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July 6, 2024
From the Creators of Rottentail! The Abnormal Entertainment Collection Blu-Ray!
July 1, 2024
A Binge too Far #42: 9th Horrorant International Film Festival – ‘Fright Nights’ report
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| 9th Horrorant International Film Festival - Fright Nights |
The 9th Horrorant International Film Festival – ‘Fright Nights’ that primarily took place at the prestigious Elize theater of Athens, but also and as per usual traveled to other cities in Greece as well, was a great success on all fronts, including the quality of the program and the record ticket sales. The fact that we also had legendary filmmaker Mario Bava as a guest of honor was a pleasure, and the fans showed their appreciation and love.
As usual the
festival opened with last year’s best picture award winner, namely Hongsun Kim’s
Project Wolf Hunting (2022). The
opening ceremony was accompanied by the screening of Carlota Pereda’s The Chapel (2023). The closing ceremony
was followed by the screening of Park Dong-hee’s Drive (2023).
The Chapel (2023)
A young girl
(Maia Zaitegi) tries to communicate with a spirit named Uxoa that is bounded
for centuries in a hermitage, and in order to achieve her strange deed, she
asks for help from a medium (Belen Rueda). Directed by acclaimed filmmaker
Carlota Pereda, this lavish Spanish horror production was the best possible way
to kick-start this year’s terrifying festival proceedings. Atmospheric and
eerie, without resorting too much on jump scare, but rather to its
uncomfortable tone, this was screened out of competition, and rightfully so as
otherwise it would win way too many awards.
Competition
Horror
Here’s my commentary
of Horrorant’s main block.
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The Cursed Island (2023)
The Cursed Island (2023)
A group of
vacationing influencers and other such annoying characters have the brilliant
idea of spending a night at a deserted and forbidden island. Once they get
there they find an abandoned village and break a local spell, unleashing a
spirit that will doom them. Directed by Eu Ho and hailing from Malaysia, this
is formulaic and it features heavily stereotypical characters, but it is done
well and won’t hurt fans of the genre that would like to experience just a
little more ghost action.
Body Parts (2023)
A young woman
joins a cult and is soon doomed by the sacrifices that some of its members must
do. Hailing from South Korea, this award-winning paranormal horror may be
lacking in the story department (it is a bit formulaic), but is extremely
stunning when it comes to visuals, offering creepy and disgusting imagery that
will haunt you. An exceptional and refreshing addition to this year’s program,
this is strong Asian horror and it comes highly recommended.
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ClearMind (2024)
ClearMind (2024)
Directed by
Rebecca Eskreis, this U.S. independent feature is sold with a poster and a
tagline (‘Revenge is not a multiplayer game’) that is targeting the horror
crowd, yet in its heart it is a room comedy about people talking a number of
topics while mainly projecting their frustration as middle-aged professionals.
It aims at making some sort of commentary on artificial intelligence gone
wrong, but it doesn’t have the legs or the depth to elevate into something
outstanding. Yet, at its mere 85 minutes of running time, it never outstays its
welcome and it was a decent addition to this year’s festival program.
The Syndrome (2021)
Yegor (Ilya
Korobko) and Karina (Darya Melnikova) find themselves in peculiar situation as
they try to find a solution to a terrible epidemic in St. Petersburg which has
its residents committing suicide one after the other, after seeing a mysterious
figure of a man in white. Written and directed by Vyacheslav Rudenko, this is
extremely eerie and unsettling. It was shot in Russian, but the English dub was
screened at the festival.
My Mother’s Eyes (2023)
Hitomi and her
daughter Eri are both classical musicians (they play the cello, in particular),
and one day they get involved in a traffic accident leaving Hitomi blind and
Eri paralyzed. With the aid of cutting-edge technology (VR goggles and the
like) the two of them share one strange vision. Written and directed by
award-winning filmmaker Takeshi Kushida (who also produced, with Shin Nishimura
and Yosuke Sato), this is your typical slow-burn Japanese horror film which
takes its time to unfold, before the wild and gory finale that leaves everyone
in the audience speechless. Visceral, bloody, and challenging, this is
poetically macabre cinema at its best.
