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The Eyes of Maxine Minx

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MaXXXine

by Hope Madden and George Wolf

Mia Goth and Ti West had both existed successfully separately in moviedom for years, West having become an indie horror filmmaking darling with his third feature, 2009’s The House of the Devil. Goth’s unique beauty and malleable ennui made her a showstopper as early as her 2013 feature debut, Nymphomaniac: Vol. II.

But, appropriately enough, it was with their collaboration that they both became stars.

Their 2022 feature X delivered a magnificent mashup of Boogie Nights and A Texas Chain Saw Massacre, a late Seventies grindhouse ode with style for miles. Easily the best film of West’s career, it was followed quickly with a prequel, the absolute lunatic genius of 2023’s Pearl.

If X articulated just how much skill West brought to a feature, Pearl declared Goth a talent to be reckoned with. She deserved an Oscar nomination. She was breathtaking.

And so, obviously, horror fans have been giddy since the trailer for the third film in the trilogy, Maxxxine, dropped. We circle back to Goth’s X character some years since the incident in Texas. A popular porn star, Maxine Minx is about to make the leap to legit films with a starring turn in a horror sequel.

The popularity of West’s series means a boost in both budget and cast. Elizabeth Debicki, Kevin Bacon, Giancarlo Esposito, Halsey, Michelle Monaghan and Bobby Cannavale class up the ensemble this go-round in a film that feels more apiece with late 70s/early 80s urban thrillers a la Eyes Of Laura Mars.

As warnings about California’s “Night Stalker” plead with women to be careful, Maxine asserts her ability to take care of herself, even as it becomes clear that she is being stalked. Maxine’s director (Debicki) warns her to eliminate the distractions in life, and Maxine makes a promise to do just that.

Okay, then, here we go!

But though blood does flow around West’s pastiche of 80s pop and fashion, nothing here pops like the uniquely stylized timestamps that helped make the first two horrors so memorable. Much of the film begins to feel like a series of setups in search of that elusive, satisfying payoff.

There’s no doubt Goth still commands attention, but West’s foray into the 80s seems less edgy, less ambitious, and just less horrific. The comments on fame and excess become broadly generic, and somehow Maxine herself becomes a little less interesting.

On its own, the film fits nicely into the role of a competent urban thriller. But when cast as the final piece of a potentially iconic horror trilogy, MaXXXine ends up limping to the finish.

Rated R for gratuitous use of shoulder pads.

Fright Club

Fright Club: Sleep Paralysis in Horror

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Nightmares may be the source of all horror. There’s a theory that sleep paralysis may be to blame for history’s waking nightmares: ghosts, demons, specters. We dive into this horrifying complex and the horror films it has inspired.

5. The Night House (2020)

Director David Bruckner’s The Night House rests on a trusted horror foundation that’s adorned with several stylishly creepy fixtures. A remarkable as always Rebecca Hall plays the recently, startlingly widowed Beth whose grief combines with nightmares, sleuthing with doubt.

Though Beth’s neighbor (Vondie Curtis-Hall, always a pleasure) and best friend (Sarah Goldberg) both warn her not to fill the void in her life with “something dark,” the dark keeps calling. The more Beth digs into things Owen left behind, the more signs point to an unsettling secret life, and to the possibility that Owen may not have entirely moved on.

Beth’s sustained grief, and her indignation toward everyone who’s not Owen, carries an authenticity that gets us squarely behind Beth’s personal journey. And that pays dividends once the film relies on our belief in what Beth believes. Thanks to Hall, we end up buying in.

https://www.youtube.com/watch?v=ZB_Ir9TWj6c

4. Insidious (2010)

Director James Wan and writer (and co-star) Leigh Whannell launched a second franchise with this clever, creepy, star-studded flick about a haunted family.

Patrick Wilson (who would become a Wan/Whannell staple) and Rose Byrne anchor the film as a married couple dealing with the peculiar coma-like state affecting their son, not to mention the weird noises affecting their house. The catch in this sleep paralysis film is that we are not with the dreamer. Instead, the dreamer is an innocent, helpless child, combining the hallucinatory imagery with child-in-peril tension.

But what makes this particular film so effective is that we get to go into The Further to reclaim the lost soul. It’s a risky move, but these filmmakers do what few are able to: they show us what we are afraid of.

