Tag Archives: Kill List

Fright Club: Best Horror Endings, Part 2

Thanks to S.A. Bradley of Hellbent for Horror for joining us to finish out our look at the best endings in horror movie history. A tough list to finalize, for sure, this one hits on some of the most brutal and memorable parting shots on film.

5. Kill List (2011)

Ben Wheatley’s diabolical 2011 indie slides from grim Brit crime thriller into something far more sinister.

Hitman Jay (a volcanic Neil Maskell) is wary to take another job after the botched Kiev assignment, but his bank account is empty and his wife Shel (an also eruptive MyAnna Buring) has become vocally impatient about carrying the financial load. But this new gig proves to be seriously weird.

The final act offers something simultaneously fitting and surprising. Wheatley’s climax recalls a couple of other horror films, but what he does with the elements is utterly and bewilderingly his own.

4. The Mist (2007)

If there’s one thing a successful Stephen King adaptation needs, it’s a writer/director who knows how to end a story. For all of King’s many strengths, ending his tale is no a strong suit.

Frank Darabont has certainly proven to have a knack for King’s source material, having helmed among the most successful and beloved films based on King’s books. But with The Mist, he outdid himself.

Thomas Jane plays a writer who, along with his young son, finds himself trapped in a grocery store when an opening in the space/time continuum allows giant, bloodthirsty creatures into New England. What begins as a wonderful creature feature turns into a terrifying Lord of the Flies before setting us up with a gut punch of utter, devastating perfection in a horror film ending.

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

3. Carrie (1976)

Another excellent King adaptation, Brian De Palma’s Carrie streamlines King’s sprawling ending to focus our attention where it will do the most damage.

And yes, the entirety of Act 3 is magnificent, but De Palma started something with those final, lingering images. He goes back to the cheese-cloth fuzziness of the earliest moments of the film as Sue Snell (this is really all your fault, Sue Snell!) glows with goodness and self-sacrifice. Only she truly loved poor, misunderstood Carrie.

Sue carries white flowers to the unholy ground where Carrie White lies.

And BLAM! De Palma has invented a new and forever mimicked horror movie ending.

2. Martyrs (2008)

Holy shit. This film is a brilliant and brutal test of endurance.

Writer/director Pascal Laugier’s mystifying sense of misdirection shares the aching, dysfunctional love of two best friends as one descends into madness. But that is not the point.

A couple of abrupt story turns later and we learn the point of the film and the film’s title. That’s about the time we meet Mademoiselle (Cahterine Begin, perfect).

And after ninety minutes of dread and terror, the climax Pascal and Mademoiselle have in store for you may not be satisfying, but it is perfect.

1. Night of the Living Dead (1968)

From the brightly lit opening cemetery sequence to the paranoid power struggle in the house to the devastating closing montage, Night of the Living Dead teems with the racial, sexual and political tensions of its time. An unsettlingly relevant George A. Romero knew how to push societal panic buttons.

As the first film of its kind, the lasting impact of this picture on horror cinema is hard to overstate. His inventive imagination created the genre and the monster from the ground up.

Still, the shrill sense of confinement, the danger of one inmate turning on another, and the unthinkable transformation going on in the cellar build to a startling climax – one that utterly upends expectations – followed by the kind of absolutely genius ending that guarantees the film’s eternal position in the annals of horror cinema.

Fright Club: Rituals

Everybody has their rituals, and that’s all fine and dandy. But we aren’t looking for fine and dandy, are we? Hell no – we’re looking for the kind of rituals that generally includes goats heads and/or black candles and/or virgins and/or special meat preparation.

Where will we find these? In some great horror movies. Check it.

5. Kill List (2011)

Never has the line “Thank you” had a weirder effect than in the genre bending adventure Kill List.

Hitman Jay (a volcanic Neil Maskell) is wary to take another job after the botched Kiev assignment, but his bank account is empty and his wife Shel (an also eruptive MyAnna Buring) has become vocally impatient about carrying the financial load.

Without ever losing that gritty, indie sensibility, Ben Wheatley’s fascinating film begins a slide in Act 2 from crime drama toward macabre thriller. You spend the balance of the film’s brisk 95 minutes actively puzzling out clues, ambiguities and oddities.

Everything builds, unsettlingly, to a climactic ritual you won’t see coming.

For those looking for blood and guts and bullets, Kill List will only partially satisfy and may bewilder by the end. But audiences seeking a finely crafted, unusual horror film may find themselves saying thank you.