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Pandemonium (2023)
Pandemonium (2023)
Following a
freak car accident, Nathan (Hugo Dillon) realized he is dead and is now
wandering the depths of hell, getting to meet and know other tortured souls
with horrible pasts. Written and directed by Quarxx (who was in attendance
during the screening and the awards ceremony) and boasting breath-taking Lucio
Fulci-like visual sensibilities of netherworld nightmares, this is
breath-taking atmospheric material and easily the best film we’ve seen this
year.
You Shall Not Sleep Tonight (2024)
A young boy is
suffering from some very realistic and eerie nightmares of a monster that lives
in his closet. His parents try to calm his down and explain that it’s all his
head, but maybe there’s more to it and the fear is connected to demons from the
past. Hailing from Argentina but shot in English (with some awkward accents to
boot), this keeps a perfect balance between paying homage to classic horror
tropes and resorting to modern-day ‘jump scares’ tactics, and is one of the
most well-crafted films we’ve seen at this year’s program.
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Motel Melati (2023)
Motel Melati (2023)
Hailing from the
unlikely Indonesia (a country that had strong genre output in the 1970s, but
not too much in recent times) Losmen
Melati (the film’s original title), directed by Mike Wiluan (who also
penned the screenplay, with Freya Bennett) and Billy Christian, is about a
group of travelers that find shelter in a secluded motel, which turns out to be
haunted and brings them face to face with their inner fears and secret past.
Creepy and full of jump scares, this production has nothing to be jealous of
from Hollywood big budget horrors by Blumhouse and the like.
Breathing In (2023)
Set in 1901 and
amidst the sociopolitical turmoil of South Africa (this film is a local product
and was made in that country), the screenplay by Jaco Bouwer (who also
directed) and Reza de Wet is centering on a wounded general who seems to find a
place for rest in the form of a small house run by a strange woman and her
daughter. He will soon find out not only why he was invited in, but also the
reason the – seemingly – two innocent women have survived for so long amidst
the dystopian chaos. Scoring distribution by XYZ Films (a major player these
days, especially when it comes to offbeat releases), this is the most lavish
production presented at this year’s festival, but it is also the most
atmospheric, gaining most of its effective points due to its dark bleakness.
Monster on a Plane (2024) crew awarded!
Monster on a Plane (2024)
Shot in English,
this German production written and directed Ezra Tsegaye benefits from its
great and simple premise of having a (Critters-like)
monster set loose on an airplane, wrecking havoc and causing gory deaths. It
keeps a perfect balance between practical effects and cheap CGI, resulting in a
very entertaining blend that at times resembles recent Troma output and at
others the usual SyFy creature-fests. Concepts in the vein of Snakes on a Plane and the like never get
old, and since I spoke with some of the cast and crew that visited the
festival, I can assure you that their hearts are in the right place in regards
to making this. We need more stuff like this, and we need more Killer Condoms as well.
Note: Simon
Sandquist’s Carousel (2023), Oskar
Mellander’s Cancelled (2023), and
Victor Ginzburg’s Empire V (2023) were
also screened as part of this block, but I didn’t manage to review it in time
for this article.
Panorama
Competition
The ‘Panorama Competition’
was another excellent block made available in this year’s festival that
showcased great films from a variety of horror-related genres and subgenres,
and here’s my thoughts on them.
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Black Bits (2023)
Black Bits (2023)
After meeting at
a bar, Dora (Jordan Alexandra) and Beth (Yvonne Mai) become a couple, and
decide to combine their skills in crime. Once they tackle a perfect heist, they
seek ‘a safe place’ (an obvious double meaning to that) in the form of a
secluded house in the woods, but it turns out to be a trap set up by men and
artificial intelligence. This co-production between Poland and Italy (as it is
awkwardly claimed in the credits) was shot in English and directed by Alessio
Liguori. It has a Most Dangerous Game
setting, but it is modernized with the dark web involved and all that. It is
also feminist in its approach, and the most serious thriller Minerva Pictures
has released in recent years.
