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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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Somewhere in Time

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The Beast

by Hope Madden

“Fulfillment lies in the lack of passion.”

Filmmaker Bertrand Bonello reconsiders the Henry James novella The Beast in the Jungle, blending the fear of intimacy with a larger scale societal pressure to minimize our unruly natures.

Bonello, writing with Guillaume Bréaud and Benjamin Charbit, crosses three timelines to expand and deepen his vision: Paris 1910 during the Great Flood; LA 2014, when a 4.4 earthquake struck as the incel phenomenon was born; and back to Paris in 2044, long after AI has become master to humanity’s subservient species.

These are the timelines in which Gabrielle (Léa Seydoux) struggles with “the beast” — an overwhelming sense of impending disaster. Memories of Gabrielle’s previous lives are ignited by the 2044 cleansing process meant to minimize human emotion, making people more reliable workers.

In each storyline, Gabrielle dances around a possible relationship with Louis (George MacKay). Pressure to conform and the idea that emotional safety is key to happiness are obstacles to their passion. But it is Gabrielle’s obsession with impending doom that forever keeps the two from connecting.

Bonello revives James’s age-old terror of intimacy with the modern terror of AI, and does it with such nuanced humanity that even the occasional spot of stilted dialog can be forgiven.

Seydoux, forever a marvel of raw human emotion, perfectly animates the fight against sanding down the rough edges of humanity. But Bonello throws a wild curve ball with his 2014 plot, tangling psychotic entitlement within the story’s misunderstood concept of intimacy.

The shift in focus could pull you from the hypnotic romance of the other timelines were it not for the exceptional work of his cast. MacKay treads a narrow path of gentlemanly interest, effortlessly illustrating the heartbreaking proximity between tenderness, apathy and contempt.

The Beast is a lush affair, gorgeous to look at and nimble in the way themes echo across eras. It’s also an elegant reminder that an unruly heart is nothing to silence.

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It’s a Brawl World After All

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Boy Kills World

by George Wolf

Boy Kills World feels like a film the gamers are going to love.

For the rest of us, it offers a hyper stylized, uber-violent riff on The Hunger Games by way of Kill Bill while it harbors Deadpool aspirations and a coy surprise waiting in act three. But while the style is never in doubt, real substance is lacking.

Bill Skarsgård supplies plenty of physical charisma as “Boy,” whose family was murdered years earlier during a lethal event known as “The Culling.” Once a year in this post apocalyptic landscape, enemies of ruling matriarch Hilda Van Der Koy (Famke Janssen) are rounded up and executed for sport and entertainment. Though Boy survived the assault, he was left deaf and mute, and has spent several years training with a mysterious shaman (Yayan Ruhian) until the time was right to take his revenge.

Against the shaman’s advice, Boy feels the time is now. And though he’s evolved into a singular killing machine, Boy is not alone. He has an inner voice adopted from a favorite video game (veteran voice actor H. Jon Benjamin), and a fever dream imagination that often bickers with the ghost of his rebellious little sister (Quinn Copeland).

On the eve of another Culling, Boy’s martial arts rampage of blood begins, and one of his early weapons of choice is a cheese grater.

Go on.

In his debut feature, director and co-writer Moritz Mohr skillfully captures the frenzied, level-up mayhem of video games. Cinematographer Peter Matjasko, composer Ludvig Forssell and editor Lucian Barnard help complete the gaming pastiche, while the screenplay keeps Benjamin supplied with commentary that’s consistently fueled by meta-sarcasm that never hits the master level of self-awareness.

As Boy starts up the ladder of the Van Der Koy family (Michelle Dockery, Brett Gelman, Sharlto Copley) and their Head of Security (Jessica Rothe), he falls in with a group known as the Resistance before the narrative takes its unexpected pivot.

Boy’s states of delirium have already opened the door for an unreliable narrator, so Mohr commits considerable effort (and exposition) in making sure we understand the twist.

But what we need even more is a reason to care.

Much like Hardcore Henry almost ten years ago, the film’s gaming mindset results in action that is visually exciting, but as emotionally empty as a “Play again?” reset. There’s never any motivation to get invested in the stakes, or in the attitude that often reeks of desperation hipness.

So while Boy Kills World‘s target audience may be blown away, those outside the center will find some tedium inside this finely orchestrated mayhem.

There’s no doubt you’ll find a few new uses for your cheese grater.

New In Theaters, Shudder Premiere

Arachnophobia

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Infested

by Hope Madden

Remember Quarantine (or Rec, for that matter)? Remember that moment when you realize you’re locked inside an apartment building, trapped with the ravenous undead?

