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Tag: Horror

Reviews

Retro Review: It Follows

June 8, 2019
It Follows poster

Over the past several years horror fans and critics have tended to pick an independent horror film and lavish huge amounts of praise and attention on them. Often declaring them as instant classics of the genre. But these films often prove very divisive. With other audiences claiming the films are overrated, not true horror films or simply not good. Examples include Hereditary (2018), The Witch (2015), The Babadook (2014) and the subject of today’s review, David Robert Mitchell’s It Follows (2014). Does it deserve its divisive reputation? Let’s find out.

Synopsis

Jay (Maika Monroe) is a teenager enjoying all the foibles of growing into adulthood. One-night Jay decides to sleep with her new boyfriend for the first time. Afterwards, she is knocked out and taken to an abandoned building. There her boyfriend reveals he has passed a curse on to her. A shapeshifting creature which can take the form of anyone has begun following her and it wants her dead.

Her boyfriend then disappears leaving Jay to deal with the threat on her own. The one positive is that the creature only follows her at a walking pace, so Jay decides to use this to her advantage.

Along with her friends, she tracks down her boyfriend to get an explanation out of him and they learn that the only way the creature can be stopped is to transfer the curse to someone else. But can Jay bring herself to put another person in harm’s way or will she try something different?

What did I like?

The hyperbolic claims that It Follows is simply not a good film is baffling. Purely from a technical point of view, the film is great. As a horror film, It Follows has a firm grasp of how to create tension through its presentation. Using long takes, interesting camera movement and good actor direction to build anxiety about where the monster is and when it will strike. The score also builds a tense atmosphere through creating both a confrontational and quietly eerie soundscape.

The acting is also superb. With the story centred around teenagers, the film could easily become laughable if the cast weren’t believable. But all the main actors feel like real teenagers. Maika Monroe particularly stands out as an incredibly likeable, sympathetic and genuine lead. Her monologue about remembering her youth near the film’s beginning carries great weight because of her delivery. And the way all the friends talk about their childhoods and the antics they get up to gives a feeling of true friendship, allowing us to easily invest in their situation.

The film also pays tribute to older horror films in effective ways. With a synthesizer-heavy score, a stalking camera and an unknowable slow moving, shapeshifting monster, evoking the feeling of John Carpenters older horror films. But the film also has a very modern outlook.

Instead of simply killing characters for having sex or exploiting them for pointless nudity, It Follows is more a tale about teenagers coming to terms with the vulnerability of their bodies. Many scenes have Jay looking over her body and showing how she feels different now because of the danger brought on by the monster. But she never shies away from sex. Her challenge is choosing what to do with the burden she’s been given. As an extension, the women are not solely victims, like in many other horror movies. They take an active role in dealing with the threat, and they call the shots when it comes to sex. While most of the men are cowardly or self-centred. A far cry from the puritanical traditions of many older horror films.

This amalgam of traditions makes the film almost timeless. Ensuring most generations will be able to get something from watching it.

What did I not like?

But there are a few things that let the film down. There are a few weird editing choices throughout the film where the focus will instantly shift to another point of focus instead of giving a payoff to what came before. This is particularly noticeable in the finale which, although it gets a point across, does feel somewhat out of place.

Another problem is that despite the film using its narrative in an interesting way, the beats of the plot are still very familiar to anyone who has seen a passing-on-the-curse movie. And there are very few surprises to freshen up the formula. Which may put off some audiences.

Finally, while the film provides positive female representation with its characters, the film does occasionally feel very leery. With long shots of the female characters in their underwear, swimwear and revealing clothes. While both a staple of the genre and somewhat justified by the theme of body image, it is telling that we never get similar shots for the male characters. And this can leave a bad taste in the audience’s mouth, especially with everything the film does to paint its women positively.

Verdict

Despite a few hiccups in editing, a familiar story and tending to slightly leer at its female characters, It Follows remains a great example of how to do modern horror right.

It gives us time to get to know the leads, who are all relatable and down to earth. While focusing on building tension rather than using jump scares, which the film does through interesting uses of music, camera movement and actor direction; It Follows celebrates the horrors of the past while updating some tropes to tell a modern story.

It Follows follows in the tradition of Carpenter and gives us a modern retro gem, that I can see audiences enjoying for years to come. Check it out and judge for yourselves.

Verdict: 4 out of 5 stars (4 / 5)

It Follows is available for free on BBC Iplayer for the next 2 months

It Follows (Trailer)

Also Read: How The Blair Witch Project Changed Horror.

Reviews

Review: The Silence

May 27, 2019

New Netflix film The Silence tells the story of a family trying to survive in a country ravaged by monsters that hunt by sound and to have any hope of survival you must be silent.

