Fright Club

Fright Club: Best Krampus Horror Movies

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Krampus is the anti-Santa, St. Nick’s mean sidekick of lore from the Alpine region of Europe. He accompanies Santa on his rounds, and while Santa hands out treats to good kids, Krampus beats them or bags them and hauls them off to hell. I swear! If you’ve tired of the regular old traumatized youth who grows up to don the red suit and murder townsfolk, then Krampus might deck your log this season. Here are some of our favorites.

5. Mother Krampus 2: Slay Ride (2018)

Who is Mother Krampus? Technically, she’s Frau Perchta, a real legend, also from the Alpine region of Europe, also likely to beat and maim idle or misbehaved youth around Christmastime. And while you’ll find about a dozen micro-budget Krampus slashers to choose from, only a couple give Frau her due. We recommend Mother Krampus 2: Slay Ride.

A few Clevelanders are serving out their community service on Christmas Eve. These include KateLynn E. Newberry as good-as-gold Victoria, and Roger Conners gloriously portraying Lady Athena Slay. Conners’s every moment on screen is a hoot.

The film boasts some effective blood fx, solid performances, and a villain you can get behind.

4.  Saint (2010)

What is every child’s immediate reaction upon first meeting Santa? Terror. Now imagine a mash-up between Santa, Krampus, a pirate, and an old-school Catholic bishop. How scary is that?

Well, that’s basically what the Dutch have to live with, as their Sinterklaas, along with his helper Black Peter, sails in yearly to deliver toys and bag naughty children to kidnap to Spain. I’m not making this up. This truly is their Christmas fairy tale. So, really, how hard was it for writer/director Dick Maas to mine his native holiday traditions for a horror flick?

Allegorical of the generations-old abuse against children quieted by the Catholic Church, Saint manages to hit a few nerves without losing its focus on simple, gory storytelling.

3. Krampus (2015)

Hometown boy Michael Dougherty, whose 2007 directorial debut Trick ‘r Treat is a seasonal gem, returned to the land of holidays and horror with his second effort behind the camera, Krampus.

When family dysfunction pushes young Max (Emjay Anthony) too far, he tears up his letter to Santa, unwittingly inviting in his stead, the evil shadow-Santa, Krampus.

The ancient demon and his anti-merrymakers get a fantastic design, and the entire film looks great. Plus an ensemble stacked with A-listers (Toni Collette, Adam Scott, David Koechner, Conchata Ferrell) elevates a script that might feel lacking otherwise.

2. A Christmas Horror Story (2015)

A trio of Canadian directors – Steve Hoban, Brett Sullivan, and Grant Harvey – pull together a series of holiday shorts with this one. Held together by Dangerous Dan (William Shatner), the small-town radio announcer who’s pulling a double shift this Christmas Eve, the tales vary wickedly from three teens trapped in their own wrong-headed Nativity, to a family who accidentally brought home a violent changeling with their pilfered Christmas tree, to a dysfunctional family stalked by Krampus, to Santa himself, besieged by zombie elves.

Yes, there is a second film out this holiday season with Krampus in it. You know what? This one’s better – in fact, it’s almost patterned after Krampus director John Dougherty’s cult favorite Trick r’ Treat and it offers more laughs and more scares.

Plus Shatner! He’s adorably jolly in the broadcast booth, particularly as the evening progresses and his nog to liquor ratio slowly changes. This is a cleverly written film, well-acted and sometimes creepy as hell. Merry f’ing Christmas!

1. Rare Exports (2010)

It’s not just the Dutch with a sketchy relationship with Santa. That same year Saint was released, the Fins put out an even better Christmas treat, one that sees Santa—or is it his evil counterpart, Krampus?—as a bloodthirsty giant imprisoned in Korvatunturi mountains centuries ago.

Some quick-thinking reindeer farmers living in the land of the original Santa Claus are able to separate naughty from nice and make good use of Santa’s helpers. There are outstanding shots of wonderment, brilliantly subverted by director Jalmari Helander, with much aid from his chubby-cheeked lead, a wonderful Onni Tommila.

