Tag: Horror

BLOW JOB (1980)

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Written, Directed & Edited By: Alberto Cavallone

Cinematography: Maurizio Centini

Cast: Danilo Micheli, Andrea Massarelli, Anna Bruna Cazzato, Mirella Venturini, Valerio Isidori, Antonio Mea, Alea Armani

Stefano Vicinelli and his girlfriend Diana fall two weeks behind on their hotel rent and face having their luggage and car impounded until they can pay the bill. Conveniently for them, a distraught woman in the room right above theirs leaps to her death from the window. Using that as a distraction, the lovebirds sneak out and take off. Running low on money, they pool what little cash they do have and go to the racetrack. Stefano encounters a crazed woman wearing sunglasses who demands he give her a key so she can unlock a door. After she calms down, she proposes a deal with him: She’ll help him win money in the horse race if he’ll help her “get past the gate.” Having no clue what she’s even talking about, Stefano reluctantly agrees and bets on her suggestion. After the horse wins and he collects, he feels obliged to accompany the strange woman – who introduces herself as Countess Angela – back to her home.

The film has a misleading title that seems used to get an audience interested. Sure, it’s an erotic movie that doesn’t actually show or revolve around the sexual act in particular. It hints at the act once. 

Though it is more like a softcore erotic movie with a supernatural plot that isn’t too convoluted but leads to erotic interludes. So that it literally feels like a porno with a plot and professional production values. That never goes in the direction of being a full hardcore adult film, but also barely has any direction. 

As it never quite comes across as a believable supernatural thriller either. Though the eroticism is the only thing that makes the film entertaining 

Strangely enough, the film takes itself too seriously instead of going full steam into a more cultural exploitation experience. 

There is of course plenty of nudity as well as softcore sex of all kinds, with a love story thrown in. The film feels heavily edited to make sure the action doesn’t go too far into more hardcore territory. 

The film’s plot really makes no sense. Though the movie tries to hypnotize the audience with surreal imagery. That feels more like arthouse pretensions with hippie philosophy and astrology thrown in for plenty of ceremonies. 

No, the grade isn’t because it doesn’t live up to the title, but at least if the filmmakers had just decided to go with a more out-and-out pornographic movie. Maybe the audience wouldn’t;t have been so let down by a title that seems more meant to shock, but ultimately becomes more a gimmick

Grade: F

DEATH WALKS ON HIGH HEELS (1972)

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Directed By: Luciano Ercoli 

Written By: Ernesto Gastaldi and May Velasco 

Story By: Dino Verde, Ernesto Gastaldi and May Velasco

Cinematography: Fernando Arribas 

Editor: Pedro Del Rey and Angelo Curi

Cast: Susan Scott (Nieves Navarro), Simon Andreu, Frank Wolff, Carlo Gentilli, George Rigaud, J. Manuel Martin, Luciano Rossi, Claude Lange

After a French stripper is harassed by a man who wants a cache of diamonds stolen by her late father, she flees to England in the company of a doctor, but danger follows.

There is a murder mystery at the heart of this film that seems to take a backseat to showing the body fashions, styles, wigs, and beauty of the film’s star Nieves Navarro. As the film practically worships her as much as most of the male main characters do in the beginning 

So much so that it feels like like a star vehicle as we see her in states of undress and high fashion, where each scene seems to be her in a new outfit or look even in her striptease in which it seems like she does blackface or it’s just very heavily tanned with an Afro wig. She manages to burn through the scree. She manages to burn through the screen. A chance for her to role-play and these costumes, even as she plays the same character.

Their scenes of her whole striptease and scene of her eating by a fireplace that plays more like sex between her and her married lover, then just simple foreplay, especially with all the close-ups of their faces. As the film tries to exude glamour, class, and a fair bit of being campy.

Now, once the second half of the film starts, it almost feels like a different film. This is where it becomes more of a murder mystery and it’s not as magical or fun. The reality seems to set in. 

As almost everyone is a suspect as they all seem to be fascinated or stalking the lead female character, even both. Even the married man’s wife becomes a suspect, and she seems to resemble an older version of the main character, the actresses look alike

The main female character is the truly interesting part. She seems to be the bait for all of the characters, including the audience.