The Elephant In The Cinema (or Netflix in this case)

The plot outline of The Silence sounds very similar to recent horror hit A Quiet Place and the word “mockbuster” has been thrown around describing The Silence. A mockbuster is a film that has a plot and title similar to a very successful film and is not a coincidence but a very cynical attempt to leech off the success of the blockbuster. It should be pointed out The Silence is based on a book that predates A Quiet Place. Personally, I would say the quality of the film and its origins means it isn’t a mockbuster but it’s still impossible not to directly compare it to the other film.

What’s Going On?

The film follows a single family and how they deal with a nationwide catastrophe; strange winged creatures are spreading across the country and killing countless people. After watching news reports it becomes clear that the creatures hunt by what they can hear – meaning if you can be quiet you’re safe. As the family has a deaf daughter they are used to communicating non-verbally. After a tense few hours of deliberation, the family decides to drive out into the quieter and presumably safer countryside. To their horror, they find that the monsters are not far behind and not only that but there are other things dangers to be wary of.

Behind The Scenes

The film is directed by John R. Leonetti a cinematographer and director with a history in horror, his biggest directing credit being for 2014’s Annabelle. The writers are Shane Van Dyke and Carey Van Dyke whose involvement in Transmorphers: Fall of Man and The Day The Earth Stopped (films that, surely coincidentally, are reminiscent of Transformers franchise and The Day The Earth Stood Still) has somewhat added to the perception problem as a mockbuster.

In Front Of The Camera

I’ll admit that it was the cast that made me interested in this film – namely Stanley Tucci, who plays Hugh, the Dad, and Kieran Shipka, who plays Ally, the daughter. Stanley Tucci is a great actor, that’s just a fact, his monologue in Margin Call about building a bridge is one of my favourite scenes of all time. Whereas Kieran Shipka is best known for her phenomenal performance as Sally Draper in Mad Men and more recently as the eponymous character in The Chilling Adventures of Sabrina. Unsurprisingly Tucci gives a great performance as an ordinary Dad in extraordinary circumstances, a calm, gentle man, who while retaining his decency shows he is tougher than people might think. Shipka’s performance was good, as was most of the cast to be honest, but not quite what I was hoping for.

Does It Work?

The film is moderately enjoyable, especially if you are a fan of this post-apocalyptic, or in this case during-apocalyptic movie. This is, in fact, the main difference between The Silence and A Quiet Place, the latter is set some time after the problems started and the complete collapse of civilisation, whereas The Silence only gives us the first moments of what is happening. After all, throughout most of the film Ally talks via Skype with a schoolfriend discussing what is happening and surely if Skype is still working things haven’t got that bad yet.

The film is quite predictable and offers little in the way of surprises. The monsters are CGI created and are not always terrible fearsome, the film making the mistake of many monster movie in that they show the monster far too often. The most terrifying monsters are only glimpsed by the viewer. Overall I wasn’t convinced that the monsters posed an existential threat to humans, they did not seem that fearsome or dangerous, yes they could kill a person but they were described in the film as unstoppable nightmare creatures.

The film takes an odd turn away from the danger of the monsters to the danger of other people. Now, this is a fairly common trope of disaster/apocalyptic films that humans can be as bad as the monsters. What is absolutely bizarre in this film is that the normal, civilised people got completely batshit crazy in literally two days. While scavenging Hugh and Ally encounter a creepy man and it turns out he has a bunch of creepy friends who have already started mutilating themselves and talking about women in terms of “fertility”. This has to be the most rapid descent into apocalyptic madness I have ever seen and it is simply too much to accept that people would turn so bad so quickly. I’m not even sure the old adage that a civilised man is only three meals away from barbarity as I don’t think they had missed that many meals.

So, the big question, how does it do compare to A Quiet Place? Not well is the quick answer. A Quiet Place was hugely enjoyable and genuinely tense and The Silence just doesn’t match up in any way. But even without this comparison The Silence barely feels like a film and more like a long episode of a moderately successful tv show. At best it will only appeal to fans of this genre and will not be remembered as a particularly worthy addition but still too good to be a mockbuster.

Verdict: 2 out of 5 stars (2 / 5)

The Silence (Official Trailer)

Also Read: How The Blair Witch Project Changed Horror

Reviews

Rachael RnR Reviews Jordan Peele’s “Us”

March 30, 2019
Us Review Rachael RnR

Written & directed by Jordan Peele, YouTuber & Presenter, Rachel RNR reviews the blockbuster horror “Us”.

What’s it about?

Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that her past will catch up to her. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival.

“Us” is currently available to watch in cinemas.

Reviews

Review: Us [Spoiler Free]

March 25, 2019

An onslaught of violence, terror and doppelgangers in new horror film, Us.

What’s Going On?