Rare Exports is an incredibly well-put-together film. Yes, the story is original and the acting truly is wonderful, but the cinematography, sound design, art direction and editing are top-notch.

New In Theaters

Fire Woman

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Avatar: Fire and Ash

by George Wolf

I saw someone post a question recently, asking when Avatar: Fire and Ash would hit streaming.

He might as well have been asking when he could plan to unload some time and money, because seeing this anywhere else but the big screen is a waste of both.

Right from the opening sequence, writer/director James Cameron pushes us one notch closer to a VR experience. The film’s sensory phaser is set to stun, even as Avatar installment number three suffers from the same narrative misfires that hampered the first two.

The timeline has moved ahead one year, with Jake (Sam Worthington) and Neytiri (Zoe Saldaña) settling in as members of the Metkayina clan. Neteyam’s death has left Neytiri grief-stricken and bitter, particularly toward Spider (Jack Champion), who is a constant reminder of the humans who killed her son.

The clone of Colonel Quaritch (Stephen Lang) is still out for revenge on Jake and his family, only this time he has some hot-tempered help.

Varang (Oona Chaplin) is the leader of the volcano-dwelling Mangkwan clan (aka the “Ash People”), a battle-tested warrior who not only gives Quaritch a valuable ally, she alone makes the film more interesting than The Way of Water.

Chaplin digs into Verang’s talents as a Black Magic Woman, and thanks to her, the film’s complete lack of humor is offset by layers of voodoo, dark arts and the conjuring of fire. Cool.

And again, the 3D IMAX whizbangery is pretty spectacular. The human and avatar worlds blend as seamlessly as the land-to-water transitions, with battle sequences that are more detailed and thrilling than ever.

But also again, Cameron and his writing team can’t hold themselves back from bland excess. Cameron borrows from his own films (The Abyss, especially), story beats are repeated and repeated again while dialog is often awkward and sometimes unintentionally funny – unless he was trying to recall Anchorman?

More than anything, Fire and Ash is out to just batter you with its sheer experience-ness. The running time bloats to an unnecessary three hours and fifteen minutes with unrelenting attempts at crescendo moments that rarely allow any time to breathe.

I mean, come on, if every day was like Christmas, then Christmas Day wouldn’t mean that much, would it? Fire and Ash brings over all the best new toys and throws them at you until you’re feeling both exhilarated and wondering what just happened.

Unless you wait until it streams. Then you’re just watching while your neighbor rides his sweet new bike past your house.

The Screening Room

Screening Room: Ella McCay, Dust Bunny, Influencers, Silent Night Deadly Night & More

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This week in the Screening Room, Hope & George review Ella McCay, Goodbye June, Dust Bunny, Sirat, Silent Night Deadly Night, Influencers—with a clip from our Fright Club interview with filmmaker Kurtis David Harder— & Vision.

Outtakes

Eye in the Sky

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Visions

by Rachel Willis

Unsettling close-ups of eyes and haunting music opens director Yann Gozlan’s thriller, Visions.

Estelle (Diane Kruger) is a successful commercial pilot who lives a seemingly idyllic life with her husband, Guillaume (Mathieu Kassovitz). However, it’s clear early on that Estelle keeps herself under strict control. Small details show how tightly wound she is.

Her ordered life is upended when she is reunited with an old friend, Ana (Marta Nieto). As Estelle’s opposite, Ana’s disorder is a little too on the nose. In one scene, Estelle is as rigid in her stance as Ana is fluid. Because of how heavy-handed they’re presented as foils, the two characters feel hollow.

As many women coiled too tightly, Estelle unravels rapidly. Violent dreams leave marks on her body. She begins to see eyes peeping in on her in various situations. There are several tense moments between Estelle and her husband, as well as between Estelle and Ana.

Kruger is impeccable, carrying the bulk of the film’s emotional weight. It’s unfortunate that the story can’t match her intensity. The film is often frustratingly opaque, leaving the audience with little to try to unravel as Estelle’s visions haunt her. Too many pieces seem smashed together with little narrative cohesion.