There is even a ridiculous action scene that seems obsessed with the female character who keeps seeming to hit her silence in the balls times throughout a scene.

The film offers plenty of twists and turns, though it does feel lengthy at times. The film isn’t as thrilling or spooky as expected, and a movie of this kind that resembles a Giallo. Though it feels like a naughty version of a police procedural from the 1970s on foreign land. We see the before, the actual crime, and the after with an investigation. 

It’s also not the most artistic as the first half works more as a relationship drama with lavish locations and some intrigue. It ends up being more fun than expected.

GRADE: B-

THE FIRST OMEN (2024)

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Directed By: Arkasha Stevenson 

Written By: Arkasha Stevenson, Tim Smith and Keith Thomas

Story By: Ben Jacoby

Based On Characters Created By: David Seltzer

Cinematography: Aaron Morton 

Editor: Amy E. Duddleston and Bob Murawski 

Cast: Nell Tiger Free, Sonia Braga, Ralph Ineson, Tawheek Barhom, Maria Caballero, Bill Nighy, Charles Dance, Nicole Sorace, Ishtar Currie-Wilson, Andrea Arcangeli 

A young American woman is sent to Rome to begin a life of service to the church but encounters darkness that causes her to question her faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.

I give this some credit it’s better than it should be as it seemed at first like it was going to be a rebooted sequel that’s a prequel cash-in on the original. 

By the end, it’s a well-put-together thought-out horror film that makes sense and takes its time to tell its tale. Though I wonder if that is why people give it so much credit as they weren’t expecting much and came out with an actual good movie

This film came out at the same time as the Sweeney film IMMACULATE, which to me kind of looks the same except that you had a more recognizable actor in the forum, Sydney Sweeney, but watching the trailers, one would often get what was supposed to happen to confused what came to actually watch the films. as it seemed kind of like the phenomenon that would happen years ago, where two studios that have competing films with the same theme, think ARMAGEDDON and DEEP IMPACT. Or VOLCANO and DANTE’S PEAK.

this film is longer than the original film. The OMEN and there are some recognizable actors. Most of the cast is character actors. it seems like every horror or fantasy film must have a cameo from Charles Dance these days as a requirement. Not to mention even though Bill Nighy has a bigger role. He seems to be barely in it really I can only recall three scenes.

The film takes its time again as it builds slowly but once it gets rolling, it really gets interesting as there is a central mystery and we’re getting clues left and right, things are getting put together and we realize what is happening so that the film puts itself together quite nicely

Even if from the beginning, the nuns always seem a bit suspect and mean. 

there is a scene where it seems like they try to homage Isabelle Adjani’s infamous scene from POSESSION. only here it happens after a car crash and certain details are revealed that the main character has their own scene of revelation, and her reaction is similar as far as you can go in a more mainstream film.

What’s interesting is that this film though it is a prequel leaves room for a sequel that could be done as a side story that is kind of intersex with the original film or maybe even THE Omen Two or could be a direct sequel to them if they choose to jump that many years 

The film is never quite scary, but it does have a sense of unease. That will keep you guessing and offers the required terrifying images without quite reviewing all so while it shows it also sets your imagination to something that is probably worse to fill in the picture which movies try and fail but actually works here.

Director Arkasha Stevenson definitely has the talent. Hopefully, he continues to make memorable and noteworthy films. Look what he accomplished with an almost-forgotten franchise 

Grade: B- 

LAST STRAW (2023)

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Directed By: Alex Scott Neal

Written By: Taylor Sardoni

Cinematography: Andrey Nikolaev

Editor: Nathan Whiteside

Cast: Jessica Belkin, Taylor Kowalski, Joji Otani-Hansen, Jeremy Sisto, Christopher M. Lopes, Glen Gould, Michael Giannone, Tara Raani 

A small-town killing spree lands on the doorstep of a rural diner, where a young waitress must fight for her life throughout one long night.

The film is short and sweet and seems simple at first, then explains how we got to a certain point after the reveal and then continues the story.

Manages to stay throughout where it’s all around revenge where each of the film’s protagonists takes up their own vigilante Justice in any way.

Even though they are sympathetic, none of the characters is particularly likable. It might be that they all seem kind of hopeless in their own way, or at least somewhat stuck.

