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.
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.
source: Lionsgate, Lakeshore Entertainment
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.
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.
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.
source: RADiUS-TWC
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?
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 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.
source: Embassy Pictures
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.
source: Embassy Pictures
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.
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.
source: Metro-Goldwyn-Mayer
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.
source: Metro-Goldwyn-Mayer
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.
source: Metro-Goldwyn-Mayer
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.
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 train-zombie flick Train to Busan is acclaimed for good reason. While this is a sub-genre of horror that we’ve seen many times, this film is able to hit the high-octane thrills of any of its predecessors, while still maintaining style and inventiveness within zombie lore.
Yeon Sang-ho directs and writes this horror that amps up the energy with zombies of terrifying quickness, but also the closed precipice of a train, where hiding isn’t truly an option.
source: Well Go USA
Businessman and father Seok Woo (Yoo Gong) is escorting his daughter Soo-an (Kim Su-an) to her mother who he recently separated from. Things start fast, and not long after they board the train do they realize something is amiss. Also on the train are soon-to-be father Sang Hwa (Ma Dong-seok) and his pregnant wife Sung-kyung (Jung Yu-mi). Nobody is expecting what is to come, and with the fight for survival also comes a show of one’s personality and selfless (and selfish) nature.
As attacks start mounting on the train, and reports start coming in outside that things are becoming worse. Many of the passengers are out for their own good, and others will soon become unexpected allies. Even with moments of brief security, as misguided as they may be, the tension continues in ample amounts. The zombies here don’t do well with darkness, so that means that tunnels are an apt time for survivors to inch by. But where can they really go? There are some gnarly moments and delightfully gory effects that make this train as terrifying as possible.
source: Well Go USA
The performances are terrific, and there’s an emotional connection quickly to all of the leads. At first, Yoo Gong seems like a father who neglects his daughter, but soon becomes not only her guardian but someone you truly root for. Kim Su-an gives an empathetic and vulnerable performancebeyond her years.The real showstopper is Ma Dong-seok who steals every scene he is in.
Yeon Sang-ho concoctssomething here that is uniquely gripping and emotional. By its finale, Train to Busan becomes an entry into the zombie entourage that is compelling and full of nonstop action sure to bring your blood pressure up.
It’s the real reanimated deal. Don’t rest, keep one eye open and steadfast on those around you. Train to Busan is a rush of -zombies seeking- blood to the head.
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.
Yesterday we received a sequel to Hocus Pocus, the family-friendly Halloween classic. This was a film that I saw young, of course, and while there’s really nothing scary about this movie (except for maybe getting your brand new kicks stolen by bullies) I figured I’d start with a movie that is often a staple for any fall viewings. Also, I’m hoping we can get creepier as the month goes on and we grow closer to All Hallow’s Eve. I saw the original when I was six, and now we are finally getting a sequel. How will it land? Let’s see…
Hocus Pocus (Kenny Ortega)
Let’s be honest here. Hocus Pocus is no sweet treat to cinema. It’s silly, it’s childish, but, it’s also one of those films that seems to have grown in fandom since its release, and has become more beloved with each new Halloween season. Personally, I wanted to just hang out with a talking cat (yes, I also loved Sabrina as a child) but I also felt charmed by the humor that didn’t take itself too seriously. Also, the first is, well, so 90s.
A couple of years ago I also visited Salem and saw some of the filming locations, which is a thing I love to do anywhere I travel, and it reminded me of the ambiance of the area and the season,and Hocus Pocus is most definitely an atmosphere. Fall has arrived!
source: Walt Disney Pictures
For those who haven’t seen here’s the lowdown:
It’s Halloween, 1693. Three sisters known as the Sanderson Sisters, evil witches who yearn to trick and consume the energy of children, are witnessed taking the sister of one Thackery Binx. Winifred (Bette Midler), Sarah (Sarah Jessica Parker), and Mary (Kathy Najimy) in turn change Thackery into an immortal cat and are then hanged. Before they perish they make a curse that if a virgin lights the black flame during a full moon on Hallow’s Eve, they will be brought back.
Enter the virgin. Max Dennison (Omri Katz) has just moved to town and is forced to take his sister Dani (Thora Birch) out trick or treating. Along with his new crush Allison (Vinessa Shaw) the three visit the old Sanderson house, now a museum, and because nothing “bad” ever happens from lighting a candle, Max, a nonbeliever, brings forth the witches. From there it’s up to them to stop the evil they’ve unleashed before the children of Salem fall victim to it.