3. A Nightmare on Elm Street (1984)

Teens on suburban Elm St. share nightmares, and one by one, these teens are not waking up. Not that their disbelieving parents care. When Tina woke one night, her nightgown shredded by Freddie’s razor fingers, her super-classy mother admonished, “Tina, hon, you gotta cut your fingernails or you gotta stop that kind of dreamin’. One or the other.”

Depositing a boogieman in your dreams to create nightmares that will truly kill you was a genius concept by writer/director Craven because you can only stay awake for so long. It took everyone’s fear of nightmares to a more concrete level.

The film was sequeled to death, it suffers slightly from a low budget and even more from a synth-heavy score and weak FX that date it, but it’s still an effective shocker. That face that stretches through the wall is cool, the stretched out arms behind Tina are still scary. The nightmare images are apt, and the hopscotch chant and the vision of Freddie himself were not only refreshingly original but wildly creepy.

2. Borgman (2013)

Writer/director Alex van Warmerdam delivers a surreal, nightmarish, sometimes darkly comical fable guaranteed to keep you off balance. It is meticulously crafted and deliberately paced, a minefield of psychological torment.

van Warmerdam offsets his mysterious script with assured, thoughtful direction, buoyed by a fine ensemble cast and crisp, sometimes remarkable cinematography.

Like its title character, Borgman is unique and hypnotic, leaving you with so many different feelings you won’t be quite sure which one is right.

1. The Nightmare (2015)

An effective scary movie is one that haunts your dreams long after the credits roll. It’s that kind of impact that most horror buffs are seeking, but even the most ardent genre fan will hope out loud that Rodney Ascher’s documentary The Nightmare doesn’t follow them to sleep.

Sleep paralysis is the phenomenon that inspired Wes Craven to write A Nightmare on Elm Street. It’s a clear creative root for Insidious, Borgman, and scores of other horror movies. But it isn’t fiction. It’s a sometimes nightly horror show real people have to live with. And dig this – it sounds like it might be contagious.

We spend a great deal of time watching horror movies, and we cannot remember an instance in our lives that we considered turning off a film for fear that we would dream about it later. Until now.

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Handle With Care

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Handling the Undead

by George Wolf

With his source novel and screenplay for Let the Right One In, John Ajvide Lindqvist mixed vampire bloodlust and emotional bonds. Handling the Undead (Håndtering av udøde) finds Lindqyist turning similar attention to zombies, teaming with director/co-writer Thea Hvistendahl for a deeply atmospheric tale of grief, longing, and dread-filled reunions.

We follow three families in Norway, each one dealing with tragedy. An old man and his daughter (Renate Reinsve, The Worst Person in the World) have lost their young son/grandson; an elderly woman still grieves for her lifelong partner; while a man (Anders Danielsen Lie from The Worst Person in the World and Personal Shopper) and his children struggle to accept that the wife and mother they depend on (Bahar Pars) may now be gone.

Hvistendahl sets the stakes with minimal dialog and maximum sorrow. Characters move through sweaty summer days in a fog of grief that’s expertly defined by cinematographer Pål Ulvik Rokseth. They grasp at memories and battle regret over feelings left unexpressed.

And then an unexplained electro-magnetic event hits Oslo…and the dead aren’t so dead anymore.

In the film’s first two acts, Hvistendahl unveils these awakenings with a barren and foreboding tenderness. Everyone knows this can’t end well, but the tears of joy that come from seemingly answered prayers create moments that straddle a fascinating line between touching and horrifying.

How much of our grief is defined by selfishness? And how far could it push us before we finally let go?

Those may not be new themes for the zombie landscape, but the way Hvistendahl frames the inevitable bloodshed goes a long way toward making her shift of focus less jarring. While so much time is spent exploring the pain of those left behind, we know that eventually zombies gonna zombie.

And indeed they do, but Hvistendahl sidesteps excess carnage for a more subtle form of gruesome. The interactions between the living and the undead take on a surreal, experimental quality that seems plenty curious about whether we’d really think dead is better.

After all, the grieving family in Pet Sematary went asking for trouble. Here, the trouble comes calling, and Handling the Undead answers with a bleak but compelling study of desperation meeting inhuman connection.