The overall effect is tedious. It’s hard to care about characters that are never fully realized. Each person in Estelle’s orbit is mere shadow. And the mystery at the heart of Estelle’s “visions” is less interesting than certain extreme moments she spends in the cockpit of a plane.

The focus on eyes is one of the more compelling features of Visions, but on the whole, it doesn’t succeed in keeping our eyes glued to the screen.

New In Theaters

Monster House

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Dust Bunny

by Hope Madden

Dust Bunny is a macabre delight.

Imagine Guillermo del Toro meets Wes Anderson. Equal parts fanciful and gruesome, the film tells the tale of a precocious youth named Aurora (Sophie Sloan), who hires the neighbor in 5B (Mads Mikkelsen) to kill the monster that lives under her bed.

What a wonderful premise, and writer/director Bryan Fuller wastes not a frame of his feature film debut. The saturated colors and intricate patterns and textures of the set design, the ballet of horror that is his shadow imagery, the boldly whimsical costuming—all of it conjuring an amplified fairy tale. It’s tough to believe this remarkably confident feature is his first foray behind the camera.

Fuller’s casting is just as playful. Sloan delivers Roald Dahl’s Matilda by way of Wednesday Addams, braids and all. Mikkelsen’s adorably gruff, and watching his character mentally work through the mystery surrounding Aurora’s missing parents (eaten, he’s told) is fascinating. He and Sloan share a wonderful chemistry, never cloying for a second, and often darkly hilarious. Their banter is often priceless, Sloan landing lines with impeccably droll comic timing.

Speaking of hilarious, the great Sigourney Weaver is having a blast playing gleefully against type and shoplifting every second of screentime. All smiles, genuine joy, and murder, her character enjoys the pleasures life affords and accepts, with a smile, the reality of each situation. Again, usually murder.

Likewise, David Dastmalchian and Sheila Atim, with big support from an inspired costume designer, deliver entertaining weirdness.

Fuller’s premise could have taken many directions. It’s the sense of wonder Dust Bunny articulates that mesmerizes. But the writing doesn’t serve only to carry the visual splendor. It’s a clever script, edged with pathos and vulnerability, hinting at metaphor without ever submitting to it.

Outtakes

Blue Christmas

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Goodbye June

by Hope Madden

Oscar winner and perennial contender Kate Winslet makes her directorial debut with the Christmastime family drama, Goodbye June. What drew the esteemed thespian behind the camera? A script by her son, Joe Anders.

The film tells the tale of June (Helen Mirren), whose cancer has returned just two weeks before Christmas. Her doting, anxiety riddled son, Connor (Johnny Flynn), and her husband (Timothy Spall) get her to the hospital and wait for the rest of the family to come in and, well, take over.

These are the sisters: Julia (Winslet), Molly (Andrea Riseborough), and Helen (Toni Collette).

Pause to marvel at this cast.

It would be hard to go wrong with any one of those humans, and indeed, Winslet’s ensemble—Riseborough and Spall, in particular—craft lived-in characters, each one’s behavior naturally amplified because of the situation. June is dying.

Winslet captures the chaos, simultaneously merry and discordant, in a big family brimming with little kids all cramped in a hospital room or running wild through its halls. The child actors are quite good, not to mention awfully cute.

Anders’s script doesn’t overexplain, mercifully. The details aren’t terribly necessary if you’ve ever been in or near a family. Molly kind of hates Julia. This hurts Julia, who is also mortified by Molly’s controlling, even bullying behavior with hospital staff. Everyone thinks Helen’s a flake. Likewise, everyone is fed up with Dad and filled with a mixture of tenderness and disappointment in Connor.

Credit Anders, as well, for avoiding the cliché of the sainted, dying mother in the hospital bed. A charmingly mischievous Mirren is unapologetic but loving, still getting in digs here and there that have no doubt worn down her children over the decades. Helen shouldn’t wear yellow. Julia needs to look after everyone, but not in that overbearing way she sometimes has.

The fine-tuned performances are nearly undone by the superficial plot, unfortunately.  Goodbye June is saddled with obviousness bordering on the maudlin that Winslet and her inarguably talented cast can’t quite transcend. Winslet’s crafted a holiday tearjerker with a fine but conspicuous message.