By making the characters unlikable damaged yet sympathetic, ask the audience to find some sympathy for the characters they never would have normally even if just as victims.

The film is pretty cut and dry though add some spice to the mix that keeps it tasty throughout. In the first half we get to learn about the characters and seems almost to be your typical siege or slasher tail. Once it gets more into the second half of the explanation, it becomes a little more dramatic but also that much more interesting.

As it seems to battle against itself to be labeled more than basic.

However, it does have a scene with the most realistic yet coldest reaction to a character suddenly facing hard out of nowhere.

The end of the film is not necessarily spectacular, but at least it’s interesting and mildly noteworthy and definitely not a bad debut by Director Alex Scott Neal. Interested to see the filmmakers’ next works

Grade: C+

SMILE (2022)

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Written & Directed By: Parker Finn

Cinematography: Charlie Sarroff

Editor: Elliot Greenberg

Cast: Sosie Bacon, Kyle Gallner, Jessie T. Usher, Kal Penn, Robin Weigert, Rob Morgan, Judy Reyes, Caitlin Stasey, Gillian Zinser 

After witnessing a bizarre, traumatic incident involving a patient, a psychiatrist becomes increasingly convinced she is being threatened by an uncanny entity.

It took me a while to watch this film as seeing the trailer repeatedly when it first came out, it seemed more run-of-the-mill. They feel more built on jump scares that you feel like you’ve seen 1000 times.

Eventually decided to give it a chance and found that it reminded me of a 1990s horror film that you discover after finally deciding to give it a chance so it was a bit meta 

 What’s surprising is that it’s quite solid and its own way. it’s better than expected even if at times is a bit predictable. Can see why he gained an audience and became successful.

The film is much more realistic than expected with a surprising amount of violence. Manages to stay grounded in a certain reality. Times one of the original Candyman, as far as a kind of folklore with a female lead character who seemingly is losing her mind.

The film relies on an unseen enemy and entity, like FALLEN with a mix of a curse like THE RING and also a bit of FINAL DESTINATION  thrown in. 

The film could easily have been a character study of someone, losing their mind through their eyes and hallucinations creating a conspiracy. Only this film acknowledges its truth and reality so it can’t exactly go down that route.

The film has equal parts jump, scares violence, and melancholy mood but manages to stay mainstream and audience, friendly. It’s nasty, but not over the top or spirited. However, it does have quite a few memorable scenes, especially the kid’s birthday party.

A good alternative title for this film would have been Psychosomatic.

The actors seem to have a fair amount of contortion to get that freak factor which is becoming common in films involving some kind of possession.

You can see the film’s influences and inspiration as there are quite a few. Which works especially as the film is far from original.

Even those who are not big film watchers will recognize different familiar recent horror films it borrows from like a recipe that calls for huge mixtures and plenty of ingredients

Grade: B-

THE ANGRY BLACK GIRL AND HER MONSTER (2023)

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Written & Directed By: Bomani J. Story 

Cinematography: Daphne Qin Wu

Editor: Annie DeBrock

Cast: Laya Deleon Hayes, Denzel Whitaker, Chad L. Coleman, Reilly Brooke Stith, Keith Holliday, Amani Summer, Eden Atsu-Swanzy, Ellis Hobbs IV

Vicaria’s a brilliant teenager. After the brutal murder of her brother, she embarks on a dangerous journey to resurrect him.

This is a film I have mixed feelings about. Though I always do when it comes to African Americans in horror. As I love the representation bit it also feels like reinforcing stories and stereotypes of the type of characters and media. They are always caught up in and now add supernatural elements and undead slashers  

This is a film that fights against itself in certain ways. It feels like more trauma-inducing horror for characters and a community that has seen enough horrors in life and on-screen in media. This only adds to it 

The redeeming qualities it does have a kind of happy Ending and showcasing microaggressions and intelligence as well as a bit of black history is commendable but it does run into certain stereotypes. 

By the end what should be a cautionary tale feels like a twisted one where the main character is justified in her actions. 

As we watch, we pretty much know what’s going to happen as it goes along as we’ve seen this tale before it just offers different elements and motivations throughout. 