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Endure What Cannot Be Cured

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Mind Body Spirit

by Hope Madden

There is something clever underlying directors Alex Henes and Matthew Merenda’s first feature, Mind Body Spirit.

Anya (Sarah J. Bartholomew) is sharing videos of her journey to wellness. She’s just moved cross country into the home her departed grandmother Verasha left her. She never knew her grandmother, but she sees this as an opportunity for a new life.

Her only friend on this side of the country—wellness influencer Kenzi (Madi Bready)—stops by occasionally to check in and collab on videos. But she can’t really get behind Anya’s new direction, taken from a hand-written book left by the deceased and written mostly in Russian.

Mind Body Spirit has a bit more compassion for influencers than most horror films do. Though the tale mines the cultural appropriation and blissful ignorance that is easy to find among influencers—particularly those peddling wellness—the depiction is not entirely one sided.

Bartholomew’s performance is endlessly vulnerable and empathetic, but even rushed and cynical Kenzi gets a nice arc that deepens the impact of the film’s horror. Because naturally, naïve Anya misinterprets the underlying message in the tome her departed grandmother left her.

The directors also write, along with Topher Hendricks, and their script sometimes dances with language, toying with the way mystical turns of phrase can easily be used, depending on inflection, to terrify.

Shot in one location with a total cast of 4 (one of whom appears exclusively via FaceTime), Mind Body Spirit rarely gives evidence of its budget. The found footage approach is sometimes fresh—the ads between video segments are inspired—but like most films of the genre, there is no integrity to the actual footage: who shot it, who edited it, why and how it got posted, etc.

More problematic is the occasional blood gag. Outright horror is included sparingly, but when it is, the unreality of the gag is pretty evident. The filmmakers don’t really tread any new ground, either. They just pull in social media as a slightly askew way to tell the same story you’ve seen a number of times.

Nonetheless, Bartholomew shoulders what is at least 75% one-person-show and does it with enough tenderness that Mind Body Spirit never loses your attention.

Fright Club

Fright Club: Art & Artists in Horror

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Muse and madness, art and commerce duke it out in a slew of films that mine the depths of the artistic nature. We welcome author LCW Allingham, whose dark novella Muse looks at the darker side of art, to join us as we use a little fuzzy math to share our favorite horror movies about artists.

6. Devil’s Candy (2015)

Ethan Embry plays Jesse Hellman, struggling metalhead painter who, with his wife and pre-teen daughter, just bought a bargain of a house out in the Texas sticks. Why so cheap? Amityville shit.

Jesse’s a metalhead and a painter and writer/director Sean Byrne (The Loved Ones) mines the dark artist nature for all its worth in a film that benefits from a rockin soundtrack, and a slew of good performances (shout at the devil to Pruitt Taylor Vince).

A convoluted storyline that mixes supernatural with serial killer is a bit of a drawback. But clocking in at under 90 minutes, Devil’s Candy is a tight little rocker. The lyrics are familiar, but the riffs still kick ass.

5. House of Wax (1953)

An update of the 1933 Mystery of the Wax Museum and precursor to Wax Works (and, of course, the 2005 loose remake), this Vincent Price classic tells a campy fun tale that also resembles a lot of Price’s other films.

An elegant artist turned disfigured madman, Price’s Henry Jarrod creates masterful wax figures of historical horrors. But there’s a secret behind the realistic look!

Yes, you totally know what that secret is, but that diminishes the fun of this film not one tiny bit. Price is fun, Carolyn Jones is a hoot, Charles Bronson’s a wild piece of casting. And the whole bit of insanity boils down to the fact that an artist who wants to earn a living has to sacrifice their integrity.

4. A Bucket of Blood (1959)

Roger Corman’s riff on House of Wax sets this dark comedy in LA’s beanik community of the late Fifties. Dick Miller’s perfect as a dimwitted janitor who accidentally becomes the next big thing by turning a cat, then a police officer, then other people he kills into sculptures.

The more he makes, the more famous he becomes, and the more he rationalizes the murders. Corman’s tone is cynical but fun, working from Charles B. Griffith, who’d also write Corman’s Little Shop of Horrors. It’s a weird little gem of a film.

