October 2022 – Page 3 – Wonderfully Weird & Horrifying

Cinematic Nightmare Candy: The Hole in The Ground & Friend of the World

Posted on October 12, 2022October 16, 2022 by Kstrouse

Welcome to Cinematic Nightmare Candy. Providing your horror sweet tooth its (hopefully) terrifying fix.

This time I am back with two new delightfully twisted, thought-provoking horrors.

The Hole in the Ground (Lee Cronin)

Anchoring some of the Invasion of the Body Snatcher’s vibe, The Hole in the Ground is an Irish-born retelling with narrative nuances and an eeriness all its own.

Sarah O’Neill (Seána Kerslake) and her son Chris (James Quinn Markey) move away to a small rural area of Ireland. As a single parent, she’s got a lot of maternal, realistic concerns without the horror that awaits her.

After Chris gets lost in the woods one night, he seems to be changed. His personality, eating habits, and distinct memories have shifted. When one of her neighbors, (a woman known for her distrust of a child that led to a child’s perishing) dies horribly, Sarah is even more concerned.

It’s a genuinely creepy experience, luckily, and it makes for a slow burn discomforting exhibition. Seána Kerslake is terrific straddling that element of “who to believe” as everyone considers her unstable, with the clear victim of an unexpected and scary precipice. Is her son, her son? Wouldn’t a mother know? That instinctual motherly awareness is a big part of the film. Chris is acting differently, and it’s something the audience automatically sees, but how does one prove that?

With some genuinely terrifying imagery and set design and moments that definitely speak to our mental fragility and awareness of who we think we know best, The Hole in the Ground strikes a nerve. It’s a hidden gem.

Friend of the World (Brian Patrick Butler)

Friend of the world is a quick, 50 minutes of surreal, talkative black-and-white curiosity of a film.

At its start, Keaton (Alexandra Slade) is in a room full of corpses. She carefully treks by them looking for a way out. What’s happened? Why are they dead? The answers are few in this film, but the intrigue never wavers.

Soon she encounters Gore (Nick Young) who seems like a John Goodman from 10 Cloverfield Lane type as if he’s been expecting whatever has happened to come to fruition. He has a lot of ideas and claims to be a general, and perhaps, these are the last two to survive in this world.

The movie is sometimes infuriating because of its very remote locale and indistinct direction. While purposeful, I’m sure, it begs the pondering, what are we saying here? By its end, you get more of a distinction, and definitely an appreciation for the artistic value, but still feel like you’re clinging to the shadows.

We do discern details like Keaton is a filmmaker, and she was here accounting footage. But, the why, is eluded. Gore says there’s a cure for what’s occurring to people, and with some terrific effects, especially for a low-budget film, that combines body horror and suspense, it makes for a tantalizing play. Those gnarlier shots were especially a high point.

I will say, it’s not easy to sustain a film with two characters, let alone continue to keep the audience’s suspicions and attention sufficiently. Brian Patrick Butler writes, directs, and produces this genre flick with ample intention, even if it sometimes feels uncertain.

As the film continues there are some intriguing twists and turns, and I love the direction it goes in, as well as its eventual compelling finality. Even if Friend of the World sometimes meanders, the captivating performances, gnarly practical effects, and intelligent direction make the most of its limited screen time and show Brian Patrick Butler is a force in the genre film world.

Haunt-tober 22, Day 11: The Blackcoat’s Daughter

Posted on October 11, 2022August 11, 2023 by Kstrouse

Alright, beasties. It’s that time of year again. For this edition of Haunt-tober, I’m going to do a post a day but, like a great haul after trick or treating, I’m hoping to mix it up and deliver some surprises. There’ll be reviews, new or old, seen/unseen, TV or film. Depending on my wicked mood, there may also be lists, audio, or video. I hope you’ll enjoy it and remember: stay weird.

The Blackcoat’s Daughter is one of the biggest treats this season that I’ve had for new discoveries. The film follows three different characters, Kat (Kiernan Shipka) and Rose (Lucy Boynton), two students stuck at a boarding school over the holiday break, and a desperate young woman (Emma Roberts) who is given a ride by Bill (James Remar) and Linda (Lauren Holly), a married couple who say they have lost their daughter (though, much like everything else in this horror, something is amiss). Both Kat and Rose’s parents didn’t make it in time to pick them up, and both seem like they could be keeping something back, especially Kat, whose behavior continues to grow more bizarre and terrifying.