New In Theaters

Naughty

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Silent Night, Deadly Night

by Hope Madden

Not every bad, low-budget, unreasonably beloved Eighties horror movie needs to be rebooted. Do I rewatch Charles Sellier’s 1984 holiday slash fest Silent Night, Deadly Night every holiday season? Maybe.

I don’t rewatch its 1987 sequel every single year. I’m not a masochist. Nor have I watched SNDN 3, 4, or 5 (starring Mickey Rooney!) more than once apiece. Anyway, I’m obviously if begrudgingly the audience for Mike P. Nelson’s new update on the old Santa suit, Silent Night, Deadly Night.

And maybe it benefits from low expectations, but I liked it.

Nelson, who writes and directs, revisits the important beats of the ’84 original but he’s smart about it. Billy (Halloween Ends and The Monkey’s Rohan Campbell) listens to the voice in his head. That voice belongs to the Santa who murdered Billy’s parents when he was 8.

That’s an added layer to the triggered homicidal lunatic that populates every previous installment. It’s a welcome change that the filmmaker, Campbell, and Mark Acheson—as the voice of Shotgun Santa—maneuver for creepy fun.

Nelson does have a good time with the franchise, tossing Easter eggs around like a holiday crossover. But these moments feel more like communal celebration than pandering, a wink from one fan to another.

The casting is on point, even eerie, as Nelson’s tale feels like a Yuletide merging of SNDN and Halloween Ends, once gift store owner Pamela (Ruby Modine) gets involved—again, an inside joke that works better than it has a right to.

The carnage is often quite fun—one party scene, in particular. But even with the humor, Nelson never stoops to camp or spoof. He’s a little hemmed in by the limitations of the franchise itself, breaking no remarkably new ground. But Silent Night, Deadly Night is often clever fun. There are creepy moments, funny moments, bloody moments, but his film hangs together as a solid holiday horror.

Fright Club

Fright Club Bonus: Kurtis David Harder

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Our Christmas gift to you, an extra Fright Club episode! We talk with filmmaker Kurtis David Harder, whose newest feature, Influencers, hits Shudder this weekend. He chats with us about the new film, his Nightmares Film Festival award winning Influencer, making movies, inspirations, and Christmas films. Check it out!

Shudder Premiere

Anti Social

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Influencers

by George Wolf

If you saw Influencer three years ago, no doubt you noticed that little smile from CW (Cassandra Naud) in the final shot. If, like me, you were hoping that meant she’d find a way to stir up more social media mischief, it’s a merry Christmas for both of us.

CW has quieted down a bit since we left her on that island, settling down enough with girlfriend Diane (Lisa Delamar) to let her guard down and actually pose for photos. But an encounter with a travel influencer (Georgina Campbell) lures CW back to her old ways, and it isn’t long before she has more bloody tracks to cover.

Again, writer/director Kurtis David Harder has good instincts for knowing what questions we’re asking as this world wide web gets more tangled, and for keeping the beats relevant to the changing landscape of social media.

The introduction of toxic bro blogger Jacob (Jonathan Whitesell) feels right on time, as does the re-introduction of Madison (Emily Tennant), who now has even more scores to settle with old frenemy CW.

Naud gives another terrific performance, as CW remains a smart, slippery and ever intriguing mystery girl. Dancing in and around more gorgeously framed locales, CW makes it fun to try and guess what she’ll do next. What’s even more fun? The fact that we’re not prepared for just how batshit things get in act three.

Harder’s observational nature about social media never feels like finger-wagging, and the continually rising stakes of mystery, mayhem and fun land Influencers as another lethal blast of engagement.

Smash those like and follow buttons!

The Screening Room

Screening Room: Five Nights at Freddy’s 2, Hamnet, Oh What Fun & More

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Hope & George review this week’s new releases: Five Nights at Freddy’s 2, Hamnet, Merrily We Roll Along, Oh What Fun, Man Finds Tape, Pig Hill, Reflections in a Dead Diamond, The Wailing, The Lonely Legend and My Mother the Madam!

Hope Madden and George Wolf … get it?