3. Stopmotion (2024)

There will be moments when you’re watching Robert Morgan’s macabre vision Stopmotion that you’ll think you see the twists as they’re coming. That’s a trick. Morgan, writing with Robin King, assumes you’ll catch the handful of common horror twists, but he knows that you won’t predict the real story unfolding.

Aisling Franciosi (The Nightingale) is Ella. She’d like to make her own stop-motion animated film, but instead she’s helping her mom finish hers. Ella’s domineering mother Suzanne (Stella Gonet, very stern) is a legend in the field, and she makes Ella feel as if she has no stories of her own to tell.

Stopmotion delivers a trippy, uncomfortable, and deeply felt tale of a struggling artist. This is a descent into madness horror of sorts, but it’s also the story of an artist coming to a realization about what scares her most. 

2. Mandy (2018)

Writer/director Panos Cosmatos’s hallucinogenic fever dream of social, political and pop-culture subtexts layered with good old, blood-soaked revenge, Mandy throws enough visionary strangeness on the screen to dwarf even Nicolas Cage in full freakout mode.

Like Cosmatos’s 2010 debut Beyond the Black Rainbow, Mandy is both formally daring and wildly borrowed. While Black Rainbow, also set in 1983, shines with the antiseptic aesthetic of Cronenberg or Kubrick, Mandy feels more like something snatched from a Dio album cover.

When his artist girlfriend Mandy (Andrea Riseborough) is kidnapped and killed by a cult, Red (Cage) enacts a bloody quest for revenge.

Or is it all the story Mandy’s painting?

Either way, it is as badass as it can be.

1. Candyman (2021)

For Nia DaCosta’s sequel to the 1992 classic, we go back to Chicago’s now-gentrified Cabrini Green housing project with up-and-coming artist Anthony McCoy (Yahya Abdul-Mateen II), whose works have taken a very dark turn since he learned of the Candyman legend from laundromat manager William Burke (Colman Domingo).

DaCosta’s savvy storytelling is angry without being self-righteous. Great horror often holds a mirror to society, and DaCosta works mirrors into nearly every single scene in the film. Her grasp of the visual here is stunning—macabre, horrifying, and elegant. She takes cues from the art world her tale populates, unveiling truly artful bloodletting and framing sequences with grotesque but undeniable beauty. It’s hard to believe this is only her second feature.

By the time a brilliant coda of sadly familiar shadow puppet stories runs alongside the closing credits, there’s more than enough reason for horror fans to rejoice and…#telleveryone.

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Thinning the Herd

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Humane

by Hope Madden

When Brandon Cronenberg decided to be a filmmaker—one keenly interested in corporeal horror—it felt both natural and brave. Natural because his father David is perhaps the all-time master of body horror. Brave for the same reason.

It turns out, Brandon Cronenberg is a natural. (If you haven’t, you should definitely see his films.) But the family affair doesn’t end with him. Daughter Caitlin Cronenberg’s feature debut Humane sets her slightly apart from the fellas, though.

Written by Michael Sparaga, Humane takes place in a near future where climate catastrophe requires that each country on earth purge itself of 20% of its population. A euthanasia program allows citizens to enlist, helping the nation reach its quota, helping the planet survive, and providing government funds to the family bereaved. But with numbers lower than expected, the nation is considering conscription.

Cronenberg’s tale focuses on one family in particular. Patriarch Charles York (Peter Gallagher), retired from a storied career as a TV journalist, invites his four adult children (Jay Baruchel, Emily Hampshire, Sebastian Chacon, Alanna Bale) home for an important dinner. Dad, and the kids’ stepmother Dawn (Uni Park), have decided to enlist.

With this dinner bombshell Cronenberg sets in motion a realistically cynical look at a government’s opportunistic manipulation of a thinning of the herd. She then zeroes in on the festering effect of privilege on the York children, simultaneously throwing shade at the “salt of the earth” types who are as violently judgmental as their position allows.

Gallagher’s great as the martyr desperate to leave a legacy, and Hampshire’s ferociously self-serving villain is a joy. Enrico Colantoni delivers the most fascinating, frustrating character, easily stealing every scene.

