Tag Archives: horror

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Mummy Dearest

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Kindred

by Hope Madden

It’s incredibly hard to make a film that feels fresh. Hell, it’s hard to get a film greenlit unless you can describe it to potential financers as a cross between something they’ve seen and something else they’ve seen. Most hope of originality is squashed early.

Writer/director Joe Marcantonio doesn’t exactly concern himself with originality in his feature debut, Kindred. He hopes a stellar cast and a thick, uneasy atmosphere can make up for some of his film’s predictability. For the most part, that does work.

Charlotte (Tamara Lawrance) and her white boyfriend Ben (Edward Holcroft) intend to leave their isolated English village for Australia. Now it’s just telling Mum (Fiona Shaw, as formidable a presence as ever).

The first Sunday lunch with Mum and step-brother Thomas (Jack Lowden) effectively conveys all we need to know about the family dynamics, and Marcantonio tidily establishes a sense of dread that will only deepen as the moments pass until the final credits.

Charlotte, you see, is pregnant, and when Ben dies suddenly, Mum and Thomas offer hospitality that will quickly turn into an inescapable prison.

There are hints early in the film that perhaps Ben is more like his Mum—a bit controlling and manipulative, even if he doesn’t honestly realize it. This sets an intriguing conflict that will obviously balloon once Mum’s in charge.

It’s Rosemary’s Baby meets Get Out. See? Two outstanding movies that you may not want to see watered down into a terribly obvious story, but again, a great atmosphere and several fierce performances will pull you through it.

Shaw’s turn is a magnificent slice of will and bitterness, but it’s Dunkirk’s Lowden who steals the film. In his hands, Thomas is so eerily sincere that you never know quite what to expect. He’s simultaneously sympathetic, pathetic, and sweetly terrifying.

Lawrance works valiantly against a script that frustrates you with its lazy plotting of constant near-escape and recapture. Worse still is the way Marcantonio ignores his underlying themes of racism—something that could have given the old Gothic style fable of bit of new life.

Shudder Premiere, Slider

Funeral for a Friend

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The Mortuary Collection

by Hope Madden

“Have you any experience in the mortuary arts?”

So begins a conversation between Raven’s End’s mysterious mortician and a young woman who’s come to answer the help wanted sign out front in writer/director Ryan Spindell’s fun and stylish horror anthology, The Mortuary Collection.

Mortician Montgomery Dark (Clancy Brown) has tales to tell of the lives and deaths in Raven’s End. His new assistant Sam (Caitlin Custer) is an eager listener, but also tough to please.

Such is the framing device for the anthology of short horrors, much like the one from Rusty Cundieff’s 1995 collection, Tales from the Hood (and just a bit like Jeff Burr’s 1987 anthology with Vincent Price, From a Whisper to a Scream).

The framing device is so often the best part.

Brown conjures a bit of Angus Scrimm (Phantasm’s Tall Man), channeling a little Tom Noonan as well, to create a spooky but somehow vulnerable master of ceremonies. Custer’s is an intriguing character, challenging her host, never squeamish or spooked. It makes for an interesting dynamic that turns more into a conversation on storytelling than you might expect.

The tales themselves are all set in and around a town where newspaper headlines speak of beasts, asylums, and missing persons. Raven’s End and its stories possess an unidentifiably vintage quality, something fictional and fanciful, modern and yet of an indeterminate past.

Characters sometimes pop up in multiple tales, each story boasting that patented twist ending you’d expect from a Tales from the Crypt episode. Some of the shorts are stronger than others (as Sam likes to point out to Mr. Dark), but the performances are all very solid, and Spindell peppers every story with fun bits of dialog.

“They won’t let me near a scalpel, and for good reason.”

There isn’t a weak short in the bunch, and though certainly some of the twists are not surprising, the execution is slick, the shorts are gorgeous and moody, and Clancy Brown is an absolute treat.

Outtakes

Monstrous Temptation

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Boo

by Hope Madden

Alcoholism and addiction prove to be powerful underlying themes for a lot of horror films—The Shining, The Monster, and Habit among them. Writer/director/star Rakefet Abergel delivers a twist on that sobriety tale in her short, Boo.