4. The Wicker Man (1973)

In the early Seventies, Robin Hardy created a film that fed on the period’s hippie- versus-straight hysteria. Uptight Brit constable Sgt. Howie (Edward Woodward) flies to the private island Summerisle, investigating charges of a missing child. His sleuthing leads him into a pagan world incompatible with his sternly Christian point of view.

The deftly crafted moral ambiguity of the picture keeps the audience off kilter. Surely we aren’t to root for these heathens, with their nudey business right out in the open? But how can we side with the self-righteous prig Howie?

But maybe Howie’s playing right into something he doesn’t understand – and what would the people of Summerisle do if he didn’t play along? The ritual would be blown!

Hardy and his cast have wicked fun with Anthony Shaffer’s sly screenplay, no one more so than the ever-glorious Christopher Lee. Oh, that saucy baritone!

The film is hardly a horror movie at all –more of a subversive comedy of sorts – until the final reel or so. Starting with the creepy animal masks (that would become pretty popular in the genre a few decades later), then the parade and the finale, things take quite a creepy turn.

3. We Are What We Are (2010)

In a quiet opening sequence, a man dies in a mall. This is a family patriarch and his passing leaves the desperately poor family in shambles. An internal power struggle begins to determine the member most suited to take over as the head of the household, and therefore, there is some conflict and competition – however reluctant – over who will handle the principal task of the patriarch: that of putting meat on the table.

We’re never privy to the particulars – giving the whole affair a feel of authenticity – but adding to the family’s crisis is the impending Ritual, which apparently involves a deadline and some specific meat preparations.

Grau’s approach is so subtle, so honest, that it’s easy to forget you’re watching a horror film. Indeed, were this family fighting to survive on a more traditional level, this film would simply be a fine piece of social realism focused on Mexico City’s enormous population in poverty. But it’s more than that. Sure, the cannibalism is simply an extreme metaphor, but it’s so beautifully thought out and executed!

https://www.youtube.com/watch?v=EBkNz3_pzsw

2. Martyrs (2008)

This is one you may need to prepare yourself for. Equal parts orphanage ghost story, suburban revenge fantasy, and medical experimentation horror flick, the whole of Martyrs is a brutal tale that is hard to watch, hard to turn away from, and worth the effort.

Mining the heartbreaking loneliness of abandoned, damaged children, the film follows the profound relationship between Lucie (Mylene Jampanoi) and the only friend she will ever have, an undeterrably loving Anna (Morjana Alaoui).

Constantly subverting expectations, including those immediately felt for Anna’s love, writer/director Pascal Laugier makes a series of sharp turns, but he throws unforgettable images at you periodically, and your affection for the leads keeps you breathlessly engaged.

The third act offers the most abrupt change of course as well as tone. Here is where the ritual begins – it began long ago, but the subject wasn’t quite right. Though it feels like an abrupt shift, it ends up a gruesome but inevitable conclusion.

https://www.youtube.com/watch?v=Jbct9qWBSME

1. The Exorcist (1973)

For evocative, nerve jangling, demonic horror, you will not find better than The Exorcist.

Slow-moving, richly textured, gorgeously and thoughtfully framed, The Exorcist follows a very black and white, good versus evil conflict: Father Merrin V Satan for the soul of an innocent child.

But thanks to an intricate and nuanced screenplay adapted by William Peter Blatty from his own novel, the film boasts any number of flawed characters struggling to find faith and to do what’s right in this situation.

So was Friedkin, the director who balanced every scene to expose its divinity and warts, and to quietly build tension. The titular ritual was simply the climax of a film filled with rituals, big and small, Catholic and non-religious, that we use to keep us clean and safe.

Fright Club: Best Horror/Non-Horror Double Features

There’s always reason to be proud when one of he most established and respected directors decides to dabble in horror, and likewise, when one of our own makes it big in the mainstream. It put us in the mood for some double features: great directors, one horror movie, one non-horror movie. And the possibilities are endless. How about Scorsese’s Cape Fear/Taxi Driver? Or something a little more contemporary – maybe Jeremy Saulnier’s Green Room and Blue Ruin (if you’re feeling colorful)? Oh, what fun! Let’s get started!

5. Ben Wheatley: Kill List (2011)/ High Rise (2015)

Kill List
Never has the line “Thank you” had a weirder effect than in this genre bender. Without ever losing its gritty, indie sensibility, Ben Wheatley’s fascinating film begins a slide in Act 2 from crime drama toward macabre thriller. You spend the balance of the film’s brisk 95 minutes actively puzzling out clues, ambiguities and oddities.