Nina of the Wolves (2023)
A mysterious
solar storm – in the vein of The Day of
the Triffids (1963) – is disabling all electricity, causing societies to
fall and life as we know it to take u-turn. The focus here is on the titular
young girl (Sara Ciocca), who is born on a mountain and is, in Raised by Wolves (2020 – 2022) manner,
is raised by wolves! This Italian production was released by Minerva Pictures
and it is one of the most serious films in their recent catalogue, in terms of
tone and quality. Directed by Antonio Pisu and featuring stunning production
values and cinematography, as well as Hollywood-styled storytelling, this is a
very enjoyable film within the spectrum of the fantasy genre.
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Skinford 2: The Curse (2024)
Skinford 2: The Curse (2024)
Written and
directed by Nick Kacevski, this sequel to a film that resonated very well with
the festival’s audience last year, takes us on another journey through
underground clubs of dubious morals and people that can’t die. It’s another
welcome action/horror showdown from Australia, full of well-staged shootouts
and generally good CGI. It is sexy and entertaining, and once it’s over it’ll
have you asking for more.
Unspoken (2024)
A Chinese old
man (Hanyu Zhang) is traveling to rural United States to grief for his
recently-murdered daughter and catches the killer. This lavish co-production
between Canada, China, and the United States is perfectly plotted by Daming
Chen (who also directed) and Peter Walters owes a lot to Fargo (1996) and maintains a perfect balance between the true crime
and thriller genres. Deep, thoughtful, and with plenty of things to day about
family and loss, this is a masterpiece of genre cinema. The stunning cinematography
alone makes it one of the greatest visual experiences we had at this year’s
festival.
Note: Kike Narcea’s I’ll Crush You All (2023) was also
screened as part of this block, but I didn’t manage to review it in time for
this article.
First Look
Making films is
always hard, but making your first film is even harder, and since our festivals
has its eyes always open to new talents, we managed to tackle via this block
several pictures from debuting directors; the results are good and the future
looks promising.
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Tenement (2024)
Tenement (2024)
Manga artist
Sorya (Thanet Thorn) goes back to her native Cambodia to properly mourn the
recent death of her mother, but what she discovers aside of grief is terrible
secrets from the past that will haunt her beyond belief. Written and directed
by the team of Sokyou Chea and Inrasothythep Neth, this semi-folk horror is
strong on atmosphere and benefits from the excellent use of decadent rural
locations (Cambodia is not known for its horror cinema output and the results
here look refreshing), adding extra eeriness to the proceedings. Some of the
visuals echo the works of Dario Argento, and overall what we have here is a
very well-crafted macabre film.
Deus Irae (2023)
Claiming the
possession and exorcism horror subgenres with a storm, writer/director Pedro
Cristiani’s debut feature from Argentina is expectedly focusing on a trouble
priest that doubts his own faith, but the film goes much deeper and becomes a
visceral extravaganza that echoes the body horrors of the 1980s. It is a strong
and challenging journey that descents the viewer into a decadent version of a
visual hell, and as such it is an outstanding work of cinema.
Hangar (2023)
Three young and
attractive women visit a remote Italian country side when upon looking for weed
they find company in the form of two local Italian men, who propose hard
partying. One party leads to the next, which is set in a secluded and secret
military base, but the drugs take their toll and dreams turn into nightmares.
Directed by Luca Tartaglia (who also produced, with Umberto Massa) this Italian
film was shot (mainly) in English (presumably to appeal to the international
market) and is raw, sexy, fun, and above all very entertaining. If you ever
wondered what a Gaspar Noe film would look like with a lower budget and more
generous violence and gore, this horror goodie will give you a good idea.
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The Redeemers (2022)
The Redeemers (2022)
Two religion
cult door salesmen end up accidentally killing one of their potential
followers, and in order to dispose the body they have to masquerade as
role-playing gamers with a group of weirdos, resulting in a torturous
experience. Written and directed by Miro Laiho (who also produced, with Pekka
Ollula) and Niko Kelkka, Lunastajat
(the film’s original Finnish title) is a hilarious horror/comedy that works
mainly because the subject matter is funny, but also because the violence is
quirky.