The Blackcoat’s Daughter is a moody flick, and there’s a chilliness that permeates the film, its dreary, wintry environment is even felt within the walls of the desolate school. Each scene feels like it is moving closer, albeit slowly, to an inevitably creepy conclusion. And, in that regard, it does not let down. Darkness lingers in the edges of each shot, with excellent editing and sound design that draws the hair on your neck up.

Writer/director Oz Perkins‘ film feels like both a psychological isolation story and a taste of the occult. Kiernan Shipka is especially sinister in her role, with scenes that will make you shudder, or just have your jaw drop.

With an interesting non-linear approach and a lot of details that may require more than one viewing to grab, but show the level of layers within the story, The Blackcoat’s Daughter is an impressive feature-directing debut. It also seems like a fairly lesser-known A24 gem. The puzzle may take some time to clink together, but the pieces were all expertly set once you’ve seen the final reveal.

Deliberately paced, atmospheric with a creeping foreboding, The Blackcoat’s Daughter is a perfect watch on a crisp fall evening, that’ll take your mind down a dark path.

The Blackcoat’s daughter is currently streaming on Showtime.

Haunt-tober 22, Day 10: Relic

Posted on October 10, 2022August 11, 2023 by Kstrouse

While a bit too heavy-handed in the employment of its central theme, Relic ultimately crafts a uniquely disturbing picture from both a human perspective and a supernatural one.

When Kay’s (Emily Mortimer) mother Edna (Robyn Nevin) goes missing she heads there with her daughter Sam (Bella Heathcote). As someone who lives alone and suffers from dementia, the two search and waits, unsure of where the matriarch could be. A few days later she reappears and doesn’t seem shaken by the occurrence, but the doctor recommends she not be alone for a couple of weeks. Edna’s fragile mindset continues to get worse, and her behavior is increasingly erratic. She’s unsure if her family is in fact her family, and as she continues to lose herself, it leaves the audience wondering if there’s something else happening. Something inherently sinister.

Co-writer/director Natalie Erika James finds the scares in the discomfort, in the shadows ad the darkened rooms of the house. In the sadness for years passed, and the delicacy of life. There are a lot of moments that are genuinely creepy and simultaneously heartbreaking. Relic builds a foreboding presence that settles into the gloomy home that is deteriorating around them.

After what starts as a slow-burn piece about family and aging eventually takes on a new skin, one that’s shrouded in dark corners, secret rooms that never seem to end (it becomes a dizzying maze), and a volatile and haunting version of Edna. The three generations of women in the film are all exceptional, and a feature debut from Natalie Erika James Relic is incredibly encouraging, and I look forward to seeing what she does next.

The practical effects utilized and the excellent production design are both immensely strong, with some shots that’ll have you covering your eyes, and yet not able to look away.

Hauntingly imagined, Relic doesn’t execute a lot in the form of subtleties, but it overcompensates in its message and makes up for it in poignancy and unforgettable imagery.

Haunt-tober 22, Day 9: Dead Alive (Brain Dead)

Posted on October 9, 2022August 11, 2023 by Kstrouse

Alright, beasties. It’s that time of year again. For this edition of Haunt-tober, I’m going to do a post a day but, like a great haul after trick or treating, I’m hoping to mix it up and deliver some surprises. There’ll be reviews, new or old, seen/unseen, TV or film. There may also be lists, audio, or video, depending on my wicked mood. I hope you’ll enjoy it and remember: stay weird.

As this film was discussed on a podcast with my other film site, it made me realize that it was really quite the faux pas that I hadn’t yet discussed as such a seminal film in my young childhood foray into the genre. Which film am I referring to? Of course one from the iconic Peter Jackson! It’s got a zombie-esque Sumatran rat-monkey, so much of a delightful comedic center, and plenty of gore, it’s almost a crime not to discuss.

Dead Alive (also known as Brain Dead) was a film I saw as a kid, and its absurd unrelenting dive into bloody and outrageous horror, combining stop motion, gross-out moments, strange humor, and copious amounts of blood, won me over.