It’s a clever film with a savvy lead turn by Abergel as Devi, 7 years sober and waiting for her fiancé to pick her up from the meeting where she gets her chip.

So much can happen in those minutes between “Come get me” and “I’m here.”

A couple of friends, both more recently sober, smoke and wait with her awhile, and Devi reveals that lately she has just been so tempted.

From there, the filmmaker runs through a quick handful of everyday nightmares: alone in a parking lot, then not alone. Polite and then afraid. In every scene, though, Abergel’s performance suggests a distraction greater than the fear itself.

Darkly funny and boasting outstanding soundtrack choices, Boo is a wicked good time.

Boo premieres on ALTER October 19.

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A Wicker Man Vacation

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Death of Me

by Seth Troyer

From director Darren Lynn Bousman (Saw II-IV, Repo: The Genetic Opera) comes a vacation horror romp that will bring you some thrills and chills. Nothing more, nothing less.

The highlight here is certainly the gorgeous island setting, which is a welcome departure from haunted houses and summer camps with bad reputations.

The panic begins when a vacationing couple (Maggie Q, Luke Hemsworth) on a remote island realizes they remember nothing from the previous night. The rather chilling race to get answers showcases some intense visuals and surreal editing techniques that help add excitement to the predictable—if surprisingly brutal—twists.

If you are a full on horror fanatic, you will probably have at least a decent time here. The film breaks no new ground but it hits its marks rather decently. The whole, “everybody knows whats going on except you” set up owes a lot to classics such as Rosemary’s Baby and The Wicker Man. 

It’s also not hard to imagine that the success of Midsommar was a factor in greenlighting this film. It similarly attempts to incorporate a modern theme or two, including a very light commentary on consent and free will, which if fleshed out a bit more could have added some potency and depth.

Also sorry to be that guy, but in 2020, do we really need another film where island natives are portrayed as little more than villains who delight in the torture of the “civilized” Americans? It’s a hypothetical question, the answer is: no, probably not.

What Death of Me lacks in originality it sometimes makes up for with intense visual flourishes and dream sequences, but by the third or fourth “was it a dream or did it really happen?” moment, the horrific scenes begin to lose their sense of danger and traumatic permanence. Because of this, the film starts to flounder a bit in the middle section, just before we reach the rather satisfying, bloody climax.

It’s way off course from being a masterpiece, but for fans of the genre stuck inside during these COVID-19 days, you could do worse than this film that teleports you to a beautiful island for a few bloody thrills.

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Repo Woman

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Possessor

by Hope Madden

It’s been eight years since Brandon Cronenberg swam familiar family waters with his feature debut, Antiviral. He is back with another cerebral, body-conscious fantasy thriller and my first thought is dayyuuuummmmn…

Son of the master of corporeal scifi horror David Cronenberg, Brandon appears to come by his fixations naturally. With Possessor, he travels along with a high end assassin (Andrea Riseborough) who uses a piece of tech (inserted directly into the squishy brain, naturally) to body hop from one mark to the next. She enters one body, takes it over, executes the hit and moves on.

That last part has started to cause some issues, though.

As it was with Antival, much of the world building here is left to our imagination and the film is stronger for it. Possessor’s internal logic is solid enough to be the entire plot. The context is impeccably rendered, providing the most disturbing landscape for Riseborough and her primary avatar, played by the nicely understated Christopher Abbott.

All of it proves an incredible piece of misdirection for what the film is actually accomplishing.

For much of the running time, the chameleonic and underappreciated Riseborough’s Tasya Vos plays an observant interloper—exactly what we are in this weirdly meticulous and recognizable future world. Showy jabs about privacy, appropriation, gender definition and capitalism are simultaneously clever and intentionally distracting.

Cronenberg’s created a gorgeous techno world, its lulling disorientation punctuated by some of the most visceral horror to make it to the screen this year. There is something admirably confident about showing your influences this brazenly.