Clawfoot (2023)
Janet (Francesca
Eastwood) is a stunning and rich housewife who receives an unexpected visit
from an unknown contractor (Milo Gibson) claiming that her husband sent him for
some maintenance work. Upon accepting the stranger in their posh villa, he starts
manipulating her step by step. However, once Janet is joined by her equally
stunning best friend Tasha (Olivia Culpo) his plan will prove difficult to
materialize, and the situation may turn deadly. Directed by Michael Day, this
dark comedy/horror hybrid is fun, sexy, entertaining, and one of the best films
we’ve seen this year!
Note: Anglee’s Couples to Hell (2024) was also
screened as part of this block, but I didn’t manage to review it in time for
this article.
2nd Exploitation
Tribute
I was the
curator of this block, in which I had the pleasure of working for a second year
with Vinegar Syndrome, in order to bring three exploitation film classics on a
big screen in Athens. We had the pleasure of screening Massage Parlor Murders! (1973), Angel
(1984), to appreciative audiences who asked for more and we could do no less
than promising exactly this, for next year.
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Massage Parlor Murders! (1973)
Massage Parlor Murders! (1973)
Set in the
titular institutions located at New York’s 42nd Street and during
its most fascinating decade, this is about two detectives (George Spencer and
John Moser) who follow the trail of a serial killer that is slaughtering young
female masseurs. Failing at resembling a mystery thriller at all fronts (even though
the audience doesn’t know the killer’s identity, there’s not much tension in
the proceedings) but succeeding at being a perfect time capsule of an era long
gone (full of marquees for films the likes of which we’ll never get to see
again and seedy establishments you can no longer find in any civilized city),
this is featuring charming gore effects and murder set-pieces (Herschell Gordon
Lewis would be proud) as well as surprisingly attractive starlets. Directed by
Chester Fox and Alex Stevens this was a personal pick and seeing it on a big
screen was a dream come true.
The Boogeyman (1980)
A young boy is
stabbing his mother’s abusive boyfriend, and twenty years later – now mute – is
still haunted by the terrible event that also involved a mirror causing him and
his sister nightmares. Motivated financially and inspired aesthetically from the
success of John Carpenter’s seminal Halloween
(1978), but with an extra supernatural touch, Uli Lommel’s cult opus is now
considered a classic. Featuring a quick appearance by the legendary John
Carradine, as well as some of the most bizarre murders, this is 1980s
horror/exploitation entertainment at its best. It was a hit at the box-office,
resulting in two mediocre sequels.
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Angel (1984)
Angel (1984)
15-year old
Molly Stewart (Donna Wilkes) is an excellent student by day and a Hollywood
Boulevard hooker by night, under the code name Angel. When a serial killer
(John Diehl) is murdering two of her colleagues, she joins forces with the
detectives assigned to the case, in order to catch him. Directed by Robert
Vincent O’Neil (who also wrote the screenplay, with Joseph Michael Cala) and
distributed by the legendary New World Pictures this horror/exploitation hybrid
is rated R, but remains quite ‘clean’ other than a few murder set-pieces and
some brief nudity (it feels like a ‘safe’ movie throughout). It was an
outstanding success at the box-office and expectedly spawned two sequels. It
wouldn’t fly in the current ‘politically correct’ climate (drag queens,
underage prostitutes, and many more are on display here), so the absence of any
remake action is safely guaranteed.
Lamberto Bava
Tribute
The Horrorant
International Film Festival is proud to have brought legendary Italian
filmmaker Lamberto Bava for the first time in Athens, Greece as our guest of
honor. Mr. Bava was a pleasure to have at the festival and he was very kind
with his many fans who wanted a photo taken with him or their Blu-ray discs
signed. He was also very generous with providing lengthy introductions and
Q&A sessions before and after the screenings of his classic films, much to
the awe of his excited fans. Lamberto Bava is a living legend, and we now know
that he is also a good friend of Horrorant. We were honored to present him with
Horrorant’s Lifetime Achievement Award.
L to R: Christos Mouroukis, Lamberto Bava
Macabre (1980)
Set in New
Orleans, this is about a blind landlord (Stanko Molnar) who suspects that the
attractive woman (Bernice Stegers) that recently rented a room in his house may
be having a love affair with the corpse of her recently-deceased husband.