Hocus Pocus has a lot of scenes and jokes that fall a little flat, feel a little outdated, or are just truly appreciated by the young at heart. Luckily, the delightful innocence and sense of fun that the cast has, and the inevitable well-intentioned Halloween excitement comes through. Some children may be scared by elements, (such as sucking the life out of kids) so that’s not to be disregarded. However, for me, I found The Witches to be the superior, and scarier, of the time period.
As with any movie that you saw when you were young and then see later with your thinking, analytical hat on, it can sometimes be askew. I have no preconceived ideas that Hocus Pocus is high quality and doesn’t have some moments that haven’t aged well, but as a freeze frame of early 90s seasonal viewing, there’s the kid inside that is reminded of the joy of Halloween, and of spooky legends. And that kid, mixed with the adult one that is still very much a lover of the oddities of life and film, holds a fondness for its kooky, campy vibe.
Hocus Pocus 2 (Anne Fletcher)
As with any sequel that has a cult following Hocus Pocus 2 leans heavily into the nostalgia and aims to work its magic mostly on what’s already been previously cast.
After a quick intro to the sister’s childhood, including a run-in with Hannah Waddingham (seriously underused here), we fast forward. It’s modern Hallow’s eve, and Salem is -of course- in full spirit, including a lesson on the Sanderson sisters by store owner Gilbert (Sam Richardson) where their magic spell book is locked up.
On her 16th birthday, Becca (Whitney Peak) and her friend Izzy (Belissa Escobedo) light a candle, bringing forth, once again, the sisters.
source: Walt Disney Studios
It’s always funny when someone out of time steps into our world and is immersed in things that, without prior knowledge, seem quite strange. An early gag has the sisters consuming face creams thinking they are potions of children’s souls. This and many other jokes garner a “heh.” There are a lot of similarities to the first including musical numbers, teens trying to save the town, and even Billy Butcherson (Doug Jones). Can we stop for a second and praise Doug Jones? Yes, he rocks.
Anyway, after they get the book back the sisters force Gilbert to help him and curse him. From there he works with Billy to gather the materials they need for their spell.
There are a lot of easter eggs sure to make fans smile, and there are plenty of comical commonalities like the vacuum cleaner in replace of a broom for Mary, except now it’s Roombas. One of the main differences in this sequel is that one of the teenage girls is herself a witch, which adds an interesting dynamic. I wish they leaned into that story a bit more instead of focusing on repeating history.
The self-aware humor is more evident here, and the stakes, somehow, feel less than in the original (which already felt slim). There are some fun easter eggs, and I love seeing that it was shot in Salem again. Also, do these women ever age? However, I was a little let down by the impact of the sequel in comparison to the first. Obviously the first of a film series is always going to have the discovery factor, but this is one of those times where that really made a difference. Also, one spoiler I will say to my chagrin, no talking cat. 😦
I know that there are many huge fans out there that were calling for a remake. I understand a lot of people will love this and think it is a great follow-up. For me, it’s one of those moments where I wonder if we needed it, but also, how much can we really expect? It wasn’t a bore, and there are things I liked, but mostly I didn’t feel a tingly witchy moment. Yes, it gave me a nostalgic wave, but it didn’t suffice that itch as much as I would have hoped.
Will this film have the love the first does in nearly 30 years? Maybe not, but only time will tell. Either way, I’d recommend it to any fan of Hocus Pocus, just don’t expect too much magic.
Glorious, written by Todd Rigney, Joshua Hull, and David Ian McKendry and directed by Rebekah McKendry is a glorious mess. I mean this in a positive neon-infused light because this movie can be quite grody. It can also be inventive and entertaining, amassing in a mix of horror, cosmic entities, comedy, and morality. It’s a hole of glorious proportions. (You’ll get the reference soon).
When Wes (Ryan Kwanten) stops at an undisclosed rest stop (the where isn’t important, more the why) after a seemingly devastating “breakup” he’s met with an unexpected responsibility. After a night of washing away his woes with whiskey and burning things that remind him of his ex, he wakes up feeling the desire to purge. An accident or a work of fate? Soon he is stuck in a bathroom he can’t escape with a very curious attendant in the next stall, who may just be a Lovecraftian neighbor who speaks through a glory hole.
What Would You Do?
As we slowly learn of his past we also learn of his potential future. There are some higher stakes at work here. Who is this guy? Why was he chosen? A lot of the magic of Glorious is in the watch. But also, it’s the way that the film delivers the information. Sometimes it’s holding the wool over our eyes, and sometimes it’s a blatant color infusion of which we can’t escape. If you’re reading this you’re probably in my wheelhouse of viewers, but it can’t be overlooked: this is undoubtedly weird. For me, that’s pretty rad.
source: Shudder
As an hour and 19-minute movie, it utilizes its one location skillfully. While the movie mostly stays within this bathroom (with some occasional memories) it doesn’t feel small. As her second directorial feature, Rebekah McKendry it’s a very promising tell of her ability in the genre. Look out.