Dead Alive is in many ways, an embodiment of my intro to horror, this was a movie I watched with my immediate family, extended family, and then family friends, because it was just so memorable that I had to share it. Haven’t seen it? Here you go! It feels like a staple of its time, and it is also it just so iconic, that it can’t be mentioned.

Dead Alive follows the earnest Lionel Cosgrove (Timothy Balme) who wants to appease his mother, not unlike Norman Bates, but is also looking for love, and he’s found it in Paquita Maria Sanchez (Diana Peñalver) who is looking for it directly from her grandmother’s predictions. It isn’t a perfect fairy tale match, but these two are destined in some way. From here, there is a monkey bite from human bite to bite, with numerous victims, and suddenly Lionel has a basement of zombie-like compadres.

As LOTR’s may be Peter Jackson’s magnum opus (thus far) this was an early ode to comical, bloody fun. This is a zombie classic with limbs falling off (into soup no less), a lawnmower as a weapon, and sweet, sweet, romance. Oh, and a rapid rat monkey that’s out for blood. Don’t get too close. It’s got this grainy, b-horror vibe that reminds me of my first VHS watch (yes I’m dating myself). I personally find that comforting. There’s also an undeniable effervescent energy to it that bounces from scene to scene.

It’s got mayhem and it doesn’t shy from its full frontal crimson-stained attack. This is complete camp, absolute gore, and entirety a love letter to horror in all of its generational and various forms. This is both nostalgic and also just plain fun from a stellar director who clearly had a blast working on it.

Dead Alive has killer effects, and eccentric hilarity, and thrives through Jackson’s passion. This is a must-see for any horror-comedy fan.

Dead Alive is currently available on VOD (finally)

Haunt-tober 22, Day 8: Significant Other

Posted on October 8, 2022August 11, 2023 by Kstrouse

While many were probably watching the Hellraiser yesterday, I was watching this newly dropped Paramount+ film that seemed to have gotten no attention or advertisements beyond those within its own app (that I saw). It stars horror queen (at this point, she has stepped into that role) Maika Monroe and the generally charming Jake Lacy. It’s mostly a picture that takes place in the Oregon Woods and primarily focuses on this couple, making it an isolated film that digs into its science fiction and horror inspirations. It reminds me to some degree of another under-seen film: Honeymoon.

The two are Ruth and Harry, headed into the woods for a romantic camping and hiking trip. Ruth is hesitant about the endeavor, filled with anxiety about the trek. In the opening shot of the film, we see a strange orange object rocketing from the sky and entering the woods. We know that’s where they are headed, and thus, that it’s not spelling happy-go-lucky times, but our leads are completely unaware.

This is a tightly wound thriller that really benefits from its star leads who carry the film and keep us invested. Despite it being a limited locale, there’s a depth that stretches within these tall trees and between our two leads. Harry wants to get married, and Ruth wants things to stay as they are. But, beyond their own relationship is a growing evil in the wilderness around them, lurking and spreading. At first, it’s witnessed by a deer split in two and covered in what appears to be black sludge. Personally, I’d be hightailing it out of there after such a bizarre and disturbing find, but they continue with their plans.

When things don’t go quite as well with an engagement as Harry had hoped, other things start feeling a little off. There’s something amiss here, and who and what is at the center is at first unsure, but the twist is worth waiting for. Especially because Monroe and Lacy keep us engaged and are both eventually, eerily… off. It keeps you guessing. Against the gorgeous background of the Pacific Northwest woods, Significant Other creates an atmospheric and dreary sensation that tricks you into it seeming simple but eventually proves to be a tense, thrill ride with some hidden tricks up its sleeve.

Co-directors Dan Berk and Robert Olsen create a not entirely original but intriguing cinematic experience. It doesn’t reinvent the mold, but it is a worthy addition to the genre, and more should uncover its secrets. I also love the considerable lore by its conclusion, which even leans into a sequel. Or, just further thought upon its credits. Maybe it’s the science fiction fan in me, but I love a little (in locale), and that turns out to be a lot (in the scope and impact of the world). Also, less is so often, inevitably more. Some of the exposition in the third act didn’t all work, but still kept me very enthralled. Also, sign me up for anything Maika Monroe does, because she’s a consistent force.