Approached by the already-established filmmakers Pupi and Antonio Avati, with a
screenplay they based on a then-recent news story, newcomer Lamberto Bava (who
had so far only worked as an assistant director for other renowned filmmakers,
such as Ruggero Deodato, and his own father Mario Bava) made his directorial
debut with this peculiar thriller, that is exactly what the title describes,
absolutely macabre. Subtle, quite, and slow at times, this is a great work and
is tonally approached perfectly by Bava.
Italian horror cinema legend Lamberto Bava
A Blade in the Dark (1983)
Horror film
composer Bruno (Andrea Occhipinti) resides in a posh Tuscany villa in order to
get inspiration for his next work, but the wider area is haunted by a serial
killer, whose identity may be hidden in Bruno’s latest movie. Originally conceived
and shot as a television series, this ultra-gruesome giallo was deemed too
violent and gory for broadcasting, and was re-cut as a feature film and it met
with enormous adoration by horror fans (who appreciated it particularly on home
video). Produced by Mino Loy, Lamberto Bava, and Luciano Martino, and written
by Dardano Sacchetti and Elisa Briganti, this may have come a bit late into the
game (gialli were pretty much old news by 1983), but the stylized murders shot
on 16mm do the trick and deliver a very satisfactory thriller. A young Michele
Soavi makes his debut in front of the camera, as well.
L to R: K. Chatzipapas, L. Bava, C. Mouroukis
Demons (1985)
Set in a movie
theater in Berlin, in which the patrons get attacked by zombie-like demons,
this is heralded as the last true masterpiece of the golden age of Italian
horror. Written by Dario Argento (who also produced), Lamberto Bava (who also
directed), Dardano Sacchetti, Franco Ferrini, Demons benefits from excellent pace and eerie atmosphere. The
practical gore special make-up effects by Sergio Stivaletti are absolutely
fascinating, while Claudio Simonetti provides one of his most memorable scores
(the soundtrack is enhanced further with the addition of several rock tracks by
acts such as Motley Crue and Accept). The scenes featuring the motorcycle and
the helicopter are worthy of the admission price alone.
Greek Shorts
Unfortunately I
did not manage to see this year’s Greek short films in time for this article,
but these were Blue Whale (2023), A Girl Plays with Knives (2023), Comet 2060 Chiron (2023), and I Karekla (2024).
International
Shorts
Unfortunately I
did not manage to see this year’s International short films in time for this
article, but these were La Noche Dentro
(2023), Humormatic (2024), Turno de Noche (El Lugar Equivocado)
(2023), Raton de Biblioteca (2023), Co-Haunting (2023), For Pete’s Shake (2023), La
Compania (2024), Lo Que Sangra
(2024), Metobo Zombie (2023), Sincopat (2023), Selfie (2023), Los Complices
(2023), La Croix (2023), Ponle Fecha (2023), Hado (2023), La Companera
(2023), Tenebres (2023), Cultes (2023), Bebes (2023), Mi Zona
(2023).
The Awards
Best International Short: Sincopat and Selfie
Best Greek Short: Comet
2060 Cheron
First Look Award: Tenement
Panorama Award: Unspoken
Best Special Effects Award: Monster on a Plane
Best Cinematography Award: My Mother’s Eyes
Best Screenplay Award: Motel Melati
Best Female Lead: Aleaxandra Gottardo (Motel Melati)
Best Male Lead: Sven Ruygrok (Breathing In)
Best Director Award: Quarxx (Pandemonium)
Best Feature Award: Pandemonium
Lifetime Achievement Award: Lamberto Bava
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June 7, 2024
Bathtub Shark Attack (2023) Movie Review
If anyone remembers, about a year ago I reviewed an indie
horror movie called Spirit Animal. Brought to us by Nekroshark Films,
writer/director Madeline Deering has done it again with today’s review
offering, Bathtub Shark Attack.
Yes, you read that correctly.
By the time I get to the end of the review, I’m sure I’ll have figured out exactly how I feel about this flick. But for now, let’s get into some details.