A family holiday back to the beach she visisted as a child brings back unsettling memories for Adelaide and triggers a sense of something truly terrible coming. Unfortunately, her feelings are proven right when late at night a group of four people, a family, are spotted hanging around outside their holiday home. As Gabe, husband and father, confronts the group things quickly escalate and soon it’s a house invasion at which point Adelaide, Gabe and their children realise their attackers look exactly like them.

Behind The Scenes

This is the second film by Jordan Peele after 2017’s Oscar-winning Get Out and expectations are high. Peele was known primarily for many years as one half of comedy sketch group Key and Peele, who while not well known in the UK were a big deal in America. After two films Peele is already making a name for himself as a master of horror and he seems like the perfect person to present the rebooted Twilight Zone. As someone who is not a huge horror fan Peele’s films have had a big impact on me.

In Front Of The Camera

Most of the cast play two characters so Winston Duke has to be both reassuring father Gabe and violent brute, Abraham. While the focus is on the whole family Lupita Nyong’o is undoubtedly the star of the movie with two amazing performances as Adelaide and her doppelganger, Red. The children, Shahadi Wright Joseph and Evan Alex, are both great and are especially creepy when being the doppelgangers.

Does It Work?

As I said, expectations were high after Get Out and this film met those high expectations. As soon as the doppelgangers arrive the film is a non-stop terrifying ride. Each doppelganger is their own unique brand of horrifying: Adelaide’s speaking in a rasping voice about what horror she has been through and what awaits, Gabe’s is a brute dishing out violence at any opportunity, Zora (the daughter) has an unsettling manic look to her and Jason (the son) acts more like an animal, scuttling around the room with a very creepy mask. Each doppelganger takes on the original in an apt way (e.g. Zora is told to run and is chased by her double as Zora had recently discussed quitting Track and Field events) which suggests an in-depth knowledge of the family.

The film has many twists and turns and unexpected events so I won’t go too much into the plot so as to avoid spoilers. The normalcy of the family at the beginning sets up a wonderful family life. Gabe is such a “Dad” character making stupid jokes, telling off the children and insisting on planning activities none of the others wanted to do – I assure you, Gabe, nobody wanted to go fishing. There are problems that are hinted at such as Adelaide’s possibly traumatic past and how Jason seems to always wear a mask (I couldn’t work out whether it was meant to be Chewbacca or just a generic creature) but overall they seemed a very happy family. The film also manages to be funny, especially before the horror gets going, it’s a rather nice comedy of a happy family and is a gentle reminder that for a long time Jordan Peele was primarily a comedian.

Adelaide’s character goes on a harrowing journey that begins with her as a terrified mother, relying on her husband or the curiously missing police to save them to a truly formidable presence. It is hard to overstate just how brilliant Lupita Nyong’o is in the film, playing the fragile Adelaide or giving intense monologue’s as Red to Adelaide finding her strength.

The film primarily seems to be about identity and the feeling of how if things had been different you could be a completely different person. What connection does a genuine doppelganger have with you? Who has the greater claim to “your” identity? Does undergoing horror make you horrific? Are we only good because we live in a pleasant society where you can make a life without being bad? The viewer is left to make up their own mind about most of this.

Of course this isn’t just a philosophical film about identity but a brutal horror movie. The violence feels awfully real and a great deal of convincing blood is shed. The sheer oddity of battling a mirror image of yourself increases the disturbing nature and surely everyone watching would be imagining how they would have handled their own evil doppelganger.

The films looks great. The doppelgangers have a very distinct look, wearing identical red boilersuits and a single leather glove and all are armed with very sharp scissors (at the cinema I saw the film at the staff wore the same red boilersuits). The image of the doppelgangers standing outside in the darkness, barely illuminated, is very disturbing and memorable. Jason, the first to spot them, instantly identifies them as a family and I think that is exactly how they appear. The beach town is a beautiful backdrop to the horrors than unfold, a favourite touch of mine was the carnival attraction that young Adelaide gets lost in, in the 1980s its a cultural appropriating Native American “spirit journey” but in the present a more generic, and less offensive, Wizard Forest.

The film also uses music really well. I don’t know if I’ll ever listen to Good Vibrations by The Beach Boys without getting a chill down my spine. But there is a trade-off that because of this film I might laugh at Fuck The Police by N.W.A. The original soundtrack is positively chilling with the song “Anthem” bringing dread, fear and auditory flashbacks to many other great horror film soundtracks.

This film is a success on every level and I’m surprised to say that I might have actually enjoyed this film more than Get Out. If you’re a fan of horror or not go and see this film – albeit it might be too much for the very squeamish or easily creeped out.

Verdict: 4 out of 5 stars (4 / 5)

Us (Official Trailer)
Reviews

Review: Await Further Instructions

March 22, 2019

A claustrophobic horror thriller centred around a bitterly divided family.

What’s Going On?

