nightmare when an ancient, shape-shifting evil emerges from the sewer to prey on the town’s children.

Director Andy Muschietti’s story beats are perfect the casting is top notch. Bill Skarsgård is fitting as IT/Pennywise the Dancing Clown, a trans-dimensional evil that awakens every twenty-seven years. Skarsgård’s and Tim Curry’s IT is like Jack Nicholson to Cesar Romero’s Joker, both equally great but a different take on the same character, so there’s no need for comparisons. Incidentally there’s a fitting nod to Curry’s TV Pennywise in a room of clowns. For the main cast there’s the one reminiscent of a young Kevin Bacon, the Rob Lowe looking one, the Molly Ringwald (amusingly self referenced within the film) the River Phoenix one and so on. Echoing The Breakfast Club, Goonies and Stand By Me to name a few.

Muschietti and writers Chase Palmer, Cary Fukunaga and Gary Dauberman even cram in a creepy gnarled tree and a dilapidated haunted looking house. Starsguard moves eerily slow and contorted at times and uneasy fast at others. There’s much more gore in this adaptation. As a horror it offers enough creepy moments but where it gives today’s horrors a run for their money is the friendship, outcast and bully themes which come directly from Stephen King’s source material.

A major departure from King’s 1986 novel and 1990 miniseries is the 80s setting for the child part, even with the Airwolf T-shirt, New Kids on the Block songs, Casio watch, Gremlins posters and Nightmare of Elm Street 5, Batman and Lethal Weapon 2 showing in Derry’s cinema, some of the period feels a little off but the recreation for the most part works.

Again its strengthen comes from the casting which emotionally affects the story at its core. Frights, whether a cellar, sewer, bathroom or the alley or simple a dark office, the music, sound design thanks to Muschietti’s staging amplifies the chills while wearing its heart on its sleeve with the young performers.

It’s tight and pacey, with enough time for the characters to breath. Muschietti injects plenty of jump scares and creepy moments, and with a larger budget and omitting the adult segments (saving them for an IT sequel/chapter 2 and possibly flashbacks to 1989) it actually, surprisingly is better than its predecessor adaptation.

Packed with terrifying, hallucinatory and nightmare imagery coupled with a near on perfect cast IT is highly recommend.

Annabelle: Creation Movie PosterAfter the tragic death of their little daughter, a doll-maker and his wife welcome a nun and several girls from a orphanage into their home, but shortly after a demon begins to terrorize the girls.

Annabelle Creation is a solid entry that offer plenty of scares and the period rural setting sets it apart. Director David F. Sandberg injects a smidgin of Texas Chainsaw atmosphere into the proceedings as a group of girls and nun are terrified by a demon. The acting from Stephanie Sigman’s Sister Charlotte and the young girls is impressive. As too are Anthony LaPaglia and Miranda Otto in small but pivotal roles.

It’s a demonic possession tale like the chronological follow up, not a killer doll film per-say if you’ve come in cold. Even though it’s an origin story midway through you can’t help but feel that thanks to some editing another prequel to an already existing prequel could be made with some misplaced flashbacks of Otto and LaPaglia thrown into what for the most part is a constant story from Gary Dauberman.

With dark creepy visuals, notably a lift, water well and scarecrow scene, eerie music and limited special effects but plenty of jumps scares Annabelle harks back to the simpler days of horror. Daunerman and Sandberg link the ending nicely to its 2014 predecessor Annabelle and there’s mid and post credit scene which are intriguing enough to leave you possibly wanting another.

Overall, a well shot, filmatic, rounded chiller with credit to child actors for their good performances.

In 1968, George A. Romero and co-writer John Russo made a black and white film on a small budget, it became one of the most successful independent films of all-time. It was Night of the Living Dead.

I won’t dig up old stories about copyright woes, remakes or go through his career and the like, there are plenty of documentaries, books and websites about his zombie films before zombie films (became let’s just say) mainstream, he revolutionised horror creating a whole sub genre of horror. Yes, Romero did make other films and TV shows, but Night of the Living Dead, Dawn of the Dead and Day of the Dead had a personal and lasting impact on me. Also without Romero there would be no 28 Days Later, Return of the Living Dead, Zombie Flesh Eaters, Zombie Land, Shaun of the Dead, World War Z and certainly no Walking Dead to name a few, heck there’d be no zombie genre. His influence is so wide, it’s amazing how much money, flashy big-budget films and shows have been made off his back.