Credit Cronenberg, too, for the forethought to cast the two leads as females (Jennifer Jason Leigh playing Riseborough’s boss). The theme of the film, if driven by males, would have been passe and obvious. With females, though, it’s not only more relevant and vital, but more of a gut punch when the time comes to cash the check.

Possessor is a meditation on identity, sometimes very obviously so, but the underlying message takes that concept and stabs you in your still-beating heart with it.

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On the Road Again

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Alone

by Hope Madden

“Do you think you’re the first one to say that?”

That is a good, sinister question when posed by the mustachioed traveler responding to his captive’s promise to remain silent if he lets her go. It’s good because it clarifies to her and us that this is not his first prisoner rodeo, an unsettling fact that increases tensions and moves the story forward.

It’s also a good question to ask director John Hyams as his road trip horror Alone serves up a very familiar premise.

Jessica (Jules Wilcox), her beat Volvo station wagon and hitched U-Haul trailer are making a cross-country trip. Nobody else, just them. Sure, Mom keeps calling, but Jessica just can’t right now.

It’s beautiful, wooded country, but a little treacherous—more so once that black SUV starts following her around.

You know where this is going from the opening scene, so the only hope is that the execution delivers some thrills. Drone shots of trees may be a little tired by this time, but they are pretty and they give the sense of isolation. Screenwriter Mattias Olsson makes subtle changes to the predictable story, giving each character an unexpected layer or two to keep you guessing.

Wilcox’s no-thrills performance suits the project beautifully. Though frustrating in the early going (don’t pretend you wouldn’t do some stupid things in that situation, too), Jessica’s resolve and tenacity are proven with a focused, physical performance.

Marc Menchaca, known only as Man, is a delight in the role of the villain. That ‘stache! Nary a false note creeps into his menacing demeanor. His is the saucier of the two characters and the hateful chemistry between the actors drives the thrills and commands attention.

Anthony Heald also makes a welcome appearance at about the halfway point, and the action takes an effective turn with him. But mainly, Alone benefits from two truly savvy performances. It just doesn’t have much to say that we haven’t already heard.

https://www.youtube.com/watch?v=NoP2mJiCzWQ

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Bold Patterns

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Spiral

by Hope Madden

How many films, horror or otherwise, open as a moving van leaves a fresh faced family unpacking in their new dream home? Kurtis David Harder and his new Shudder thriller Spiral welcome you to the neighborhood.

What feels like your typical suburban paranoia film, this time given a fresh coat of paint with the introduction of a same-sex couple at its center, turns out to be something else entirely.

Even as Malik (Jeffrey Bowyer-Chapman) and Aaron (Ari Cohen) try to convince Aaron’s teenaged daughter Kayla (Jennifer Laporte) that she really won’t miss the big city, Malik is seeing some things around the cul-de-sac that worry him.

But Aaron isn’t ready to believe the neighbors are homophobes (or racists, for that matter, even if Tiffany across the street assumed Malik was the gardener).

Spiral quickly falls into a very familiar pattern. Malik, who works at home as a writer, begins to let his research get the better of him. Writer’s block has him paranoid—or maybe there’s a trauma in his past that’s to blame? Is he really seeing something strange in his neighbors’ windows? Is Aaron right, did he go overboard with that new home security system?

It sounds familiar—so much so that the film sometimes just figures your brain will fill in blanks left open.  And while Spiral’s internal logic is never air tight, screenwriters Colin Minihan (It Stains the Sands Red, What Keeps You Alive) and John Poliquin are more interested in bigger patterns. Their social allegory doesn’t achieve the breathless thrills of Get Out, but Spiral swims similar waters.

The filmmakers see patterns in political hatred and the continuing reaffirmation of the status quo, and those patterns are horrifying. While horror has always been an opportunity for the collective unconscious to deal with social anxiety in a safely distant way, Spiral is less interested in creating that comforting fictional buffer. It’s as if the filmmakers want you to see the holes in their plot so you’re more able to see the nonfiction it’s based on.