Nick brings his girlfriend, Annji, back to his family home for Christmas after an absence of several years. It is not long before the tensions in the family boil over, particularly the racism directed towards Annji. After making the decision to leave Nick and Annji find out they are trapped in the house by metal shutters placed there by some outside power. Their only outlet to the outside world is through the television broadcasting instructions on what they should do. The already fractured family are put through increasingly intense dramas that only brings out the worst in them.

Behind The Scenes

The film is directed by Johnny Kevorkian and written by Gavin Williams and this is probably their biggest project to date. The film certainly has it’s interesting moments but neither the direction or the writing particularly stand out.

In Front Of The Camera

The main actors are Sam Gittins (Nick), Neerja Naik (Annji) and Grant Masters (Tony, Nick’s father) and they are all asked to a lot but don’t manage to pull it off. Of the three Naik’s performance is the best as she tries to withstand a familiar line of abuse, ranging from unpleasant comments about immigrants to vicious slurs yet not lose her temper. Gittins plays the dependable boyfriend and (as well as Naik) the voice of reason to the encroaching madness. Masters isn’t quite believable as the ringleader of what happens and fails to convincingly portray a normal man who goes too far.

The most recognisable member of the cast will probably be David Bradley best known as either Filch from the Harry Potter films or Walder Frey from Games of Thrones. Bradley plays Granddad – the family member who never even tries to welcome Annji or moderate his behaviour at all.

Does It Work?

The film starts off with an interesting premise of a family, already on edge, being pushed further by the horrendous circumstances. Often films where people are trapped together in a small space they start as friends or strangers but before any of the horror starts there are clear dividing lines in the group. It’s hard to not think that this is a post-Brexit film; the issues of immigration and race are specifically brought up, with each side thinking the other is utterly ridiculous and completely to blame. The first half of the film definitely works better and Abigail Cruttenden plays the mother desperately trying to reconcile the different elements of her family and maintain the peace quite well.

When they wake up on Christmas day and realise they are trapped these fault lines only harden. Tony tries to take control of the situation but that is limited to blindly following the instructions via the television, trying to disguise his blind obedience as sensible and practical behaviour.

There are a few cliches that get wheeled out and when things start getting out of hand it’s not a surprise when the most obviously unpleasant character is the first to suffer. Then there is the presence of Nick’s sister, Kate, heavily pregnant, used as justification by her husband for his behaviour and, of course, making her incredibly vulnerable.

One of the biggest stumbling blocks is that the slip from imprisonment and mild paranoia to outright violence and worse is incredibly quick. It is only hours before all manner of terrible things are being done and even with their existing problems, it’s hard to reconcile such extreme behaviour with their circumstances. Even families that don’t get along will have their limits and most people place their family’s wellbeing as the centre of their world.

What the film reminded me of most was an episode of Black Mirror, or probably more accurately, a sub-Black Mirror inspired show. The film comments on hysteria, the power of media, the fear of the Other but without any subtlety or particular originality. The film also reminded me of one of the most infamous experiments in all of psychology – Stanley Milgram’s study on obedience. Participants were asked to give electric shocks to a person every time they got a question wrong, increasing the voltage with each wrong answer. Most participants carried on past the point their victim begged them to stop with one of the researchers telling the participant they must continue. Importantly no one was actually harmed in the experiment but people thought they were harming people. The film is partially a study on obedience to authority; obeying the government, obeying your father, obeying those with power over you. Each character responds differently to these different authorities and this is one of the film’s most successful aspects.

As the film nears the end and the madness is ramped up even further the bizarreness of the ending does not feel justified. I can go along with all manner of oddness if I feel it has been earned or handled in an interesting way but it just felt silly – the worst thing that can happen to a horror film.

Overall Await Further Instructions is not a good film, despite a good beginning and an intriguing idea of bringing the division of the country into one home. I would say in its defence that I was never bored and did want to see where it was going and how it would all end, but I could already sense that the ending would not be able to tie up the loose ends sufficiently let alone deal with some of the bigger plotholes.

Verdict 2 out of 5 stars (2 / 5)

Reviews

Review: The Cured [Spoiler Free]

February 22, 2019

A zombie movie set in Ireland. Straight away, what’s not to like?

As a native of this green island, I was immediately intrigued when I noticed The Cured pop up on Netflix recently. I’m a fan of zombie movies (much to my wife’s displeasure) and took the first available opportunity to gobble this one up. Pun intended.

Why now?

The Cured was released on January 25 on Netflix in the UK.

In a nutshell

A virus has devastated most of Europe, turning the infected into psychotic, bloodthirsty monsters, and Ireland has suffered heavily. However, a cure has been found which has been successful on 75% of the infected population, with the remaining 25% still quarantined for study. One young man called Senan, one of the cured, is released back into the care of his sister-in-law. However, the cured can remember what they did in their infected state, and it isn’t long before Senan and his fellow cured come into conflict with a society unwilling to accept them back.