The fantastic performances from Monroe and Lacy and the twisty fashion of the science fiction/horror yarn unspool into a heady trip with an earned payoff.

Significant Other is streaming on Paramount+

Haunt-tober 22, Day 7: Carrie (1976)

Posted on October 7, 2022August 11, 2023 by Kstrouse

Mean girls, a zealot mother, mental powers, and a prom Queen title to win, what could go wrong?

In our first introduction to Carrie White (Sissy Spacek) we learn not only how cruel school girls can be (as if we didn’t know), but also how much she’s spent her life unaware and untaught by her mother (Piper Laurie). It’s a lonely place, and despite what is to come (and what she becomes), Spacek’s iconic, nominated performance ensures the audience sympathizes with her plight.

Her abusive mother, on the other hand, doesn’t seem to share in our empathy. Most of the students don’t either, except for one, Sue, who makes the plan to have her boyfriend Tommy take Carrie to the prom. Others, though, have a different plot. Meanwhile, Carrie realizes she has some telekinetic powers brewing and begins to read up on them.

This movie begins and continues to dip into a whimsical, near fairy tale feel with its soft-focus look. Which, in contrast with its deep cuts of horror, really draws a stark duality. For a moment, Carrie feels like she’s in a dream, and then, it’s right back to a nightmare. The dread that you feel never leaves your stomach, and it doesn’t for me even after having watched it countless times.

If you somehow have gone through life having not seen Brian DePalma’s classic Stephen King adaptation, I would remedy it right away. Undoubtedly though, you’ve seen or heard of what happens. When Carrie becomes especially emotional, angry, scared, and upset, good things don’t happen. And Carrie White goes very…dark. The film is really fantastically done, from every side, including its editing to its score, and the way it makes you feel hope before ripping it away.

This most likely won’t be the last King mention this month, and while it’s a tough thing for me to say a favorite this is definitely one of the best adaptations. It’s also the first book of his that I read. It spawned a sequel and a couple of remakes, none of which compare or speak to the lasting impact of the original.

There’s a power in Carrie, because 46 years later and it’s still breaking our hearts, and remains ingrained in our psyches as a horror film with a terrifying lens that is focused on the tragedy of what happened to Carrie White, not what she did.

Oh yeah, and it is one hell of a revenge thriller too.

Carrie is available on VOD.

Haunt-tober 22, Day 6: The Midnight Meat Train

Posted on October 6, 2022August 11, 2023 by Kstrouse

Gruesome, dirty, strange: I love it.

The Midnight Meat Train is one of my favorite “hidden” horrors. I don’t honestly know how most people I meet haven’t heard of it, but it just delivers another opportunity for me to unleash this monster. I shared it with my father and it’s become a frequent rewatch for him and his friends this time of year.

Based on a short story from Clive Barker, and directed by Ryûhei Kitamura, Meat Train follows Leon (Bradley Cooper) a struggling photographer looking for his big break. When he has an opportunity to impress, he wanders the streets of NYC at night looking to capture something different and honest and well, dark, about the city.

When in the subway at night he sees some men trying to assault a woman and gets them to leave. From there he sees her enter the late-night train. At first, he’s assured by his girlfriend Maya (Leslie Bibb) that he’s definitely found his “thing”, but then notices in the paper that this same girl has gone missing, which strikes a different sort of intention.

source: Lionsgate, Lakeshore Entertainment

From there begins a spiral into obsession, especially when he sees another individual who catches his attention. Straight-faced, stern, intimidating butcher Mahogany (Vinnie Jones) catches Leon taking his photo, but it doesn’t deter the young artist from following him further. He tracks him to his home in a hotel, his work, and his usual nightly ride on the subway.

What first seems like idle curiosity turns into a theory about all the disappearances that have occurred in the city and a connection to this mysterious stranger. Leon has nightmares of a subway car, he can’t stop photographing Mahogany, and he seems certain he has some evidence the police might be interested in. No one else seems convinced of anything but his sanity slipping. At least, not for a while.