The basic premise of this one is about a down-on-their-luck couple who moves into a really cheap apartment, something that seems to good to be true. And you’d be right. Because the caveat here is a creature lurking in the pipes that demands flesh and blood!
Pretty straight forward, right? I don’t want to spoil too
much of the plot since it just came out last year. And since it’s an indie
film, it might take a little longer to get distributed beyond its native
Pennsylvania and Ohio where I was able to get a copy (thanks for grabbing one,
Jeff, while I worked the table with David at Cinema Wasteland.)
If I remember correctly, Spirit Animal opened with the rando bartender breaking the fourth wall to tell us about the movie. Guess what? If it ain’t broke, don’t fix it because he’s back. He explains the tape; he explains the premise; and, again, he tells us about the game you have to play when watching with friends. Since the movie was shot in “Splash-o-Vision” every time a shark picture pops up on screen, shoot your fellow movie watchers with the squirt gun you got with the movie.
I watched a bit of the Indie-Go-Go promo in the Special Features section of the DVD and Madeline explains that they wanted to make the GORIEST shark film ever. I wasn’t so sure about that until we get to the final scene. But I’m not about to relive that moment so you’ll have to get the DVD and witness it yourself.
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| Lush just released their new Halloween bath bomb! |
And Madeline certainly delivered! The blood, not the shit CGI.
The story itself is pretty standard as far as horror tropes go. Evil cult, immortal monster, virgin sacrifice, etc. And I appreciate that Madeline knows how to build a story, piece by piece, so we’re guessing what’s going to happen next (or trying to puzzle it out along the way). I’m not saying there weren’t parts I’d figured out right off the bat, but despite some general lagging in the middle, I liked the set-up, development, and climax of the story.
The one problem I had was trying to figure out when this movie is supposed to be taking place. There were a lot of nineties references (Melrose Place, the Nintendo gaming system the stoners used) but Chad references his record store job and how everyone wants cassettes now, not vinyl. Which would be the eighties. Also the woman in the beginning had a rotary phone which basically went out of fashion in the seventies and eighties…
SEE, THESE KIND OF INCONSISTENCIES DERAIL MY ENJOYMENT!
Anyway…
The character development felt a little lax but if they wanted to make this the goriest shark film ever, you’re gonna need a lot of cannon fodder and the audience can’t care about cannon fodder, amirite? While the acting was not good, I did find myself rooting for Chad and Bill the Plumber. In fact, there’s a scene between them where, after the power goes out in the building, Bill is dumbfounded by the fuse box and when Chad unintentionally sneaks up on him, they both do this pretend kung-fu dance that actually made me pause the DVD because I was laughing pretty hard.
 |
| How many times do I have to tell you NO GARLIC before lovey dovey time? |
I do have to mention, though, for an indie horror, there was a particular LACK of titty shots. And I’m not complaining! It’s a rather tired trope so to only have a couple was rather refreshing. Hey, I get why they’re popular and why people demand them. But it was nice to see a writer/director do things a little differently for a change.
But if you want gratuitous nudity, there is an extreme close up of some lady bits at the end (again, I’m not going to describe it any more than that for reasons that will become clear if you watch the movie) and some shark dick. So…
I will spoil one thing for you. The number of times you’re supposed to squirt your friends with a water pistol (that I caught anyway): seventeen. I say turn that into a different party game and make it like going to a Japanese hibachi grill. Fill those guns with sake and the person you aim at has to drink!
So while this is not one of the better indie films I’ve seen, I have to say Madeline stepped up her game and delivered a solid horror comedy. Maybe not worth multiple watches but I’m not mad at the time I spent watching it.
3 hatchets (out of 5)
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June 1, 2024
Static Age #27: The Changes (1975)
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| Victoria Williams in The Changes (1975) |
This Static Age’s spotlight goes to the influential British fantasy TV series The Changes (1975), originally broadcasted by BBC. Based on Peter Dickinson’s sci-fi trilogy and directed by John Prowse, the ten-episode children show is told from the point of view of a young girl (Victoria Williams) and is about a strange occurrence that involves an unworldly noise that causes the collapse of society via its members newfound revolt against technology and machinery.