OK, so that but spiders.

Nice, right?!

Sébastien Vanicek’s Infested (co-written with Florent Bernard) doesn’t steal from other movies as much as it mines the primal fears that have plagued the most effective horror movies from the beginning.

Kaleb (Théo Christine) is a well-meaning dumbass. He lives in a dump of a high rise, but he loves the place, loves the neighbors, and cherishes the memory of his mother. That’s why, unlike his sister Manon (Lisa Nyarko), Kaleb doesn’t want to leave. In fact, he’s made a cozy home in his room for any number of exotic little beasties—the latest of which he just picked up from the super-secret back room of a dodgy shop.

“Careful, it’s probably poisonous,” the shopkeeper calls as Kaleb carries his rubber-banded plastic container and the very poisonous, extremely nasty spider inside.

Jumping ahead, Kaleb does not heed the warning.

Apartment horror can be so creepy when it’s done well: dark hallways, grimy elevators, creepy parking garages, too many floors until safety, and loads of places for spiders to nest. Vanicek makes excellent use of these spaces, and he shows solid instincts for creature FX—when to go practical, when to show little, when to show lots (and lots and lots). But his film succeeds on the lived-in world of these neighbors and friends.

Christine (Gran Turismo) delivers messy, loving authenticity as the guy who cares deeply and screws up everything. Finnegan Oldfield (Final Cut) is even better, and he brings with him a realism and natural charisma that cements the rag tag band of survivors as human beings to root for.

That realism doesn’t extend fully to the arachnid horror. Their reproductive mechanisms, their feeding habits, growth spurts—well, they’re not supposed to be from deep space or a nuclear accident, so the extremes seen in the building definitely strain credibility.

But damn! That doesn’t make it any less creepy! You may find yourself shaking out your sleeves and pulling the drawstring tight around your hoodie. I did. But at least the cockroaches are under control.

The Screening Room

Screening Room: Abigail, Ministry of Ungentlemanly Warfare, Sasquatch Sunset, The People’s Joker & More

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Abigail, The Ministry of Ungentlemanly Warfare, Sasquatch Sunset, The People’s Joker, Blood for Dust, With Love and a Major Organ, Villains Inc.

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Dancing in the Dark

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Abigail

by Hope Madden

Back in 2019, directors Matt Bettinelli-Olpin and Tyler Gillett had a blast locking a group of evildoers and one innocent inside a luxurious mansion for about 90 minutes of head exploding, weapon wielding, visceral mayhem.

The fun they had with Ready or Not was contagious. So catchy that you can certainly feel its influence in the filmmakers’ latest, the ballerina vampire tale Abigail.

The first big difference is that in this mansion, no one is innocent.

A team has been assembled for a kidnapping: grab a wealthy guy’s kid and hole up in some out-of-the-way safe house until the ransom comes. They nab little Abigail as she’s coming home from ballet lessons, easy enough, and now all they have to do is wait out the night until the cash comes through.

It’s an airtight movie set up, even if it leaves little breathing space for twists or surprises—assuming you’ve seen the trailer, or at least the poster, and are not shocked to learn that Abigail is a vampire.

Alisha Weir (Matilda: The Musical, Wicked Little Letters) strikes a fine balance as the centuries-old bloodsucker who suckers victims by playing a helpless preteen. She certainly makes ballet look sinister.

Gillett and Bettinelli-Olpin surround their wee star with a solid ensemble. This ragtag group of bloodbags (or criminals, as they’d probably prefer to be known) delivers some fun chemistry.

Dan Stevens (having a banner year!) is delightfully unpleasant as group leader Frank, while Melissa Barrera (Scream) carves out a compelling lead turn. Meanwhile, Kathryn Newton (Lisa Frankenstein, Freaky) and longtime “that guy” Kevin Durand deliver the comic notes.

Abigail offers quickly paced, sharply edited gore with enough banter to keep the characters interesting. It’s tough to know who to root for—these people did willingly kidnap a child, after all. The overall moral ambiguity of the film makes it less satisfying than Ready or Not and the lockstep plotting keeps it from sticking with you long after the credits roll.

It’s fun, though. And when it decides to finally get bloody, it may not leave a lasting impression, but it definitely makes a mess.

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Pretty When She Smiles

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The People’s Joker

by Hope Madden

When Vera Drew’s The People’s Joker premiered at the 2022 Toronto International Film Festival, Warner Bros. and their lawyers promptly shut it down.