I’d be remiss if I didn’t highlight how pointed the humor in the film is. It gave me quite a few chuckles but then it immediately filled the next breath with either absurdity or depth. That might seem strange, but it works. This is a bizarre one, but it really maximizes its strengths. At times obscene, other times disturbing, with a wealthy portion of the weight, this hits many categories.
J.K Simmons voices the other character, and it is genius. I got so much joy from that element alone, and it’s hard to describe exactly why. Simmons just somehow fits. Ryan Kwanten is also perfect, and he gives one of my favorite performances I’ve seen. This is a simple premise that is executed in a scope that spans worlds. Something I love about these kinds of films is the ability to work that line. Glorious does that.
The small locale with big consequences is a win for me. Glorious adheres to this idea to create an entertaining movie that writhes with thought and provocation. There’s a lot hiding between its initial grotesque and gory facade. It’s a bloody, neon-tinged nightmare that becomes one man’s reality. In all of its disturbing glory, it shouldn’t be missed.
Glorious premiered at Fantasia Fest 2022 and will be released on Shudder on August 18th, 2022
David Cronenberg has been a pretty significant voice in the horror scene for a while, and I’m always delighted when he creates something new. With Crimes of the Future, I’m happily able to say it’s something not only current but different from a lot of his previous work. And let’s be honest, it’s been a spell since his last feature.
This is a film that is ultimately going to be polarizing with audiences. It seems to be either too much, or not enough. For me, this was subdued in terms of the director, presented in a curiously woeful sensibility, that I ultimately dug but not without its surprises.
source: Neon
In the future, only a minimal amount of people feel pain. Human anatomy has also changed in the sense that our innards form without meaning. For some, that meaning is art. Saul Tenser (Viggo Mortensen) and partner Caprice (Léa Seydoux) are performance artists, showcasing the live surgery of Saul’s newest creations. Of course, this is putting this, extremely lightly.
“Let us not be afraid to map the chaos inside.”
Saul is introduced to us in a bed that looks like a prop left over from an Aliens movie, and we are told he’s grown a new organ. Good news right? Even if it has no purpose in his body, it will be the star of a performance number, where one watches a surgery with a keen intrigue. It’s become a spectacle to the point where many others have outrageous deformities as an allure. You may have seen an image for the film which includes a man covered in ears. Well, if you haven’t, you can imagine it now. You won’t forget it either. It’s an inspired and intricate story that settles you into its narrative bones like flesh into a cavity.
At the department of registry for new organs, (Kristen Stewart), which, yes, sounds as ludicrous as it is, in the best possible way, is interested in Saul’s work. In ways, it seems he wills these new creations, which makes him even more fascinating. This film is compelling in the most unexpected ways. There are a lot of science fiction elements that are quite heady, but also resonant. It doesn’t matter if we are discussing an organ transplant as art, or as a real-life measure of mortality, Crimes of the Future is a contemplative take on the subject.
source: Neon
What unfolds is a melancholy imagining of bodily odds and ends. It’s a film that simultaneously feels old and new, as a futuristic embodiment it’s also directly tied lovingly into our cinematic past. The film fulfills in a lot of ways, as an homage to the artist and their creations with the dedication involved, sheer imagination, and also the concept of mortality. What does life look like?
Cronenberg is a master of his craft, and Crimes of the Future solidifies this. Our entire cast is at their best, ensuring that this experience of a film is delivered in the manner deserving of such an auteur. There’s sensuality at play here between the cast members, feeling often like a slow unfolding of prose rather than a feature, as their bodies and philosophical playings on our form come to pass.
The film is not without its frustrations and it’s one that I understand some may not fully be attached to. However, I felt it to be an exploration, one that seems mysterious and telling all at the same time in a way that is wholly original. This may not be the gore-fest you might expect, but it’s the strange, more introspective endeavor you deserve.
I’ve got to admit I was pretty enamored with this one. It was a no holds barred return to form opportunity that was seized with an instinctual, sexual-like curiosity. What can the human body do? What should it? A true visionary, Crimes of the Future sees Cronenberg at his most curious and morose in many years. One of the best of 2022 so far.
Crimes of the Future is now available on video on demand
Shockingly disturbing, discomforting, and entirely evocative; there are scenes from The Innocents that have still not left me, weeks later, and there are feelings trapped, wound with celluloid in their pristine heritage that makes me confirm a truth despite any negative reactions: this is talent.