It softens the blow, making the main character, a genius teenager, seem not to know any better. so that we can’t get totally mad at her or want her to get somewhat of a come-up as her intentions were pure and not as dastardly. Though for all of her intelligence how she didn’t see this coming, also exposes her naivety.

It offers a story that is definitely coming of age as it shows and revolves around, mostly kids to a certain degree or forced to grow up way too fast as they have to become aware of the danger that is constantly around them and how to maneuver and deal with it in their own ways. 

The film offers to have to go through such hardships and pain to finally find a certain piece or get their own happy ending. A more McCobb ambling tale that takes place in a tougher neighborhood with harder upbringings, but does offer an adventure.

Luckily, the film does not get bogged down, and being some kind of revenge thriller it offers up some ideas but still unfortunately comes across as pretty basic at times.

Grade: C

HIS HOUSE (2020)

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Written & Directed By: Remi Weekes 

Story By: Felicity Evans and Tony Venables

Cinematography: Jo Willems

Editor: Julia Bloch 

Cast: Sope Dirisu, Wummi Mosaku, Matt Smith, Javier Botet, Maraika Wakoli-Abigaba, Yvonne Campbell, Vivienne Soan, Lola May 

A refugee couple makes a harrowing escape from war-torn South Sudan, but then they struggle to adjust to their new life in an English town that has an evil lurking beneath the surface.

This film is a revelation. It manages to mix culture, history, scares, mood, and atmosphere all into the mix and comes across as a haunting drama and horror film. 

it doesn’t have a typical horror take of a slasher but feels a bit more full in a story in characters and offers us a ghost story though more of a haunting. Where guilt is what has the strength to make matters worse. That doesn’t offer a simple answer though, and gives a way too easy way of an ending. 

It goes into the immigrant experience as well as the guilt of leaving a homeland for another and never quite getting away from or forgetting the ghosts of your pasts.

The characters are haunted by their decisions and how far they are willing to go to get rid of them. Before they let them literally kill them. 

This is the beginning of the renaissance of actor Sope Dirisu after this he continues to be on a roll in the roles he plays always powerful, emotional, and believable with a certain sense of style.

However, that is not to discount Wummi Mosaku performance here as she matches him especially emotionally. They are perfect duet partners throughout as a married couple. Where no matter what each is going through you believe them together and the love and care they have for one another. 

This is writer/director Reemi Weekes debut film and already shows a wealth of talent and skill. This film shows that he knows what he is doing and is in full control of his powers when presenting the story he wants to tell. 

The film is filled with unforgettable images and scary scenes and stays quite inventive, especially with its Locations. It digs into being strangers in a strange land and that alienation. Even though what should bind you to others seems to repel. 

People of color in particular African Americans go through so much in life. Not a fan of seeing them suffering. As it feels like another hardship left to endure onscreen. Here the film manages to tie in that experience. Heightening it makes it more understandable for the audience and others who have never had to go through it. 

Grade: B+

ABIGAIL (2023)

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Directed By: Melissa Vitello 

Written By: Gunnar Garrett

Cinematography: Bryan Ricke

Editor: Michael S. Ojeda 

Cast: Ava Cantrell, Tren Reed-Brown, Gene Farber, Hermione Lynch, Karina Westbrook, Yanni Walker, Trace Talbot, Patrick Hilgart, Meredith Vivian 

In 1976 a troubled teen befriends her bullied neighbor, seeking revenge on his tormentors, but her obsession turns deadly.

The Film starts off as a coming-of-age film that seems like it will be about revenge before it takes several turns and becomes something totally different not outrageous but a little bit harder to label. At first, it seems like it could be more of a backwoods BECKY type of film. Only with less action and more horror.

This is an odd little film. It starts off as a revenge tale of Justice, and then there are several twists and turns by the end you were wondering, if the title character is truly an antihero or truly just a sociopath and psychopath, even though the film tries to hint at her maybe just being misjudged. 