For those looking for blood and guts and bullets, Kill List will only partially satisfy and may bewilder by the end. But audiences seeking a finely crafted, unusual horror film may find themselves saying thank you.

High-Rise
Set inside a skyscraper in a gloriously retro London, Ben Wheatley’s adaptation of J.G. Ballard’s High-Rise is a dystopia full of misanthropic humor.

Laing (Tom Hiddleston) narrates his own story of life inside the “grand social experiment” – a high rise where the higher the floor, the higher the tenant’s social status. Performances range from slyly understated (Hiddleston, Elizabeth Moss) to powerful (Sienna Miller, Luke Evans) to alarmingly hammy (James Purefoy), but each contributes entertainingly to this particular brand of dystopia. Still, the wicked humor and wild chaos will certainly keep your attention.

4. Peter Jackson: Dead Alive (1992) / Heavenly Creatures (1994)

Dead Alive
This film is everything the early Peter Jackson did well. It’s a bright, silly, outrageous bloodbath. Lionel Cosgrove (Timothy Balme), destiny, a Sumatran rat monkey, an overbearing mother, a prying uncle, and true love are bathed in gore in the Kiwi director’s last true horror flick – a film so gloriously over-the-top that nearly anything can be forgiven it.

Jackson includes truly memorable images, takes zombies in fresh directions, and crafts characters you can root for. But more than anything, he knows where to point his hoseful of gore, and he has a keen imagination when it comes to just how much damage a lawnmower can do.

 

Heavenly Creatures
Jackson’s first non-horror film still follows rather horrific circumstances – New Zealand’s infamous Parker-Hulme murder case. Even fans of the director’s work to this point couldn’t have suspected he (and writing partner/write Fran Walsh) had anything this elegant and fantastical in them.

Certainly, spellbinding performances from young Kate Winslet and Melanie Lynskey didn’t hurt. Jackson and Walsh received their first Oscar noms for the screenplay in a film that eschews the trial, barely witnesses the crime, and focuses instead on the intense friendship that went horrifyingly wrong. It respects its source material and every person involved in the historical event, but it also understands the delirium of adolescence in a way few films do. Hobbits be damned, this is Jackson’s masterpiece.

3. David Cronenberg: Scanners (1981) / Eastern Promises (2007)

Scanners
The film that made Cronenberg an international name in the genre is about mind control – a very sloppy version of it – and that societal fear of being dominated by a stronger being. At its heart, this is another government conspiracy film wherein an agency foolishly believes they can harness an uncontrollable element for military purposes. Scanners is hardly the best of these (Alien is, FYI). But it’s gory fun nonetheless. What makes the effort undeniably Cronenberg (besides the exploding heads) is that connection between human tissue and technology.

The acting is silly, the technology is comically dated, and the computer nerd toward the end of the film inexplicably boasts a band aid on his face. But Michael Ironside is on fire and the movie ratchets up tension by keeping you wondering when the next head will explode.

Eastern Promises
In 2005, Cronenberg produced his most acclaimed and most mainstream film to date, A History of Violence. That success spawned more than an interest in non-genre fare, but also a fruitful collaboration with the underappreciated and versatile actor Viggo Mortensen.

Two years later, Mortensen would join an impeccable cast including Vincent Cassel, Armin Mueller-Stahl, and Naomi Watts in what would be the Canadian auteur’s finest film. Eastern promises is Cronenberg’s characteristically off kilter, visceral take on the mafia movie.

https://www.youtube.com/watch?v=dWC-ECjNqxo

2. Stanley Kubrick: The Shining (1980)/ 2001: A Space Odyssey (1968)

The Shining
A study in atmospheric tension, Kubrick’s vision of the Torrance family collapse at the Overlook Hotel is both visually and aurally meticulous. It opens with that stunning helicopter shot, following Jack Torrance’s little yellow Beetle up the mountainside, the ominous score announcing a foreboding that the film never shakes.

What image stays with you most? The two creepy little girls? The blood pouring out of the elevator? The impressive afro in the velvet painting above Scatman Crothers’s bed? That freaky guy in the bear suit? Whatever the answer, thanks be to Kubrick’s deviant yet tidy imagination.