The Midnight Meat Train is a film that feels like it exists in the dark underbelly of some forgotten subway station, where long secrets hide and creepy things occur. Oh wait, it is! But seriously, the movie not only has that aesthetic, but it’s like you can smell the blood, and grime like it gets under your nails.

There’s a pretty fantastic and disturbing twist towards the end and plenty of guts, stylish visuals, and sharp writing to make this a horror/thriller that is an inventive ride. Bradley Cooper and Vinnie Jones are both excellent in their roles. You may feel like a shower after this one, but if you can stomach it, and wade through the atrocities, it’ll definitely conjure some images you’re unlikely to forget.

The Midnight Meat Train feels like a slow-burn mystery mixed with a psychological invite into hell, with body parts a plenty. It’s got some bones by the end too, and I don’t just mean the human ones.

Haunt-tober 22, Day 5: Five of My Favorite, Creative, Jump Scares

Posted on October 5, 2022August 11, 2023 by Kstrouse

Ah, the classic jump scare. When utilized correctly in the right moment of suspense, it can jolt a viewer out of their seat. However, it’s also become overused to the point where it actually detracts from the film. We want our scares to be earned, but if you have something pop out every five seconds, where’s the story, where’s the substance? It’s usually created through a symbiosis of camera and sound thrusting us into a feeling that startles and gets our heart racing. Timing is also, really, everything. So, here are some of my favorite and what I think to be some of the most memorable, jump scares:

If you haven’t seen the film I’d suggest scrolling on, wouldn’t want you to miss out on its intended scare :).

The Exorcist 3, Scissors scene

After watching this movie for the first time for my Blindspot podcast, there was one shot in particular that not only caused my stomach to leap, but also stuck with me as one of the highlights of The Exorcist 3. In a very fast shot we quickly see our perpetrator holding huge scissors walking up behind a nurse. The buildup is truly everything here as the camera doesn’t move and we watch the nurse’s station over like 40 seconds, people coming and going, doing rounds. Then, with a high shriek, this occurs and it is blood-curdling.

It Follows, Tall man

I felt I had to include at least one of the lovely ghostly jumps in the film. This one occurs when our lead’s friends arrive at the door and seemingly, nothing is behind her. Then, suddenly a very tall man walks swiftly behind her. The whole idea that someone doesn’t know something terrifying is inches from them is always alluring, but It Follows masters that.

Insidious, The Red Demon

It’s just a family chat, discussing their history and their own experiences with demons and astral travel (normal stuff) when… bam, the demon is right behind Patrick Wilson. It is one that’ll make you choke on your popcorn.

Signs, Birthday Video

One of my favorite parts of M. Night Shyamalan’s science fiction/horror films, is the clip of a birthday party on the news where an alien is witnessed. The shock and awe of that moment along with Joaquin Phoenix’s reaction, that’s epic, makes this seriously visceral. An alien in the middle of a party? Eeeeek. Jump! Run!

Sinister: Lawnmower Scene

For last year’s Spooktober I wrote about this film and its overall eerie nature, but there is one scene as Ethan Hawke‘s character watches one of the videos he’s found. We see a family through the window in the living room then it cuts to a lawnmower moving slowly over some grass at night. Until, suddenly, there’s a person on the ground before them. Not only do the visuals and sounds scare us, but Hawke jumps too.

This is tough to narrow down, but there are so many! Here are just *some* Honorable mentions: Jaws- several shark scenes, Psycho- shower scene, Basically all of The Night House, The Conjuring-Clap, The Sixth Sense- the ghost kids.

This is obviously just a drop in a large pool of film moments. What are some of your favorites?

Haunt-tober 22, Day 4: The Howling

Posted on October 4, 2022August 11, 2023 by Kstrouse

The Howling is known as one of the definitive werewolf films, and for good reason. Joe Dante’s film starring Dee Wallace as Karen White the newscaster who is thrust into a secretive world of Lycans is a mysterious ode to this fantastical subgenre. Is it my favorite? Maybe not, but that’s a tough point to pin.

After it is suggested that she retreat to a rural area for some R&R after a close encounter with a serial killer, things aren’t as rosy as one might hope. She and her husband Bill (Christopher Stone) go to this secluded seemingly serene locale, but soon discover there are insidious intentions, including some late-night howlings that don’t seem natural.