I digress, so big George – filmmaker, writer and editor, his touch stretched over to the UK in form of a tubed TV and touched a young Esmonde sometime during the 1980s. I don’t recall the specific years, a late night showing of Night of the Living Dead and Dawn of the Dead, then at some point Day of the Dead on a VHS. I was hooked to his gore-filled and satirical horrors. He inspired an epidemic of imitators (myself included). In 2010 my own novel Dead Pulse was published (based my 2007 erroneously published short) and without Romero, this tribute pulp would never have existed. While George was busy with his adoring fans I remember talking to his wife Suzanne, she kindly took a copy to give to George, I didn’t want to give it to him directly, because I didn’t want him to get the impression that I wished him read it (I’d be embarrassed if he ever did, maybe he used it as tinder on a cold Canadian night) but I gave it to her to give to him at a later time out of respect because I wanted him to know what an influence he’d had on my writing and film-making work. “It’s debatably not my best one,” I’d said. We shared a laugh and had a conversation, Suzanne was every bit as pleasant as George himself saying that he’d be touched and she was every bit sincerer.

People say something like – ‘avoid meeting your heroes, you may be disappointed’, I’ve met two of mine and on both occasions they have been everything I hoped, both are now sadly no longer with us. George is one of them. Two years ago I got to spend sometime with George and basically thank him, I can truly say that and I was not disappointed, as well as a great talent he was a kind and gentle giant, full of humour, modest to the core and a down to earth gentleman. My thoughts are with his wife and family.

He a left behind a terrific legacy to be enjoyed. He will be missed.

The spirit of a witch reeks havoc on two siblings and their partners when she is summoned to their cottage.

As the genre is close to my heart I couldn’t pass an opportunity to view Sweden’s filmmaker Jarno Lee Vinsencius latest offering Svarta Madam. Opening with a creepy exposition card harking back to the good old days of horror we’re treated to glimpse of a 1633 burning at the stake. Moving forward to 1995 oozing atmosphere as two children, Emma and Alex, go about summoning a spirit (unavoidably echoing Bernard Rose’s Candy Man and the Bloody Mary legend) it then jumps to 22 years later at a birthday dinner where the siblings are reunited with their grandmother’s mirror. Director, writer Vinsencius packs every frame of The Madame in Black with a flavour of eerie ambiance. With a few jump scares courteous of an injection of effective sound design and music he then amps up the horror suspense with creaky floor boards, disembodied whispers and shrieks in the dark.

As the body count increases even with severed fingers, dreams within dreams, the script rings true, adding some much needed credibility to the underdog genre. It contains all the creepy staples of a good horror, even floating camera work in a forest reminiscent of Evil Dead but like the recent Spanish horror revival this is also fittingly played straight with an on location backdrop enhanced with naturalist lighting. The cast are on fine form, as with Vinsencius’ Darkness Falls this offering benefits from some strong performances courtesy of Ida Gyllenstan and the notable Demis Tzivis.

The moonlit night is seemingly CGI free and the makeup effects by Ellinor Rosander are used sparingly. When Madame in Black appears it encompasses all the best of practical horrors, a simple effective shrouded figure (also played by Rosander) channelling Exorcist III. But where Vinsencius excels is in his cinematography, creating a cinematic feel, even throwing in some aerial shots that put DTV horror and some bigger budget films with longer running times to shame. It’s clear that Vinsencius gives 110% to his craft and there’s no wonder why this Swedish chiller has won handfuls of awards.

This is a must see short horror film, watch with the sound up and the lights off.

Alien: Covenant Movie Poster*** This review may contain spoilers ***

On the far side of the galaxy the colony spaceship USCSS Covenant takes a detour and discovers horrors on an uncharted planet.

Opening with a flashback of David being activated by Peter Weyland we are treated to an Alien-style title sequence. After a shocking neutrino burst opening we are then introduced to the characters brought abruptly out of hyper-sleep by Walter a synthetic model. Soon the crew land on a planet and after a series of hostile events meet David, a survivor of the Prometheus mission. David and Walter (Michael Fassbender in dual roles) are put centre stage. To Ridley Scott’s special effects team credit the androids are exceptional and you never question the illusion of the two characters being on screen at once.

Whereas Prometheus felt somewhat innovative and charted a different direction to the Alien series if you are a fan be warned, Covenant takes a step back with the Engineers and Shaw’s story thread ending abruptly. Aside from Guy Pearce’s Weyland’s cameo, ties from Prometheus are broken and even Noomi Rapace’s Shaw who appeared in Covenant’s promotions is substantially cut in the final film. This is in place of a standard three act Alien affair, without the suspense of Alien but all the brashness of Aliens, still director Scott’s moody, thoughtful style shines here. Naturally the aesthetics, cinematography, production design are of Scott’s high standards and Covenant moves at breakneck speed, from ship, to planet, back to ship à la Alien format borrowing also from Aliens and his own Prometheus and even a line from Blade Runner. In addition, Jed Kurzel’s soundtrack takes all the best cues from Jerry Goldsmith’s 1979 Alien score and hones a reminiscent hybrid of sorts.