As throughout the victims in the film, I’m not going to say they’re the greatest people, but it does feel a little excessive for what is doubt to them by logic. Maybe that’s justified though there is truly only one innocent victim. It seems and the film seems to have no sympathy for them. 

luckily, the movie gets to the point very fast and maybe it’s just my nature but there just seems to be some kind of element missing as the story is a bit more original than you would expect and there’s nothing wrong with the follow-through but there’s like little things that mess with the mixture like there’s really no reason why this film is set in the 1970s except maybe they wanted an absence of technology, but considering it takes place in a small southern town, it could’ve been modern and the characters didn’t have certain amenities

And in its own way you could call this a slasher film that takes its time where we get to know the slasher not necessarily their origins, but we see their kind of upbringing or a little bit after their start.

The film isn’t necessarily gory, nor does it involve any nudity or sex, so you can’t exactly call it exploitative even though when it’s DNA, it has the makings of one. There are several times where it does feel a bit campy sometimes on purpose other times not necessarily and the acting isn’t always the best but it’s good enough to keep your interest while it plays. 

Grace: C

IMMACULATE (2024)

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Directed By: Michael Mohan

Written By: Andrew Lobel 

Cinematography: Elisha Christian 

Editor: Christian Masini 

Cast: Sydney Sweeney, Simona Tobasco, Benedetta Porcaroli, Alavaro Morte, Giorgio Colangeli, Dora Romano, Giulia Heathfield Di Renzi, Giampiero Judica 

Cecilia, a woman of devout faith, is warmly welcomed to the picture-perfect Italian countryside where she is offered a new role at an illustrious convent. But it becomes clear to Cecilia that her new home harbors dark and horrifying secrets.

This film came out at an interesting time. It seemed to be on the heels of the similarly themed THE FIRST OMEN. Though at least this can be considered more an original than a prequel.

This one despite having a rising star in the main role and own in a supporting role. Comes across as more heartfelt ultimately. However, what truly makes it memorable is the surprising and somewhat brutal third act

Though the film offers violence here and there in act two. It seems like there is a lot of build-up going Along the way keeping scenes just intriguing enough. To keep you interested until it finally becomes more than what you expected.

Though the third act is very dark which might disturb some viewers and the reasoning behind some decisions and plans. Seems either silly or like it would only exist in a movie.

Sydney Sweeney is convincing in her leading role. She stretches her acting muscles and is not really dependent on her looks or body as much.

As the film is directed by Michael Mohan who has collaborated on the film THE VOYEURS from a few years ago and the show EVERYTHING SUCKS. Which is where this reviewer first saw her. So this offers her a big screen leading role and a director she trusts. 

This makes sense as this film comes off as a starring role. Made to appeal to the audiences’ fandom of an actor or actress and seemingly written for them or someone of that magnitude. Rather than truly a character role. 

The film offers exactly what you might expect and gives enough scares and violence to keep the horror audience happy. Other than a good ending it doesn’t offer anything that rises above basic.

Though a smaller production, it does feel a little more like a breath of fresh air as this film doesn’t go for campier or trashier aspects of similar material and more recent films.

Grade: C+

THE PLATFORM 2 (2024)

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Directed By: Galder Gaztelu-Urtuitia 

Written By: Galder Gaztelu-Urtuitia, David Desola, Egoitz Moreno and Pedro Rivera 

Cinematography: Jones Sangroniz

Cast: Milena Smit, Hovik Kruchkerian, Natalia Trent, Oscar Jaenada, Ivan Massague, Zorion Eguileor, Bastien Ughetto 

A thrilling physical journey that allows an approach to the darkness, where it is scary to look. It appeals to the viewer’s civil responsibility and forces them to face the limits of their own solidarity.

This is an unnecessary sequel. That is more of the same but tries to keep or Impart an anti-authority message. While also including some personal stories about sacrifice and acceptance. 

The film is overblown and has the effect of feeling like we got the message the first time and now you are just pounding it into the audience’s head who Were already on board. So at times, it feels overblown and annoying. Especially including a leader who ultimately works As a physical manifestation of a villain. Who resembles a version of Jesus.

Though the film is fine and if you haven’t seen the first film it might be shocking or like something new, but if you have seen the first it’s like a procedural more of the same only different faces and new characters. Basically more of the same.

Though the film tries to add mythology to its tale it feels overblown like most sequels and a bit too much for something that should have kept it simple and not overthought it.

It will be satisfying more if you haven’t seen the first one. As this film feels unnecessary.

Grade: C+