Who’s it for?

The Cured is rated 15 for strong violence, gore, threat and language. It’s not quite as violent as most other zombie movies I’ve seen and much of the horror is implied. Fans of the genre will find the bloodiness satisfactory while newcomers shouldn’t be put off by it.

Ellen Page in The Cured

Who’s in it?

Sam Keeley plays protagonist Senan, while Ellen page takes the role of his sister-in-law Abbie. Tom Vaughan-Lawlor (Ebony Maw in Avengers: Infinity War, which was news to me) plays Conor, a fellow member of the Cured with an agenda. It’s a small but capable cast.

The good stuff

This is a smarter zombie movie than many others in the genre. Granted, most contemporary films about the brain-munchers usually try to put a fresh spin on things (unless it’s The Walking Dead) and some succeed, but I liked the fact that this one focused on an entirely new aspect of it all – what happens to those who are cured of the infection. I thought the whole concept of them actually remembering what they did in their zombie state was particularly chilling, and it’s a premise that becomes increasingly significant as the film goes on. This is a well-written, well-acted movie with shades of 28 Days Later and The Last of Us in there at times. Some scenes are genuinely scary, too. And if the writers didn’t intend for it to be an allegory of historical Irish political unrest, they certainly stumbled into it anyway.

The not so good stuff

There isn’t much to say about this movie that’s overly negative. It was clearly made on a smaller budget than other zombie movies (like the big-money World War Z, for instance) and so it doesn’t have very many big action sequences or huge amounts of zombie screen time. Some of the plot is quite predictable and the ending’s a bit of a let-down, but if you take it at face value and are happy with a slower-burning zombie flick, I doubt you’ll mind.

The bottom line

I enjoyed The Cured – it’s a good casual watch and perfect for Netflix viewing. It won’t win too many new fans to the zombie genre, but it’s a fresh enough twist on the long-running horror premise to merit a watch. Catch it while you can.

Verdict: 4 out of 5 stars (4 / 5)

The Cured – Official Trailer (YouTube)
Editorials

Women In Horror: An Ode to Laurie Strode

February 20, 2019
Jamie Lee Curtis as Laurie Strode (etonline.com)

Horror is a strange genre of film. For all of its freedom to create a frightening piece of work, it also seems to be the most restricted, the threat of it being ‘too scary’ looming over its head. It’s a fine line to walk between ‘creepy’ and ‘cliché’ – with every one person that finds The Nun horrifying, there are nine more who find it laughable.

Yet, for all of its rules, the genre also seems to understand that it needs to evolve in order to stay relevant. No longer is it just the masked man wielding a chainsaw out to get you, it’s also the chavs you stumbled across on your romantic getaway. No longer is it just malevolent forces whose home you have just moved in to wanting to rip you apart, it’s also someone who just wanted to kill you for the sheer thrill of it. The characters themselves have evolved over time – men are no longer void of emotions aside from sexual desires; they’re remorseful, protective, impassioned.

Women have evolved too and are no longer the pure virgin, the damsel in distress waiting to be saved, lungs sore from screaming the whole film – they’re mothers protecting their children, they’re stronger, finding ways to defend themselves so the fight against evil isn’t so one-sided. Laurie Strode defines that evolution.

Happy Halloween

Halloween (1978) Opening Sequence

Halloween was released in 1978 and became an instant horror classic. From the opening shot of Michael’s first murder to the music that travels around Michael to that William Shatner mask, John Carpenter created (perhaps unwittingly) a horror legacy. The film follows Michael Myers, an escaped convict, as he returns home on Halloween night, fifteen years after killing his sister in order to kill again. His new obsession? Laurie Strode.

Laurie in the 1970s was a fair-haired, intelligent teenager. Naive but sweet. She had the aura of a girl who would roll her eyes if you asked her for the homework answers but would still hand you the completed worksheet. In fact, one of her friends asks her to look after the girl she’s babysitting in order to go and see her boyfriend – after much back and forth, eventually Laurie agrees to. A typical character of the time, a lovely girl who no one expects bad things to happen to.

From the moment Myers first stabs Laurie’s shoulder, there is a hint of what Laurie could be, the strength she has inside. She smashes a window open in order to escape, she makes sure the children are safe by keeping them upstairs away from the chaos and she stabs Myers in the neck with a knitting needle, with the aim of killing him. However, with knowing that Myers’ doctor, Dr Loomis, is out there looking for him there is a sense of waiting. Waiting for the heroine to be rescued from the big bad wolf.

After the infamous closet scene, where Laurie stabs Myers in the eye and then promptly stabs his chest with his own dropped knife, she begins to slip back into her exhaustion. Myers rises behind her and strangles her, taking advantage of her state of near unconsciousness. Though she puts up a good fight, it’s not until Loomis appears and shoots Myers that he stops. After falling from the balcony and after being shot and stabbed multiple times, Myers still finds the energy to get up and slip away. Laurie sobs, knowing the fight isn’t over, knowing that he’s still alive – and that is the final shot of Laurie Strode in 1978.