The fact that Eskil Vogt co-wrote my favorite film of last year (The Worst Person in the World) hasn’t escaped me. This script is sharp, all edges and angles, aimed at disarming even the most impenetrable of us.
Ida (Rakel Lenora Fløttum) and her older autistic sister Anna (Alva Brynsmo Ramstad) have moved with their family to a new apartment complex. As Anna struggles to speak, Ida seems frustrated by her sister and overwhelmed by the circumstances of her family. When they arrive at their new home, she quickly meets Ben (Sam Ashraf) who shows that he exhibits strange abilities. Meanwhile, Anna befriends Aisha (Mina Yasmin Bremseth Asheim) who also has a secret, as she is one of the only people who are able to successfully communicate with Anna. Why are there multiple children with gifts in such a limited area? It is intriguing, and a detail that is never truly explained.
source: Camera Film
Written and directed by Norway’s Eskil Vogt, The Innocents is about a group of children who become unlikely friends and who also have to learn to cope with their newfound supernatural abilities at an age that is already challenging enough. But, when you dive deeper, it’s a look at the innate ability humans have to hurt, the cruelty in power, and what we do when given the arrogance of a toxic ability.
In some ways, it reminded me of Chronicle (without of course the obviously handheld camera element) but also in the fact that it is a group of teenagers who had to navigate unforeseen powers. With The Innocents, this is a much younger group, and it makes this film doubly horrific, but also tentatively sympathetic. That consistent contrast is what makes this one of the best genre films of 2022 so far.
Something that I really appreciate about this film, aside from the terrific child acting (which truly steals the show), is the fact that there are characters you root for and against, and there are those who are misguided. They are children who are working things out amid a situation that is barely understandable for an adult, let alone a child. It’s a thinly laid tight-walk, one that Vogt manages, even when it’s apparent that a fall is imminent.
source: Camera Film
There is a level of slow-burn agony that permeates throughout the entire film. From its opening scene until its last, even if your reasoning changes- the sensation doesn’t. The dread is decidedly apparent even when you want to look away; you have to see the gut-wrenching finale.
What is Evil?
Within its hour and 58-minute runtime, there are very few scenes that don’t feel creepy. Even when these kids seem to be getting along, there’s an undercurrent of waiting; waiting for the next bad thing to occur, or for reasoning to prevail. In other words: prepare to be discomforted. There is one scene that actually had me looking away, but the sound effects were vivid enough.
It’s an atmospheric blend of psychological terror and the eeriness that comes from our expectations for what will come next. We can see some of these children’s motives turning dark, and its idea is quite sinister. The cinematography and sound effects/design are truly impeccable.
Its final scene is delivered within a chilling near-silence, giving us the perspective, again, that the adults nearby are truly unaware and unable to change what is happening. The Innocents really buries deep, digging under the skin, ensuring your inability to escape.
The Innocents allows us to feel empathy, but also to genuinely judge the actions of its characters. Eskil Vogt definitely does not hold back from diving into the psyche of these troubled, emerging minds, allowing many conflicting emotions to arise. It’s an experience, to say the least, one that doesn’t bear repeating but remains resonant regardless.
For anyone considering this watch, definitely tread lightly as there are a lot of triggering, frightening scenes throughout.
Welcome to Cinematic Nightmare Candy. Providing your horror sweet toothits (hopefully) terrifying fix.
This time around I ventured into two very different horror films. I had heard previous praise for one and had nearly seen it at a festival, while the other was a completely new and exciting, surprise.
source: A24
X (Ti West)
As a fan of Ti West‘s The House of the Devil, I was really looking forward to seeing what his newest venture would bring. For the most part, I had avoided spoilers, so I went into X with nothing more than a logline. Believe me when I say that this film will flourish in that sweet spot; between your presumptions and what X really is.
This allowed me to experience the film without knowing how weird or unexpected it would be and that unknown kept me immensely invested even when I wasn’t sure exactly what was happening.
X starts with a group of filmmakers headed out to a guesthouse in rural Texas to shoot an adult film. Maxine (Mia Goth), Lorraine (Jenna Ortega), Wayne (Martin Henderson) Bobby-Lynne (Brittany Snow), RJ (Owen Campbell), and Jack (Kid Cudi) arrive expecting to make the next adult sensation, but instead find themselves in a uniquely disturbing, nightmare circumstance.