Humane makes two horror films in a row, following last week’s Abigail, where you don’t really root for anyone. Everyone’s terrible and it’s slightly disappointing that anyone survives at all. Worse, the big revelation that pushes characters toward the climax is unearned.

More problematic is that there are two fairly substantial omissions—not plot holes, just conveniently placed gaps in clarification that feel like intentional cheats. Beyond that, the writing often feels slightly behind the times. Jared York’s (Baruchel) claim that he “doesn’t see color” feels more suited to a tale set a decade ago rather than in a near-future dystopia.

These writing concerns don’t sink the effort entirely. An intriguing premise buoyed with darkly comedic performances, plus a brisk 90 minute runtime keep Humane entertaining, but it’s hard not to feel a bit disappointed.

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Night Crawlers

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Arcadian

by George Wolf

Nicolas Cage has become such a mythic figure in film culture that each new outing tends to bring questions.

Is this the unhinged “rage in the Cage?” Arthouse Cage? Mass appeal or self effacing Cage?

You can file Arcadian under “understated Cage leading a YA leaning creature feature.”

He stars as Paul, who’s living in a remote farmhouse with his twin teenage sons in a dystopian future. By day, the men follow a careful routine of security and sustenance. Because at night, there are visitors that really want to come in.

The exact details of the invasion are a little sketchy, but never elusive enough to derail our interest in the family’s survival.

Thomas (Maxwell Jenkins) is the impulsive, romantic brother, and his visits with Charlotte (Sadie Soverall) at the farm down the road have been keeping Thomas out dangerously late. His twin Joseph (Jaeden Martell) is the introspective thinker. Joseph has been studying patterns of the nightly attacks and believes the creatures have been testing, and planning.

He’s right.

Director Benjamin Brewer isn’t trying to reinvent anything here. He teams with producer-turned-screenwriter Michael Nilon for an unassuming horror thriller than benefits greatly from an impressive cast and a frightening creature design.

I don’t want to give anything away, but these bad boys have one specific trait that will get your attention right quick.

These themes aren’t new. There will be peril, bloodshed, and sacrifice as the creatures get smarter and the young begin to take on responsibilities of adulthood and cherish the things that matter. But thankfully, that familiarity doesn’t breed pandering. Brewer is also able to land some solid thrills, while the three younger co-stars provide impressive support for Cage’s elder statesman grace.

Ultimately, Arcadian doesn’t feel that much like a stereotypical “Nicolas Cage movie.” And the film is better for it.

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Queen of Pain

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Sting

by Hope Madden

Is there a more reliable source of terror than the spider?

Well, maybe clowns, but spiders are a close second. Australian filmmaker Kiah Roache-Turner is giddy to elicit shivers and gasps with his delightfully horrifying arachnid adventure, Sting.

Roache-Turner’s love for sci-fi horror bursts gleefully from the dollhouse-set opening credits, a scene that efficiently outlines our backstory. This snapshot playfully predicts the film, even as it homages genre classics.

The Wyrmwood director goes on to use the air ducts of an old Bronx apartment building to lay out the land, introduce us to tenants and their habits, and show our hero shimmying and crawling, all spider-like, through the building.

Who is our hero? Malcontent 12-year-old Charlotte (Alyla Browne). Her baby brother is loathsome, her parents are tedious, no one pays attention to her, her old witch of a great-aunt/land lady blames her for everything. Ugh!

But then Charlotte comes across a very cool little spider. And with so many cockroaches in Charlotte’s building, surely the newly monikered Sting will never need to look elsewhere for food!

Boy, that is lucky.

Browne channels Lulu Wilson’s Becky (maybe a little less angry). Her performance easily withstands the demands of a lead, but she does receive nice support from a variety of personalities living in the building: Nona Hazelhurt, Robyn Nevin, Danny Kim, Silvia Colloca and Jermaine Fowler.

Fiona Donovan’s production design stands out, emphasizing the film’s distinctly Joe Dante vibe. Although instead of perverting some idyllic burb, Sting ravages a storybook version of the Bronx.

But make no mistake, this movie gets nasty. The creature design and CGI are a bit campy, but the damage Sting does is convincing and pitiless. (Pet lovers be warned.)