How in keeping with the spirit of the film, an autobiographical glimpse into the filmmaker’s transition that skewers homogenized corporate-controlled art. A multimedia collage of sorts, the film sutures live action with animation to tell of a young person, fed up with their narcissistic mother and absent father, numbed by the conveniently prescribed “Smylex” that’s helped keep reality at bay lo these many years. The numbness doesn’t keep our hero from heading to Gotham City to fail wildly as a comic, though.

Moments in the film that directly address the filmmaker’s own life story deliver an emotional punch that somehow feels at ease inside this wickedly satirical take on the death of fringe art.

Vera Drew also stars as the performer who becomes Joker, then Joker the Harlequin, her deadname being bleeped throughout the film, a la Kill Bill. The transition from put-upon son to underground comic outcast to what she was meant to be all along creates a strong and emotional structure for the film.

In its own way, The People’s Joker homages as much as it lambasts. The film is dedicated to Joel Schumacher, whose Batman Forever provided young Joker his first inkling that he was not who he was meant to be.

The film takes aim at Saturday Night Live and superhero culture as essentially a hollow impersonation of what once was outsider art, and it achieves its aims by being, very clearly, outsider art.

Gotham City—ever the cesspool—withers under the fascist rule of Batman and Lorne Michaels, whose United Clown Bureau Live (clearly SNL) is the only legal form of comedy in the city.

Batman’s not all he’s caped up to be, either.

It’s an incredibly impressive effort both behind and in front of the camera. Her film is wildly imaginative but devastatingly personal at the same time. But her clear-eyed image of corporate comedy has even more bite.  

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Dress for the Job You Want

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Villains, Inc.

by Rachel Willis

When their super villain leader dies, three henchmen are left adrift in director Jeremy Warner’s comedy Villains, Inc.

It’s an interesting concept told with the kind of mundanity that speaks to real life. Though most of these villains have superpowers and special abilities, they need jobs – just like the rest of us. They also have dreams of the future, just like us. Not perhaps of a summer house in the country, but of world domination. 

After the leader dies, Beatrix (Mallory Everton) becomes the group’s de facto number one. The other two (Colin Mochrie and Jason Gray) just aren’t capable of leading anyone.

There is a certain amount of comedy from the set up alone. What do hench people do when they have no one to guide them? However, this concept only takes you so far. What follows is often forced and ineffective. No one leans into the material, so too often, there is nothing to laugh at.

We’re left with clunky dialogue and a been-there-done-that style of humor. That’s not to say no joke ever lands – Mallory Everton and Jason Gray get produce a good laugh or two – but too often the writing gets in the way.

The story itself is fine. We have montage moments and misunderstandings, reconciliations and growth. The superhero of the film, Captain Justice (Trey Warner), has some of the best scenes, but even a few of those are lifted from other films. The moment when Justice hands out “swag” to fawning cops is reminiscent of The Lego Batman Movie.

While the characters are likable enough, there simply isn’t enough working for this movie to keep it interesting. There are too many threads for each to get a satisfactory resolution, as if the writers weren’t quite sure what kind of story they wanted to tell.

The slap-stick style comedy will definitely work for some, but comedy is one of the toughest sells. What resonates is not so much the humor but the desperation that comes with needing a job – even if you have superpowers.  

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Caution: Low Flying Poo

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Sasquatch Sunset

by George Wolf

After the completely enchanting Kumiko, the Treasure Hunter in 2014 and the whimsical Western Damsel four years later, you might not expect writer/director David Zellner to next film a year in the life of a Sasquatch family.

And Yeti did.

Sorry, but that joke is just silly enough to fit in with Sasquatch Sunset, if only the movie had any dialog at all. It doesn’t, instead letting the ‘Squatches’ grunts, screams, moans and various other bodily noises speak volumes.

Jesse Eisenberg, Riley Keough, Christophe Zajac-Denek and co-director Nathan Zellner portray the furry family underneath hair and makeup that renders the performers unrecognizable. But we have little trouble catching on to what the family is up to, which often strikes an absurdly funny tone that’s only compounded by this absurd setup that seems sprung from 1970s Saturday morning TV..

They hump, they fling poop, they get high off wild berries and act like idiots, and they are forced to confront the serious consequences of mankind’s intrusion on their habitat.

Wait, are we getting real here?

We are. As the seasons pass, harsh lessons are learned, and the Zellners layer this nutty romp with some thoughtful, touching, and yes even heartbreaking moments. It’s a small miracle that it all works, one bolstered by the fact that you really haven’t seen anything like this before, so rules seem up for grabs.