And now, let’s
switch our focus towards some recent series…
The Haunting of Bly Manor - Season 1
The sole season
of Netflix’s mini-series The Haunting of
Bly Manor (2020), is about two orphan kids that live in the titular
secluded mansion and are soon about to be introduced to their new nanny
(Victoria Perdetti), who in turn will face a variety of horrors that lurk in
the mirrors. Created by Mike Flanagan, this is a masterful and important event
for the small screen format, and horror entertainment at its best. Atmospheric
and eerie, it comes highly recommended.
The 2nd
season of Marvel Studios’ Loki (2021
– 2023) finds the titular superhero (a gorgeous Tom Hiddleston) lost in time
and space as is so common these days with similar output, but here the whole
prospect is presented charmingly with the precise amount of humor needed,
therefore resulting in an enjoyable 6 episodes.
Yellowjackets - Season 1
The 1st
season of Yellowjackets (2021 –
present) is about the titular 1990s high school team of female soccer players,
whose plane crushes, leaving many dead but also several survivors. The lengths
the survivors went in order to stay alive and the things they did are a mystery
to the rest of the world, but this past may haunt them now, several decades
later, as the now middle-aged protagonists lead troubled lives separately from
each other and far away from their former friendships as students. Featuring
breathtaking performances by all involved, and especially Juliette Lewis and
Christina Ricci, this is a surprise horror hit that combines the survival genre
with that of gruesome terror which goes as far as depicting cannibalism and
outright slaughter. It is also one of the very few series to have managed to
intelligibly employ flashbacks and ‘back and forth’ editing.
The 3rd
season of The Mandalorian (2019 –
present) has the titular warrior (Pedro Pascal, playing mostly with his voice
and under a helmet) on a new journey with his cute companion baby yoda, in what
has to be the best thing that happened in the Star Wars franchise in ages, let
alone Disney.
The Punisher - Season 1
The 1st
season of Netflix’s The Punisher
(2017 – 2019) is about the titular vigilante anti-hero (a perfectly cast Jon
Bernthal) who after avenging the murder of his family (with army-like force, as
he is a veteran), now lives in the fringes of society. Bleak, violent, and
dark, this is the most mature material to ever see the light of the day under
the Marvel Television banner, and as such it should be cherished.
The 3rd
season of American Gods (2017 – 2021)
ends the series based on Neil Gaiman’s same-titled lengthy novel with an
all-out war between gods. Boasting a rocking soundtrack (that includes The
Rolling Stones and Marilyn Manson) as well as a phantasmagoric depiction of
rural America, this is a very welcome addition to strange television.
And now, please
allow me a word on some recent mainstream film releases…
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King on Screen (2022)
There is
literally nothing left to say about Stephen King’s beloved novels, nor about
their several film and book adaptations (there are even a couple of studies on
that subject available), so director Daphne Baiwir’s King on Screen (2022) documentary expectedly adds nothing to expand
our knowledge, but its bigger sin is how formulaic it is, managing to barely
scratch the surface and waste interesting talking heads such as Mick Garris and
Frank Darabont without allowing them to go deep and steering clear of any
attempt for an angle. The end result is entertaining enough, but it also a
waste of time.
Leonardo
DiCaprio, Robert De Niro, and Brendan Fraser, are among the key players of the
stellar cast that leads Martin Scorsese’s three and a half hour epic Killers of the Flower Moon (2023), a
story about a series of murders in a small Indian town, and the small-time
operation that was mechanized in order to cover them up, motivated both by
racism and profit. However, this is not – as it so often mistakenly stated – a
commentary on capitalism, but rather a thesis on humanity and death, with a
very intelligent angle on grief. Simply put, it is a masterful cinematic
experience.
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Aquaman and the Lost Kingdom
Ignoring all
laws of physics and common sense via the aid of the most terrible CGI you could
possibly ask for from a $215 million-budgeted disaster, director James Wan’s Aquaman and the Lost Kingdom (2023) is
as awful as these things can get, proving once again that DC is beating a dead
horse with the superhero genre that is facing a horrible decline in recent
years. Avoid at all cost.