Lead Katherine Waterston’s Daniels (terrible hair cut aside), does her best with what she’s given. James Franco appears briefly and like Rapace his part aside from body and video footage is left promo material hell. Waterston offers enough emotion to keep Franco’s Branson spirit alive throughout and you buy into her loss. Logical straight talking Callie Hernandez’s Upworth is notable along with Billy Crudup’s to the book Oram and Demián Bichir’s tough solider Lope is memorable. Fassbender’s dual performance is excellent. However, he unjustly steals the show and his position of prominence takes away what made (certainly David) so interesting as a secondary character in Covenant’s predecessor.

The various looking aliens on display are highly aggressive from the outset. The Alien effects are first rate and the introduction to a H. R. Giger style creepy white Neomorph alien (born from spores that grow inside you into a Neomorph Bloodburster) gives Pan’s Labyrinth chills. Nevertheless, there’s not enough suspense or stalking from the aliens, but plenty of running around. It felt like too many CGI beast shots and not enough practical effects. However, when the Neomorph stood upright in front of David it was quite impressive. When the traditional albeit upgraded version of the Alien turns up it’s a joy. There’s a missed opportunity to face off the old Xenomorphs Alien with the new Neomorph. Or even solely focus on the Neomorph as there is some interesting communication between David and the Aliens that is never fully explored. There’s also the thread that David may or may not have gone stir crazy due to his humanistic characterisations. (Incidentally, the novelisation through various passages and additional dialogue fill in the blanks, e.g. why they leave the landing ship without helmets, what happens to the other Neomorph, Shaw’s cross necklace and many more, it’s a shame these moments were either not filmed or cut.)

When things go pear shaped there’s plenty of blood and gore, the alien eggs, Chestburster and Facehuggers are finely tuned for screen, Scott also throws in fighting androids and Aliens-like shoot outs – there’s plenty to like about Covenant. Waterston along with Danny McBride’s pilot Tennessee look comfortable going head to head with the pesky Alien, even if it all feels somewhat rehashed and rushed. However, die-hard Alien fan’s will have to buy into facehugger embryos (?!), David creating eggs and incubation times. This is topped of by handful of writers who offer a frustrating ending which teases another follow up.

Overall, Scott plays it safe and delivers a sci-fi horror with a typical series of action setups that is basically there to appease action fans rather than create suspense which was the originals finest quality.

The Void Movie Poster

*** This review may contain spoilers ***

A group of people become trapped in a hospital by a gathering of hooded cultists and discover that the hospital has been taken over by grotesque creatures with a sinister agenda.

Though Steven Kostanski and Jeremy Gillespie’s writing/directing offering takes reminiscent cues from The Thing, Halloween and Hellraiser to name a few it has enough kicks and story beats to stand on its own two tentacles. With a page of H.P. Lovecraft’s Cthulhu The Void befits from convincing practical effects, old school film making and filmatic aesthetics which harks back to the high-end days of horror.

After a shooting a woman is mysteriously set ablaze, Deputy Daniel Carter picks up an injured man in the road and akin to Halloween 2 and Assault on Precinct 13 a group hold up in a remote hospital after encountering creepy, white sheet covered figures offering Wicker Man and The Fog chills. There we become acquainted with the players and things go pear shaped with killings, mistrust shenanigans and gross out mutations. Kostanski and Gillespie effectively couple this with sporadic modernised Fulci visuals (City of the Living Dead) thrown in for good measure, it has its surreal moments. Yes, it oozes John Carpenter in the first half and Clive Barker with a bit of Polanski in the second but that’s not a bad thing, it’s one of the films strengths as it plays as a homage of sorts.

The acting is first rate, with the edge of De Niro Aaron Poole (Forsaken, The Last Will and Testament of Rosalind Leigh) as Carter simply shines as the out of his depth officer is thrown into a maze of blood and gore with its darkened corridors and basements. Although Kathleen Munroe’s (Survival of the Dead) screen time is limited, she puts in a solid performance as Allison. Notable is Stellan Skarsgård looking Daniel Fathers as the hot head parent who wants to destroy the mysterious cult, pealed skin antagonist and his monsters. Kenneth Welsh (also of Survival of the dead fame) knocks it out of the park as Dr. Richard Powell. Like the supporting actors including Ellen Wong and James Millington, both Munroe and Poole set up a good emotional character rapport and you buy into their plight.

With some twists and as the story takes place over one night it gives it an intense ride feel with a score that adds to the on screen tension. Kostanski and Gillespie give The Void enough symbolism as to not spoon feed the viewer and top it off with some surrealism. It’s not some sub-par cheap looking digital addition to the genre, they offer serious suspense with excellent staging and full on displayed visceral practical effects as the characters try to survive the night from the weird shrouded cult and icky biological monsters.

Overall it’s a must see sci-fi horror hybrid, The Void is for old school effect house horror fans as well as new comers.