Though Myers kills others in this film, there’s a disturbed intent on killing Laurie. Even after she believes she’s killed him (twice), instead of disappearing as he does after he’s been shot, Myers immediately attempts to kill her again. It’s as if he can’t rest until he’s finally killed her, which he attempts to do again, forty years later.

Laurie’s Return

Halloween (Official Trailer) – (Universal Pictures)

Laurie Strode in 2018 is a stranger to Laurie Strode in 1978. Her hair is still wild, but white, her smile is gone and she is hardened by the events that have happened to her in the past. She has weapons in her house and she’s been training forty years for Myers’ reappearance. Gone is the naivety, her underlining strength becoming the forefront of her very self. Though she has mental health issues, having a panic attack at her daughter’s house, it doesn’t deter Laurie for she has more than just herself to fight for – she’s fighting for her estranged daughter Karen and for her granddaughter Allyson.

Though Laurie is hell bent on destroying Myers once and for all, she also understands the importance of keeping her family safe, just as she understood the importance of keeping those children safe all those years ago.

In the final scene of the more recent Halloween film, Laurie (with the help of her family) traps Myers in a safe room as it fills with gas. She lights a flare and tosses it into the room, setting it and the rest of the house aflame. It’s redemptive – she doesn’t sob with fear, nor is there a hint that Michael is still alive. She works together with her family, her courage coming from them as well as from herself. The three women embrace as they’re taken to safety, relieved that a forty-year nightmare is finally over – and that is the final shot of the film and of Laurie Strode.

Though the 2018 film may have had more of an impact on Halloween’s progression had there not been many more films in the franchise, it is hard to deny to the impact the films have had on horror lore as a whole. Laurie Strode defines those films just as much as Michael Myers. Her evolution from sweetheart to conqueror is just as vital and iconic as the William Shatner mask.

Reviews

Review: Escape Room

February 7, 2019
Rachael RNR - Escape Room Review

YouTuber & Presenter, Rachel RNR reviews the survival horror, Escape Room.

What’s the film about?

Six strangers are invited to participate in a mysterious escape room a game, where players solve a series of puzzles to win $10,000. But the game soon turns into a living nightmare, a matter of life or death.

Rachael RNR reviews “Escape Room” (YouTube)
Editorials

2019: The Year for Superhero Horror?

December 28, 2018
Blade Trinity

A great run of films

2018 has been a monster year for superhero films, largely due to Disney’s Marvel Cinematic Universe with Avengers: Infinity War & Black Panther being the two highest grossing films in the world this year. With the release of the trailer for Avengers 4: End Game, audience appetite for the Marvel’s franchise shows no signs of slowing down.

Similarly, if you’re a fan of horror films the last few years have been something of a golden age: Get Out, A Quiet Place, IT, Hereditary, Halloween & Mandy are all part of a new generation of horror films that have seen critical success and have spearheaded a revival in the genre. A testament to this is horror films increasing their take at the U.K Box Offices, going from £50.8 Million in 2016 to £66.2 Million in 2017

2017’s Logan has served as the precursor what we could potentially see from grittier-darker toned superhero films. As the appetite for both superhero and horror films show no immediate signs of slowing down, surely it’s only a matter of time until we see these worlds merge, right?

New Mutants Delay

The New Mutants was one of our own selected Must See films of 2018. The X-Men spin-off sees five mutants escaping from a secret facility where they are being held captive. The release of the film was delayed by a year, as a result of reshoots and the Delay of X-Men: Dark Phoenix. The reshoots have reportedly allowed director, Josh Boone, to make the film “scarier”, with him even calling the film “a full-fledged horror film“. We’re keeping our fingers crossed that the film can reach it’s potential.

The New Mutants (Trailer)

Enter BrightBurn

“What if a child from another world crash-landed on Earth, but instead of becoming a hero to mankind, he proved to be something far more sinister?” – the synopsis of Brightburn reads like an “evil” Superman and certainly, that’s the direction the first trailer appears to be heading in. The film is directed by David Yarovesky (Guardians of the Galaxy) who has coined the phrase “Superhero Horror”, to describe the merging of the two. Brightburn will be released in May 2019.

Brightburn (Trailer)

History repeats

The idea of a popular superhero-horror franchise on the big screen isn’t exactly new. Marvel first saw success 20 years ago with the release of Blade in 1998, the film followed Blade (played by Wesley Snipes) who stars in the lead role as a vampire killer. Amassing an impressive $130 Million worldwide, a cult following and spawning two more successful sequels, the Blade trilogy has the honour of being Marvel’s first trilogy franchise and first live-action superhero film led by a black actor. Wesley Snipes has spoken openly about bringing Blade to the Marvel Cinematic Universe, so perhaps a reboot isn’t too far-fetched.