It is the 70s and writer/director Ti West does an amazing job of capturing the era, both stylistically, and how the camera draws us in. It’s an alluring place, a piece of history that is often brought to the screen with a beautiful (and menacing) appeal. At times, this felt like a mix between The Texas Chainsaw Massacre and Once Upon a Time in Hollywood, though, the former, was much closer in tone. The camerawork is by far one of the standouts, creating perceptible tension, especially in the first half when X is really at its best.
The young stars show up to be greeted by an elderly man, who is hesitant to rent despite a previous promise. Howard and his wife Pearl live on the premises and it doesn’t take long to realize there is something off about their situation, especially that of Pearl who takes to late-night strolls, peeping in on our group, and crossing many, many, boundaries.
source: A24
X is a throwback in all of its aesthetics, reaching for inspiration in the grindhouse features that once populated this space. It can be a bit gratuitous with its gore, but that doesn’t bother me as much (especially if you’ve seen the new Texas Chainsaw) as much as its lack of exploration within its characters. While this is obviously a slasher in all of the typical ways, X’s insistence on the repelling of the aged form, call it ageism or just the horror of the reality of getting older, is the real root of terror.
I’d also check the credits when it’s finished if you didn’t figure out a detail yourself about Pearl.
The female performances are really the standouts of the group, especially Mia Goth. Among the camerawork, I have to give kudos to the editing done by West and David Kashevaroff, and a haunting score that adds to the excellently captured aesthetic. Overall, X is an entertaining and vivid throwback horror, with a mesmerizing performance from Goth, even if it doesn’t slash quite as deep as it intends.
X is available on VOD
source: Dread
Midnight (Kwon Oh-seung)
Kwon Oh-Seung‘s Midnight brings us a bleak setting from its start, a place dominated by fear, as young women seem to fall victim to an unknown assailant. The concept is a fairly simple one, and yet somehow Midnight doesn’t seem to play that way at all.
After a long day at work, Kyung-mi (Jin Ki-joo) meets up with her mother (Gil Hae-yeon). Unbeknownst to her, a serial killer is lurking in the shadows. He stalks women and murders them, on the scarce streets of South Korea. Do-sik (Wi ha-joon) had just preyed on his newest victim, a young woman walking home, and while still in the middle of the assault is seen. A mask obscures his identity, but his imperatives quickly shift as he realizes that Kyung-mi has not only seen what he’s done but has gotten away. He also assumes her deafness as an indication she’ll be a simple target.
This is where this mystery/thriller dials up to 10 and becomes a hunt, an escape, and a stirring fight for survival.
As clever as he is chilling, Do-sik finds ways to talk himself out of suspicion, even among his potential victims. The story mostly focuses on these three, but also Jong-tak (Park Hoon), the brother of the recent victim, who is still alive (albeit barely) as the film also turns into a desperate mission to find and save his sister.
Kwon Oh-seung also wrote the script, and it is an intriguing, biting, and ultimately suspenseful story that doesn’t stop for air (and I mean that literally, they run so much, that I felt winded). It’s got its finger on your pulse and it doesn’t let up. There’s always some new turn that you aren’t expecting which makes the lean 103 minutes all efficiently used.
There were times when I’d see how much I had watched and I was shocked there was so much left because I assumed things were nearing their end. And yet, something new would occur creating added tension and bringing in new characters or circumstances, and it’s like the board reset. Suddenly, you have no idea what would happen as you watch this character try to survive the night.
Kwon Oh-seung brings in a noir vibe, not sitting on social commentary and giving us a lot to think about. That is if you can find a beat between the kinetic energy. Jin Ki-joo is compelling and extremely genuine, making it easy to follow her struggles with empathy and hope. I can see this being one of those films with people yelling at the screen; not because she’s making poor choices, but because Wi ha-joon is so darn effective.
Midnight allows us to be immersed in the action, and the thrills, as we root for our heroine and curse this killer, who seems to charm the guard down on everyone he meets. In fact, Wi ha-joon, is superb. His truly menacing and chilling demeanor permeates through the film, often finding ways to remind us how he revels in this, smirking at the camera, or laughing to himself as he gets away with another vicious feat.
There are times when the film begins to get lost but quickly finds its footing, allowing some plot holes to form but not without forgiveness. Overall, Midnight prevails to satisfy fans of thrillers and horror alike, keeping you on your toes, and genuinely on the edge of your seat.
The performances by everyone are exceptional. In some scenes, occasionally consisting of long shots of running through the streets, you can feel the character’s air as harsh and splintered as it must be, until the victim and the aggressor collide. It makes for quite the visceral chase.
Midnight enthralls in its thills, excels in its execution, and allows a talented cast to bring this repeatedly anxiety-inducing stunner to life.
Wonderfully Weird & Horrifying 