The Howling is fun yes, but not without its err. This quickly moving 91-minute picture is ample in its wolf-like terror. There’s very little respite in its dive into a lycanthropic group with a cult-like feel.

What stands out for me is the effects of 1981, further beyond some of its future counterparts. Some of the transformations and kill sequences are impressive for their time, and bloody gruesome. For then, the special effects are especially striking. Dee Wallace is also a queen for a reason, even though she’s not in every scene, she’s always on your mind, our North Star.

What also distinguishes The Howling is the media element. Not only does Karen become embroiled but her coworkers Terry Fisher (Belinda Balaski) and Bill Neill (Christopher Stone), investigate and come to her aid. Tonally, the movie jumps around a bit, making it an uneven identity but still a culturally imperative experience.

The Howling is a worthy, must-see addition to the werewolf mythology. This is a subgenre that still remains a lesser-known one, especially in comparison to let’s say, vampires. Mostly it’s because if you’re to stand out, you need something diverse and memorable. The time, the mood, and the narrative are key. Does this do it? Perhaps at times. In the pantheon of werewolf films, this may not be the best, but it’s one that shouldn’t be missed. Also, it’s got a terrific final shot that personally wins me over.

Well performed, with convincing effects for its time, The Howling isn’t the best werewolf feature, but it’s required viewing for any fan.

The Howling is currently streaming on Amazon Prime.

Haunt-tober 22, Day 3: The Mist

Posted on October 3, 2022August 11, 2023 by Kstrouse

Alright, beasties. It’s that time of year again. For this edition of Haunt-tober, I’m going to do a post a day but, like a great haul after trick or treating, I’m hoping to mix it up and deliver some surprises. There’ll be reviews, new or old, seen/unseen, TV or film. There may also be lists, audio, or video, depending on my wicked mood. I hope you’ll enjoy it and remember: stay weird.

Ah, The Mist. This is one of those middle-higher-tier Stephen King adaptations that occasionally seems to be overlooked. It’s a hell of a hook though, and with an amble of scares and discomforting creatures (and the people, oh the people) it’s one that I love.

David (Thomas Jane) is an artist living in a small coastal Maine town. After a hurricane knocks a tree into their home he heads into town with his young son Billy (Nathan Gamble) and neighbor with whom he has an estranged relationship with Brent (Andre Braugher) for supplies. Once inside the grocery store, a strange mist rolls into town, and with it, fear. Fear of what’s within.

When Dan (Jeffrey DeMunn) comes in yelling that something in the mist took someone, the paranoia, confusion, and uncertainty grow. The inhabitants of the store are terrified of the unknown, while some play it off as some sort of misunderstanding. However, when some witness a tentacle attacking in a back room, others are more convinced that this isn’t a natural, foggy, occurrence.

What makes The Mist so intriguing is the actions and responses of those in crisis. Most of the film is set in this enclosed grocery store with a variety of personalities, and people with their own ideas of what’s happening. Included is Mrs. Carmody (Marcia Gay Harden) whose religious prophecies bring many to her call. Others think it’s something to do with the military facility on the mountain.

David and many others, including Amanda (Laurie Holden) and Ollie (Toby Jones) are on the side of a careful, reluctant, and more reasonable belief that whatever it is, it is not good.

Common King collaborator/adapter Frank Darabont writes and directs, utilizing every opportunity to permeate the fear that lies within the unexplainable. As people become more anxious, the need for action is more prominent, and we get glimpses into what’s outside.

The creature effects and mounting tension make for a slick horror where sometimes, the unseen is the scariest of all. Marcia Gay Harden does an incredible job at ratcheting up the already monumental terror. And the trail of mayhem that ensues from words and the seed of doubt that spreads is equally menacing.

Be forewarned, even if you’ve read Stephen King’s story, this ending is different and it packs a hell of a punch. Very few movies have had such a devastating finality, so I feel it my duty to give you the heads up.

Overall, The Mist is a terrifying example of fantastical nightmares coming to life, and the human monsters that crisis can make of us. The acting is on point and the design is a spooky delight. The end will have you screaming.

The Mist is currently streaming on Netflix

Month: October 2022