Blade (1998)

Keeping on the theme of vampires, following the commercial success of the Spider-Man spin-off Venom, Sony has had its eye on the continued expansion of its own Spider-Man Universe (not part of Disney’s MCU) with Morbius, the Living Vampire. The lead antihero, Biochemist, Dr Michael Morbius, will be played by Jared Leto. In the comics, Morbius has pseudo-vampiric superhuman abilities and physical traits stemming from a failed biochemical experiment which was intended to cure his rare blood disorder. Although exact plot details of the feature film aren’t known at this stage, expect to hear more news soon. The film is currently at the pre-production stage, so will likely be released in 2020 at the earliest, however, with the release of edgier comic-book based films beforehand Sony will be keen to build off the momentum of other films.

One reboot which is definitely happening is Hellboy. However, based on the trailer it might not be as dark in tone as the original 2004 feature film starring Ron Perlman. Should the reboot prove successful it should film studios further incentive to work on developing more superhero – horror films.

Who wins?

Ultimately this could be a win-win situation for fans and the film studios. In order to maintain interest in comic book film adaptations in a post-Avengers; End Game world, it makes sense for the major studios to branch out and experiment with the genre to keep fans engaged. Increased attention in comic-book films also allows studios to take more risks in producing more niche titles, which may already have their own cult following among comic-book readers.

Possum – Halloween special in association with Big Picture Film Club

November 1, 2018
Possum Banner

Big Picture Film Club have teamed up with Bulldog Film Distribution to bring you a special screening of Possum, our pick for best British horror film this year.

POSSUM is the debut feature film from writer/director Matthew Holness, co-creator and writer/star of the cult TV series Garth Marenghi’s Darkplace.

Starring Sean Harris (Mission: Impossible, Southcliffe) and Alun Armstrong (Frontier, Get Carter), POSSUM is a distinctive psychological thriller which pays homage to the British horror films of the 70s. The film’s abstract exploration of a man’s isolation and abandonment is accompanied by a compelling soundtrack from the legendary electronic BBC music studio The Radiophonic Workshop.

The story follows disgraced children’s puppeteer PHILIP (Sean Harris), returning to his childhood home of Fallmarsh, Norfolk, intent on destroying Possum, a hideous puppet he keeps hidden inside a brown leather bag. When his attempts fail, Philip is forced to confront his sinister stepfather MAURICE (Alun Armstrong) in an effort to escape the dark horrors of his past.

Get your tickets today.

Possum (Official Trailer)

Watch the official trailer for Possum. We are partnering with Bulldog Film Distribution to bring you a special screening of Possum, our pick for the best British horror film this year, on Thursday 1st November at Genesis Cinema. Info: Possum – Halloween Special

Gepostet von Big Picture Film Club am Sonntag, 14. Oktober 2018

 

News

Short Film | Salt

October 30, 2018
Salt - Short Film

With a running time of only two minutes, Rob Savage has managed to capture the imagination and a real sense of fear that a lot of horror films have failed to do in 90 minutes. Will we see a feature-length film in the works?

Credits:

Directed by Rob Savage
Written by Jed Shepherd & Rob Savage
Produced by Douglas Cox

Starring Alice Lowe
Beau Gadson
James Swanton

Editorials

A Screaming Good Time at Celluloid Screams

October 26, 2018

The Celluloid Screams horror festival has just wrapped for another year and it was a privilege to be at this year’s show. Ever since I first became aware of the festival back in 2014 I have wanted to go. Unfortunately, due to prior commitments, I have always been unable to attend. But this year I finally got to see what Sheffield’s answer to FrightFest had to offer.

Whilst there I was enthralled by the friendly atmosphere and pervasive sense of fun. Horror fans are always a delight to be around. Every screening was packed, almost every audience member was well behaved and the ability of horror audiences to jump, laugh and squirm at the right time makes experiencing each film a true communal bonding experience. Supported by friendly organizers who were always happy to engage with the audience and a myriad of extras. Including a DVD, Blu-ray, book and merchandise stalls, Q&A’s with film directors and stars, novelty drinks and karaoke at the bar. With the heart-warming cherry on the cake being how everyone came together and donated money to help the wife of a friend of the festival after her tragic loss. It was a remarkable display of solidarity. And everyone should be proud.

But the atmosphere of a film festival is only half the experience. Films are of course also needed. So here are my thoughts on all the feature films I managed to see. All kept at 50 words or less and ranked from worst to best. This is by no means a comprehensive overview of the festival as I was unable to see everything. But I hope this gives you an idea of some films to check out in the run-up to Halloween.