2001: A Space Odyssey

After a less than enthusiastic reception from both audiences and critics in 1968, 2001 persevered, establishing its legend as perhaps the most magnificent science fiction film ever made.

Kubrick and legendary sci-fi author Arthur C. Clarke adapt Clarke’s short story with ambitious vision, epic scope, precise execution. More than a film, 2001 transcends the screen to become a mind-bending look at “first contact” that elicits levels of awe and wonder reserved for timeless pieces of art.

Very simply. 2001 is essential cinema of the highest order.

https://www.youtube.com/watch?v=E8TABIFAN4o

1. William Friedkin: The Exorcist (1973)/ Killer Joe (2011)

The Exorcist
Thanks to an intricate and nuanced screenplay adapted by William Peter Blatty from his own novel, the film boasts any number of flawed characters struggling to find faith and to do what’s right in this impossible situation.

Friedkin balanced every scene to expose its divinity and warts, and to quietly build tension. When he was good and ready, he let that tension burst into explosions of terrifying mayhem that became a blueprint for dozens of films throughout the Seventies and marked a lasting icon for the genre. Even after all this time, The Exorcist is a flat-out masterpiece.

Killer Joe
Following a long, fairly quiet period, in 2011 Friedkin returned with something bold and nasty:Killer Joe. Matthew McConaughey plays the titular killer, a predator in a cowboy hat making deals with some Texas white trash. The deal goes haywire, and some crazy, mean, vividly depicted shit befalls those unthinking trailer folk.

Subdued, charming, merciless, weird, and oh-so-Southern, Joe scares the living hell out of any thinking person. Unfortunately, that doesn’t really describe the Smiths – an exquisitely cast Emile Hirsch, Juno Temple, Thomas Hayden Church, and a flawless Gina Gershon. This is an ugly and unsettlingly funny film about compromises, bad ideas, and bruised women. And it is the best thing Friedkin has done since The Exorcist.

 

 

Day 27: Kill List

Kill List (2011)

Never has the line “Thank you” had a weirder effect than in the genre bending adventure Kill List.

Hitman Jay (a volcanic Neil Maskell) is wary to take another job after the botched Kiev assignment, but his bank account is empty and his wife Shel (an also eruptive MyAnna Buring) has become vocally impatient about carrying the financial load. But this new gig proves to be seriously weird.

Without ever losing that gritty, indie sensibility, Ben Wheatley’s fascinating film begins a slide in Act 2 from crime drama toward macabre thriller. You spend the balance of the film’s brisk 95 minutes actively puzzling out clues, ambiguities and oddities. (The often impenetrable accents don’t exactly help with this sleuthing). The “What the hell is happening?” response to a film is rarely this satisfying.

As Kill List drifts toward its particular flavor of horror, Wheatley pulls deftly from some of the most memorable films of a similar taste. But because the less you know about this film the more fascinating it is, I won’t cover those here except to say: Nicely done!

Performances are disconcerting but well played. Michael Smiley, in particular, offers an outstanding supporting turn as the likeable mate. His longing, good nature, and conflicted religious leanings make not only for an intriguing gun-for-hire, but also an emotional anchor for the film.

For those looking for blood and guts and bullets, Kill List will only partially satisfy and may bewilder by the end. But audiences seeking a finely crafted, unusual horror film may find themselves saying thank you.

Listen weekly to MaddWolf’s horror podcast FRIGHT CLUB. Do it!

Fright Club: Best British Horror

We are thrilled to have Senior British Correspondent Craig Hunter of SCREENRELISH join us to look at some of our favorite British horror movies. From classics of Hammer to some of today’s most disturbing films, we count down the five best.

5. Dracula (Horror of Dracula) (1958)

In 1958, Hammer Films began its long and fabulous love affair with the cloaked one, introducing the irrefutably awesome Christopher Lee as the Count.

Their tale varies a bit from Stoker’s, but the main players are mostly accounted for. Peter Cushing steps in early and often as Van Helsing, bringing his inimitable brand of prissy kick-ass, but its Lee who carries the film.

Six foot 5 and sporting that elegant yet sinister baritone, Lee cuts by far the most intimidating figure of the lot as Dracula. Director Terence Fisher uses that to the film’s advantage by developing a far more vicious, brutal vampire than what we’d seen previously.

Still the film is about seduction, though, which gives Lee’s brute force an unseemly thrill. Unlike so many victims in other vampire tales, it’s not just that Melissa Stribling’s Mina is helpless to stop Dracula’s penetration. She’s in league. She wants it.