If you missed Roache-Turner’s 2014 post-apocalyptic thrill ride Wyrmwood: Road of the Dead, definitely check it out. With that film, his fondness for Mad Max flavored a delightful riff on the zombie movie. Here he channels affection for a wide range of creature features (he really loves Alien) but still manages to create something decidedly his own.

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Bloody Bunny Trail

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Easter Bloody Easter

by George Wolf

“What is that? A llama?” says the guy at the bar, pointing to the mounted head of a rabbit with huge antlers that he actually thought was real.

“No, that’s a jackalope,” says the bartender, trying to keep a straight face. “They’re attracted to the smell of whiskey!”

“Oh…..”

That’s not a scene from Easter Bloody Easter, it’s a cherished memory from my days tending bar, and this horror comedy about a bloodthirsty jackalope is finally giving me the chance to weave it in!

It’s all just as silly as it sounds, with director/co-star Diane Foster and writer/co-star Allison Lobel setting that vibe right from a prologue that pokes fun at the well-worn horror trope of “teenage sex = death.” The two actors are much too old and their southern accents are way overdone, which is goofy and endearing. It’s only when the film forgets these roots that things get messy.

The setting is springtime in small town Texas, when everyone’s excited for the annual combination fish fry/bunny hop/egg hunt they call Easterpalooza! Check that, Jeannie (Foster) is not excited, because her husband Lance is missing! Jeannie’s best friend Carol (Kelly Grant) grabs her shotgun to join the search, and it isn’t long before the warnings from tinfoil hat-wearing Sam (Zach Kanner) begin to play out.

The urban legendary Jackalope and his army of devilish bunnies are on the loose and out for blood! So why won’t the mayor from Jaws—I mean the Sheriff—postpone Easterpalooza?

The film sends up low budget creature features, small town busybodies (with Lobel starring as the leader of the catty church ladies), conspiracy theorists and more with considerable zest. The ensemble cast, led by Grant’s strong comic timing, is all in on the gags, and the moments when fuzzy bunnies turn into maneaters are frequently hilarious.

But the absurd zaniness hits a roadblock whenever the film suddenly starts taking itself seriously. An introspective musical number hits with an especially curious thud, and the running time starts swelling enough to chip away at your patience.

When Easter Bloody Easter stays on its bloody bunny trail, though, it puts together a basket of over-the-top fun. Just be prepared to wade through some patches of grass to find all the treats.

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The Woman in the Gorge

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The Seeding

by Hope Madden

Writer/director Barnaby Clay reimagines Hiroshi Teshigahara’s Oscar nominated 1964 classic The Woman in the Dunes as a Pacific Northwestern horror in The Seeding.

A man (Scott Haze, What Josiah Saw, Antlers) drives out to the desert for the best possible photos of a solar eclipse. He leaves his car, hikes a good way, gets the photos, and heads back to his car, but he’s sidetracked by a boy crying that he’s lost. The boy then gets the man lost. Eventually, alone and thirsty, the man climbs down a rope ladder into a gorge to ask a woman (Kate Lyn Sheil, She Dies Tomorrow) in the lone house for aid.

Next thing you know, the rope ladder is gone.

Like Teshigahara’s film, The Seeding examines the existential crisis of purposelessness and lack of freedom. But Clay’s film is definitely American in that the roots of the entrapment speak more of something monstrous and primal in the wilds of the nation’s last unconquered spaces.

This works to an extent. Haze is solid, if not particularly sympathetic, as frustration turns to terror, then to horror. Sheil’s enigmatic performance suits a character whose motivation and perspective are concealed.

The couple’s story is complicated by the taunts from a gaggle of sadistic boys roaming the rim of the gorge. Here Clay veers from Teshigahara’s path and into something closer to The Hills Have Eyes and declares the film horror. There’s also some vaguely Lovecraftian imagery, as if these feral desert dwellers worship something far older and more cosmic than this man could understand.

It sounds like an interesting meshing of ideas, but if comes off as a bit of a sloppy mess.

Clay, known primarily for directing music videos, nabs a handful of really impressive shots. And both leads benefit from a single opportunity to outright break down, which both do quite impressively.

But the film is too impatient. Clay reexamines an existential nightmare addressed many times (I’m Not Scared, John and the Hole) and turns to a mixed bag of horror tropes to limit its impact.