You Might Be The Killer premieres at Celluloid Screams

You might be the killer– A cinematic eye-roll, that thinks it’s too cool for its genre. Content to point out slasher clichés and nothing more. It’s nice seeing Alyson Hannigan again and Scream fans may enjoy it. But this makes me miss the days when slashers were fun and funny without being glib and self-effacing. Verdict: 1.5 out of 5 stars (1.5 / 5)

What Keeps You Alive– A movie that substitutes unrelenting building tension for lesbian exploitation and torture yarn, because it does not know the power of subtlety. The first half is a tense build but once the twist happens it swiftly falls as a steady pace gives way to cartoonish over the top villainy. Verdict: 2 out of 5 stars (2 / 5)

Seven Stages to Achieve Eternal Bliss By Passing Through the Gateway Chosen By the Holy Storsh– Making shouting funny, is hard. The thick of it can do it. It’s always sunny in Philadelphia can do it. This movie cannot do it. Despite Taika Waititi’s presence and the cult plot providing great opportunities for dark comedy, the film is too light and undisciplined to fulfil its potential. Verdict: 2.5 out of 5 stars (2.5 / 5)

Nightmare Cinema– Subpar slasher satire, plastic surgery horror and catholic demon slaying, a terrifyingly surreal odyssey through depression and a survivor’s guilt ghost story make up this uneven anthology film. The final two films, however, elevate it into the realms of watchable. Verdict: 2.5 out of 5 stars (2.5 / 5)

Puppet Master: The Littlest Reich directors Q&A

Puppet Master: The littlest Reich– Welcome to your new guilty pleasure. The Puppet Master reboot features a silly plot, subpar CGI and very politically incorrect jokes. But has charming lead characters, impressive practical effects and if like me, you have a twisted sense of humour, Puppet Master will have you laughing till the end. Verdict: 2.5 out of 5 stars (2.5 / 5)

Assassination Nation– A gonzo, violent and righteously angry middle finger to Trumps America, that at times is very annoying and is nowhere near as clever as it thinks it is. But never the less it is worth the price of admission for sheer entertainment value. Verdict: 3 out of 5 stars (3 / 5)

Mandy– The artiest excuse to make a Nicolas Cage movie ever. The first half is a visually beautiful but narratively boring excuse for when Cage goes full blood-drenched psycho. If you want Nic Cage insanity this delivers. And the visual inventiveness may make up for the lack of dramatic engagement. Verdict: 3 out of 5 stars (3 / 5)

Introducing Halloween (2018)

Halloween (2018)– Everything a Halloween sequel should and shouldn’t be. The Laurie Strode/Michael Myers story gives you everything you’ve wanted since the original. But the time in between that is padded with high school dope comedy that becomes obnoxiously overbearing. Tension and character work make it a must-see despite its flaws. Verdict: 3 out of 5 stars (3 / 5)

Summer of ’84– A great example of a fantastic ending saving an otherwise by the numbers nostalgia trip. This fun mixture of Stranger Things and The ‘Burbs starts as a fun distraction but at the end reveals itself to be a lot more thought-provoking and unnerving than expected. Verdict: 3.5 out of 5 stars (3.5 / 5)

Cam– This film began by giving me unfortunate flashbacks to Unfriended, but soon turned into an intriguing look into the world of online cam girls that deals with themes of identity, female empowerment and sexuality in the digital age in a mature, non-judgemental, and intensely gripping way. A welcome surprise. Verdict: 3.5 out of 5 stars (3.5 / 5)

A friendly Q&A with the producer and director of Wolfman’s Got Nards

Wolfman’s got nards– This documentary about the sub-cultural impact of The Monster Squad is an affectionate analysis of fans, cult movies and their effect on the creative forces behind them. Although occasionally self-aggrandizing and waffly, its subjects’ humanity always shines through and will even have Monster Squad newcomers and haters shedding tears. Verdict: 4 out of 5 stars (4 / 5)

Knife + Heart– A psycho-sexual, magical realist, giallo seed-fest, with no shame and the power to enrage “moral” and storytelling puritanical’s but to those who can get past that, they will find a beautiful, frightening and often darkly hilarious mood piece which although it explains a bit too much, feels like pure cinema. Verdict: 4 out of 5 stars (4 / 5)

Tigers are not afraid– An unrelentingly grim coming of age story that pulls no punches regarding the impact of the Mexican drug war on children. A magical realist edge, reminiscent of Devil’s Backbone helps to underline the tragedy of a tale that was undoubtedly the best film of the festival. Verdict: 4.5 out of 5 stars (4.5 / 5)

So ends my personal retrospective of Celluloid Screams 2018. It was truly wonderful to share a cinema screen with so many likeminded people for four days. Even when the films let me down, a smile was never far from my face. I definitely hope to return next year. Until then I hope I have given you guys an idea about some upcoming releases that you can check out and hope you enjoy them as much as I did. Happy viewing.