Another film
from the superhero front that is equally awful is the light-hearted and comedic
The Marvels (2023) from the
competing Marvel Studios, directed by Nia DaCosta, who is wasting her
previously-proven talent on the altar of massive budgets. There is even singing
and dancing here, in a desperate attempt to penetrate the Indian market, while
all it achieves is ridiculing itself further.
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Dario Argento: Panico (2023)
Released by
Shudder, director Simone Scafidi’s Dario
Argento: Panico (2023) documentary on the titular Italian master of the
macabre and suspense, offers an interesting angle in going deep into some of
the psychological issues projected on the films and the making of them, even as
it opts for a linear and chronological narrative. Therefore, it remains
conventional, but also becomes original, and as such it is enjoyable and
welcome. Talking heads include Asia Argento, Michele Soavi, Lamberto Bava,
Luigi Cozzi, Gaspar Noe, Guillermo del Toro, and Dario Argento himself.
Yorgos
Lanthimos’ Academy Award darling Poor
Things (2023) is about Bella Baxter (Emma Stone in a stunning performance),
a dead woman rescued by the brain transplant of her baby, thanks to advanced
surgery by Godwin Baxter (Willem Dafoe). She appears to have a personality that
echoes autism and schizophrenia, failing to absorb polite society rules, but as
she embarks on a journey of self discovery, she also sees the world and men for
what they truly are. Gorgeous set and wardrobe design aside (this clearly the
most artistic picture to have made it in the Oscars in years), this is a
masterful creation with the signature of its author stamped clearly (look no
further for the most creative use of the wide lens and the zoom ever committed
on celluloid). This is an important work and a feminist manifesto, a thoughtful
piece of art and the most fascinating art film since the 1960s.
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Madame Web (2024)
Directed by S.J.
Clarkson, Marvel Studios’ Madame Web
(2024) starring the stunning Dakota Johnson in the titular role, is not as
torturous viewing experience as the critics have told you – it is just an
average superhero film, or a mediocre one – but is suffering from the same
banality of the genre’s recent output which is lack of any sense of importance.
Superhero films of the past decades, including the works of Tim Burton or Sam
Raimi were highly re-watchable, while routine CGI-packed efforts like this are
forgotten as soon as you leave the theater.
Directed by Gil
Kenan, Ghostbusters: Frozen Empire
(2024) is channeling the franchise’s original duo of films (by having most of
the original cast return and echoing several other references in the form of
Easter eggs) with the recent reboot efforts, maintaining a perfectly decent
balance most of the time. The first half may be lacking as it takes forever to
set-up the antagonist ghost, but the second half is rewarding, spectacular,
fun, and overall entertaining.
And finally, I
enriched my bookshelf with the following additions…
Nicolas Winding
Refn Presents Jimmy McDonough’s last book The
Exotic Ones (2023, FAB Press, Surrey, U.K.) which is a massive tome that
you need two hands to lift it and it is about the wild world of the Ormond
family which delved from exploitation oddities to religious blockbusters that
thrived at your local church. Knowledgeable and researched to death, while also
stunningly designed and presented, this is a fine and fun read, and ranks among
the five best film books I’ve ever read. It also comes with a bonus shorter
book called ‘The Most Exotic One: Georgette Dante’, which is also a joy to
read.
Edited by Emma
Westwood and featuring some of the most current and original voices of the
field, the Midnight Movie Monographs:
Bride of Frankenstein (2023, PS Publishing, Hornsea, U.K.) brief tome
includes some fine essays on the legendary sequel, and gets quite original in
its approach, as aside from tackling a variety of aspects including the
stunning make-up work, it also gives space to some serious but fun queer
analysis.
Based upon a
story penned by Edward D. Wood Jr. and originally turned into a screenplay
format by Fred Olen Ray for a film that unfortunately never got made, and in
turn recently finding itself taking the pulp novel format by the latter ‘best
selling author’, Deep Red (2022,
Retromedia Press, U.S.A.) is definitely not a great literary event by any
means, but it is fun and entertaining.
Get books, comics, graphic novels and more at bunny17media.com. Use the code CHC at checkout for 15% off your purchase!
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