Ribald stuff for 1958!

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

4. Kill List (2011)

Never has the line “Thank you” had a weirder effect than in the genre bending adventure Kill List.

Hitman Jay (a volcanic Neil Maskell) is wary to take another job after the botched Kiev assignment, but his bank account is empty and his wife Shel (an also eruptive MyAnna Buring) has become vocally impatient about carrying the financial load. But this new gig proves to be seriously weird.

Without ever losing that gritty, indie sensibility, Ben Wheatley’s fascinating film begins a slide in Act 2 from crime drama toward macabre thriller. You spend the balance of the film’s brisk 95 minutes actively puzzling out clues, ambiguities and oddities.

As Kill List drifts toward its particular flavor of horror, Wheatley pulls deftly from some of the most memorable films of a similar taste. For those looking for blood and guts and bullets, Kill List will only partially satisfy and may bewilder by the end. But audiences seeking a finely crafted, unusual horror film may find themselves saying thank you.

3. Eden Lake (2009)

The always outstanding Michael Fassbender takes his girl Jenny (Kelly Reilly) to his childhood stomping grounds – a flooded quarry and soon-to-be centerpiece for a grand housing development. He intends to propose, but he’s routinely disrupted, eventually in quite a bloody manner, by a roving band of teenaged thugs.

James Watkins’s screenplay keeps you nervous and guessing with some clever maneuvers and horrific turns.

The acting, particularly from the youngsters, is outstanding. Fassbender’s bravado strikes an honest note, and Reilly’s Jenny is capable, smart and compassionate. More than anything, though, the film owes its unsettling ability to stay with you to an unnerving performance from the up and coming Jack O’Connell.

It’s an upwardly mobile urbanite nightmare, well made and crafted to stay with you.

2. The Descent (2005)

A caving expedition turns ugly for a group of friends, who will quickly realize that being trapped inside the earth is not the worst thing that could happen.

This spelunking adventure comes with a familiar cast of characters: arrogant authority figure, maverick, emotionally scarred question mark, bickering siblings, and a sad-sack tag along. And yet, somehow, the interaction among them feels surprisingly authentic, and not just because each is cast as a woman.

Writer/director Neil Marshall makes excellent use of the story’s structure. Between that and the way film and sound editing are employed, Marshall squeezes every available ounce of anxiety from the audience. Long before the first drop of blood is drawn by the monsters – which are surprisingly well conceived and tremendously creepy – the audience has already been wrung out emotionally.

1. 28 Days Later (2002)

Activists break into a research lab and free the wrong fucking monkeys.

28 days later, bike messenger Jim wakes up naked on an operating table.

You know you’re in trouble from the genius opening sequence: vulnerability, tension, bewilderment, rage and blood – it marks a frantic and terrifying not-really-a-zombie film. (They were not dead, you see. Just super pissed off.)

Danny Boyle is one of cinema’s visionary directors, and he’s made visceral, fascinating, sometimes terrifying films his entire career – Shallow Grave, Trainspotting, Millions, 127 Hours – but 28 Days Later is certainly his one true horror film. And it is inspired.

The vision, the writing, and the performances all help him transcend genre trappings without abandoning the genre. Both Brendan Gleeson and Cillian Murphy are impeccable actors, and Naomie Harris is a truly convincing badass. Their performances, and the cinematic moments of real joy, make their ordeal that much more powerful.

Listen to the whole conversation on the FRIGHT CLUB PODCAST.

Fright Club: Zealots

Horror films have long told the story of religious zealots, usually of the Black Mass variety – The Mephisto Waltz (1971), Sheitan (2006), Starry Eyes (2014), Rosemary’s Baby (1968). We decided not to look to the cloaked, horned Satanists and instead, examine religious zealots of a different flavor. Here are our favorites.

5. Red State (2011)

Kevin Smith’s first foray into horror is perhaps his very strongest and least seen film. Red State is an underrated gem. Deceptively straightforward, Smith’s tale of a small, violently devout cult taken to using the internet to trap “homos and fornicators” for ritualistic murder cuts deeper than you might expect. Not simply satisfied with liberal finger wagging, Smith’s film leaves no character burdened by innocence.

The usually stellar Melissa Leo chews more scenery than need be as a devoted apostle, but pastor Abin Cooper spellbinds as delivered to us by Tarantino favorite Michael Parks. Never a false note, never a clichéd moment, Parks’s performance fuels the entire picture.

