Tag: Horror

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+

THE COFFEE TABLE (2023)

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Directed & Edited By: Caye Cesas

Written By: Caye Cesas And Cristina Borobia

Cinematography: Alberto Morago

Cast: David Pareja, Estafina De Los Santos,  Josep Maria Riera, Claudia Riera, Eduardo Antuna, Gala Flores, Cristina Dilla, Aitzair Castro

Jesus and Maria are a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence.

before I even start trying to write about this film. please know that this is a very heavy spoiler written review because it’s very hard to talk about this film without spoiling it. Don’t watch the trailer. Don’t read about it to truly experience the film. It is best to go in blind that is first.

So now here we go Secondary this film is very disturbing so if you have a light sensibility and can’t handle dark material, it is highly suggested you stay away from this movie. Especially if you are a parent.

HEAVY SPOILERS 

So now here we go

The film begins like a truly dark black bleak comedy, and it gets right to the point at first I thought it was going to play out as a bunch of just bad luck and circumstances of the purchase of this coffee table. I didn’t think it would start off so quickly with the dilemma

throughout the film, there is humor and a bit of the absurd, but I think what is generally disturbing about the film is that it also plays so real. It feels like the actual reactions of a person who is in that circumstance and then panicking and figuring out how they’re going to relieve the dilemma, and also having to deal with all these characters around them.

Considering the film takes place in one location it also almost feels like this could’ve easily been a play a stage show. Throughout plays, even the minor supplies seem to be more about character than pieces or funny material.

it’s partially a character piece as we do get to know bits and pieces about the characters and their past and their relationships and really the film depends on them and their believability and emotions. while it has a sense of dread and a cloud of despair hanging through it

Luckily, the film doesn’t go for too much shock value, or show you violence or being exploitative about the situation. The filmmaking is it distracting it’s more of the dramatics of the situation and the believability of the characters that come through the most in this film. As it stays shocking yet always believable.

what I believe makes this film feel so heavy at the end is that there doesn’t seem to be any release or Relief and even with its dark humor there’s no punchline. It’s an all-out tragedy.

As there are no true villains in this film only victims. As it plays It just seems cruel to a certain extent not that it wants to be, but you do wonder why these characters have to be caught up in this and suffer. If not at the time you know it’s coming. The only question is how and why. This is a film that you can just sit back and watch you’re going to find yourself involved somehow even if it’s just in your reactions which will most likely be loud.

By the end, you’re even wondering why this film was made it’s just so heavy and sad that this is the type of film where afterward you’re gonna need something to definitely try to cheer you up whatever you can find as it leaves you in a dark place. as this is one nasty experience that you can’t help but feel something while watching.

this is one of those films that just stays with you even if you don’t like the film or aren’t impressed by the film or its filmmaking. Though I will admit with this kind of imagination, I am interested to see what the Director comes up with next.

Grade: B 

IN FABRIC (2018)

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Written & Directed By: Peter Strickland 

Cinematography: Ari Wegner 

Editor: Matyas Fekete

Cast: Sidse Babett Knudsen, Marianne Jean-Baptiste, Julian Barrett, Steve Oram, Richard Bremmer, Fatma Mohamed, Gwendoline Christie, Hayley Squires, Jaygann Ayeh 

In Fabric is a haunting ghost story set against the backdrop of a busy winter sales period in a department store and follows the life of a cursed dress as it passes from person to person, with devastating consequences.

Visually stylish, surreal, and fashionable. 

I wanted to like it more than I actually did. I adore the director Peter Strickland and this seems like it should be a slam dunk.

As it has its peculiarities it ultimately seems to Try for the director to be too mainstream. Which seems to either dull his impulses or feel like he is holding back. While offering quite a visual feast.

The film feels enriched more like literature. It feels like a truly dark fairytale.

As it tries to say something more Than it is letting on. As an object leads to the owners of it unraveling. After They have never felt more beautiful or special. It’s downhill from there literally.

The film does offer a sense of humor and is self-referential. It also seems to be bizarre at times with little or no real reason. It just wants to be that way. 

In the end, the film seems to be about obsession and fetish. How obsessions with objects can become all-consuming and eventually destroy us. 

Literally, this plays like a storybook. That by the end feels like nothing. As it leaves us with little to care about and still confused. There is not too much to take away from it or the experience.

Grade: C

HOUSE OF SPOILS (2024)

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Written & Directed: Bridget Savage Cole and Danielle Krudy

Cinematography: Eric Lin

Editor: Marcus Vives 

Cast: Ariana DeBose, Barbie Ferreira, Arian Moayed, Martin Csokas, Mikel Brett Silset, Amara Karen

It tells the story of a chef who opens her first restaurant where she battles kitchen chaos, a dubious investor, and self-doubt, but the pressure heats up thanks to the spirit of the estate’s previous owner who threatens to sabotage her.

This is a film that never seems to get started. As it builds up to a certain degree of what’s the worst that could happen. Which adds a certain comedic paranoia. Though it feels like it drops the ball.

As it seems to take It’s Time to get the audience excited and ready, by the end it gets to its conclusion it feels like much ado about nothing. Making. It feels like most of the movie was a tease with an unsatisfying ending.

It might have been better as a short or an episode of an anthology. So it could get to the point. At least have a stronger ending.

As for the need, it feels more like a film that tries to tie in feminism and witchcraft. Where recipes seem to be the spells and an offering. 

It never feels like a thriller or horror. Though it has elements of each. In the end, it feels more like a drama. That tries to have some mood of THE BEAR mixed in with what might be some supernatural elements. 

The one strong thing about this film is the lead role played by Oscar Winner Ariana DeBose. One only wishes the film and script could be as strong as she is throughout. 

Grade: D 

LOWLIFES (2024)

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Directed By: Tesh Guttikonda and Mitch Oliver

Written By: Al Kaplan

Cinematography: Matt Young 

Editor: Jason Hamill

Cast: Matthew MacCaull, Amanda Fix, Brenda Llewellyn, Cassandra Sawtell, Richard Harmon, Elyse Levesque, Josh Zaharia, Kevin McNulty 

The survival instincts of a road-tripping family are put to the test when they have no other choice but to stay the night at a remote homestead.

This is a film that is definitely better. If you don’t know much about it before you watch it even though the poster makes it look like a run-of-the-mill horror film. Hopefully, you are reading this after the film, As there are minor spoilers.

This film offers the typical violence thrills and scares, but it also offers up quite a few twists that are quite original and fun that keep the film entertaining.

Though the film might reveal its hand early. It seems necessary to heighten the situation that the characters find themselves in.

Most of the most creepy characters in this film, or actually the most innocent, and those that seem the most innocent tend to be the most disturbed ones.

This is a single horror film for the most part, so it maintains its ground and stays on the ground, which works for this tale. All the actors are spot-on in their performances.

This film deserves more of a theatrical release or to be part of the BLUMHOUSE productions. The film gives more to the audience and shows respect for them rather than being easily formulaic and providing cheap thrills. just as this is more entertaining than any of the American horror stories by Ryan Murphy

Surprisingly, this film is more solid than expected. It shows what can be done with imagination and a low budget. it offers a lot with what little it makes you believe it has. It even has a pro-LGBTQ+ romance in it. 

Grade: C+