Why would you cast name actors for roles that hide their faces and don’t allow them to speak? I dunno, maybe these actors have experience marking their territory with urine.

And if you want to make heartfelt points about family bonds and the delicate balance of nature, why surround them with a barrage of bathroom humor?

Let ’em live!

What’s certain is that there is commitment evident in every choice the Zellners make, right down to the wry bombshell delivered by the final shot. So take a load off your big feet, and give Sasquatch Sunset the chance to charm you.

Fright Club

Fright Club: Malls in Horror Movies

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Once upon a time, there was nothing cooler than a mall. There was no place you would rather be. It was an oasis, a microcosm, and an excellent location for horror. In honor of the 45th anniversary of George Romero’s pinnacle of consumerist horror, we decided to pull together a list of the five most effective shopping mall horrors.

5. Chopping Mall (1986)

In 1984, Kelli Maroney found mall side horror in Night of the Comet. Like Halley’s Comet, shopping center disaster returned to Maroney just two years later.

She and some pals are planning a wild party inside Park Plaza Mall after closing. But their state-of-the-art security robots go all Robo Cop on them. Boasting a supremely 80s vibe, plus the great Barbara Crampton and a Mary Woronov/Paul Bartel sighting! Jim Wynorski’s time capsule of 80s horror might be more fun to watch now than when it was released.

4. Slaxx (2020)

Absurdism meets consumerism in co-writer/director Elza Kephart’s bloody comedy, Slaxx. CCC Clothing’s new line of denim adjusts to your body and makes you look even more glorious than you already do. And these jeans fit every single figure, from 5 pounds underweight to 5 pounds overweight. It’s a dream come true.

Sehar Bhojani steals every scene as the cynical Shruti, but the jeans are the real stars here. Kephart finds endlessly entertaining ways to sic them on unsuspecting wearers.

Where Romero mainly pointed fingers at the hordes mindlessly drawn to stores like CCC, Kephart sees the villains as those perpetuating clean corporate hypocrisy. Still, it’s their customers and workers she murders—by the pantload.

3. Fear Street: Part One – 1994 (2021)

The first episode in Leigh Janiak’s trilogy takes us to Shadyville, site of misery, trauma and unpleasantness nigh on 300 years. Not that Deena (Kiana Madeira) is buying all this “witch’s curse” BS.

Janiak’s 90s vibe is strong and her soundtrack is tight. Performances—Madeiera as well as Benjamin Flores Jr., Maya Hawke, Fred Hechinger and Gillian Jacobs—far exceed expectations for an R. L. Stine adaptation.

Part One is the best in the trilogy, but all three of Janiak’s Fear Street installments deliver fear and fun in equal portions.

2. Dawn of the Dead (2004)

Zack Snyder would go on to success with vastly overrated movies, but his one truly fine piece of filmmaking updated Romero’s Dead sequel with the high octane horror. The result may be less cerebral and political than Romero’s original, but it is a thrill ride through hell and it is not to be missed.

The flick begins strong with one of the best “things seem fine but then they don’t” openings in film. And finally! A strong female lead (Sarah Polley). Polley’s beleaguered nurse Ana leads us through the aftermath of the dawn of the dead, fleeing her rabid husband and neighbors and winding up with a rag tag team of survivors hunkered down inside a mall.

In Romero’s version, themes of capitalism, greed, and mindless consumerism run through the narrative. Snyder, though affectionate to the source material, focuses more on survival, humanity, and thrills. (He also has a wickedly clever soundtrack.) It’s more visceral and more fun. His feature is gripping, breathlessly paced, well developed and genuinely terrifying.

1. Dawn of the Dead (1978)

Romero returned to the land of the undead in ’78 with a full-color sequel to Night. Set in Philadelphia, at a news broadcast gone crazy, the film follows a news producer, her chopper pilot boyfriend, and two Philly SWAT cops ready to abandon the organized zombie fight and find peace elsewhere. The four board a helicopter, eventually landing on the roof of a mall, which they turn into their private hideaway.

Romero, make-up legend Tom Savini, and Italian horror director Dario Argento teamed up for the sequel. You feel Argento’s presence in the score and the vivid red of the gore.

Ken Foree and Scott Reiniger as the buddies from SWAT create the most effective moments, whether character-driven tension or zombie-driven action. Romero’s politics are on his sleeve with this one, and he seems to be working to build on successes of his original. He uses the “z” word, digs at Eighties consumerism, shows full-color entrails, and reminds us again that the undead may not be our biggest enemy once the zombie-tastrophe falls.