There’s enough creepiness involved to call this a horror film, but truth be told, by about the midway point it turns to corrupt government action flick, with slightly lesser results. Still, the dialogue is surprisingly smart, and the cast brims with rock solid character actors, including John Goodman, Stephen Root, and Kevin Pollak.

Smith said at the time: “I think we have something. It’s creepy and very finger-on-the-pulse and very much about America.”

We agree.

4. The Wicker Man (1973)

In the early Seventies, Robin Hardy created a film that fed on the period’s hippie versus straight hysteria.

Uptight Brit constable Sgt. Howie (Edward Woodward) flies to the private island Summerisle investigating charges of a missing child. His sleuthing leads him into a pagan world incompatible with his sternly Christian point of view.

The deftly crafted moral ambiguity of the picture keeps the audience off kilter. Surely we aren’t to root for these heathens, with their nudey business right out in the open? But how can we side with the self-righteous prig Howie?

Hardy and his cast have wicked fun with Anthony Shaffer’s sly screenplay, no one more so than the ever glorious Christopher Lee. Oh, that saucy baritone!

The film is hardly a horror movie at all – more of a subversive comedy of sorts – until the final reel or so. Starting with the creepy animal masks (that would become pretty popular in the genre a few decades later), then the parade, and then the finale, things take quite a creepy turn leading to what is still a very powerful climax.

https://www.youtube.com/watch?v=21gb49H-Uo4

3. Kill List (2011)

Never has the line “thank you” had a weirder effect than in the genre bending adventure Kill List.

Hitman Jay (a volcanic Neil Maskell) is wary to take another job after the botched Kiev assignment, but his bank account is empty and his wife Shel (an also eruptive MyAnna Buring) has become vocally impatient about carrying the financial load. But this new gig proves to be seriously weird.

Without ever losing that gritty, indie sensibility, Ben Wheatley’s fascinating film begins a slide in Act 2 from crime drama toward macabre thriller. You spend the balance of the film’s brisk 95 minutes actively puzzling out clues, ambiguities and oddities. (The often impenetrable accents don’t exactly help with this sleuthing). The “What the hell is happening?” response to a film is rarely this satisfying.

For those looking for blood and guts and bullets, Kill List will only partially satisfy and may bewilder by the end. But audiences seeking a finely crafted, unusual horror film may find themselves saying thank you.

https://www.youtube.com/watch?v=bQDPp5hxFZQ

2. Martyrs (2008)

This import plays like three separate films: orphanage ghost story, suburban revenge fantasy, and medical experimentation horror flick. The whole is a brutal tale that is hard to watch, hard to turn away from, and worth the effort.

Mining the heartbreaking loneliness of abandoned, damaged children, the film follows the profound relationship between torture survivor Lucie (Mylene Jampanoi) and the only friend she will ever have, an undeterrably loving Anna (Morjana Alaoui).

Constantly subverting expectations, including those immediately felt for Anna’s love, writer/director Pascal Laugier makes a series of sharp turns, but he throws unforgettable images at you periodically, and your affection for the leads keeps you breathlessly engaged.

The proceedings are tough to stomach, but well-conceived and skillfully executed. It holds some gruesome imagery, and though the climax may not be pleasing, it certainly doesn’t disappoint.

https://www.youtube.com/watch?v=-7Qx2dT-lUw

1. Frailty (2001)

Director Bill Paxton stars as a widowed, country dad awakened one night by an angel – or a bright light shining off the angel on top of a trophy on his ramshackle bedroom bookcase. Whichever – he understands now that he and his sons have been called by God to kill demons.

Flash forward and we’re led through the saga of the serial killer God’s Hand by a troubled young man (Matthew McConaughey), who, with eerie quiet and reflection, recounts his childhood with Paxton’s character as a father.

Dread mounts as Paxton drags out the ambiguity of whether this man is insane, and his therefore good hearted but wrong-headed behavior profoundly damaging his boys, or is he really chosen, and his sons likewise marked by God? The film upends everything – repeatedly – until it’s as if it’s challenged your expectations, biases, and your own childhood to boot.

Paxton crafts a morbidly compelling tale free from irony, sarcasm, or judgment and full of darkly sympathetic characters. It’s a surprisingly strong feature directorial debut from a guy who once played a giant talking turd.

https://www.youtube.com/watch?v=89u-uKDNrfU

Listen to the whole conversation on our FRIGHT CLUB podcast.