Film – Page 9 – Wonderfully Weird & Horrifying

Haunt-tober 22, Day 15: Cat People (1942)

Posted on October 15, 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.

Another film that escaped my eyes for too long, the 1942 version by Jacques Tourneur of Cat People is a film that resonates all these years later, in large part because of its subtle, unhurried narrative. It’s more psychological, and its scares exist in the question of: will it or won’t it happen? You’re feeling the lead’s own trepidation, and the strength of her belief, and that’s a tricky but mighty compelling tactic when done well.

Irena Dubrovna (Simone Simon) is a fashion designer in NYC who begins a romance and then marriage with Oliver Reed (Kent Smith). She has a fear about consummating the union though. She’s worried that she is cursed, and is destined to turn into a panther.

This is only an hour and 13-minute movie and feels like a brief but impactful foray into Irena’s plight. The premise allows for a nuanced peer at a web of emotions, fears, and doubts through the notion of something supernatural with a deft hand. Oliver, his coworker (and, also, love interest) Alice Moore (Jane Randolph), and Dr. Louis Judd (Tom Conway) are all concerned and have their own perspective on what Irena is going through.

It’s a strange, introspective little film that looms large. Jacques Tourneur builds a sense of isolation and the cinematography creates a unique story with suspense that creeps over the course of the film, much like the iconic sidewalk scene (you’ll know when you see it). Simone Simon conveys a palpable melancholy, and has a presence, even when off-screen.

Visually it ensnares the viewer, and there’s something seemingly simple but impressionable about Cat People that scratches under the surface. It most likely isn’t everyone’s cup of tea, and by no means is it a conventional horror.

Inventive with a restrained and stalking presence, Cat People is a classic, that I’m sure will only be more interesting with future watches.

Cat People is currently streaming on HBO Max

Haunt-tober 22, Day 14: Halloween Ends

Posted on October 14, 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.

Erm.

Well, we got our finale to David Gordon Green’s Halloween trilogy with Halloween Ends. As someone who adores the original, and who thought there was something uniquely different about Rob Zombie’s takes, and even though Green’s first had some interesting ideas (also loved seeing Jamie Lee Curtis again), I must say, I’m really disappointed.

I will say it’s audacious, but I feel like it isn’t in the spirit of this series as much as I’d hoped. I’m not going to spoil, but I’ll try to wade myself through the murky waters that is Halloween Ends. Side note: this is just one humble critic’s opinion, if you appreciate the route this goes, I’m truly glad it worked for you and thus remains, the ever-strong beauty of film. One person’s letdown is another’s a pleasant surprise.

Laurie (Jamie Lee Curtis) is healing, writing a book about her experiences four years after the last movie and the disappearance of Michael Myers. Her granddaughter Allyson (Andi Matichak) is living with her, working as an assistant at a medical clinic. Things seem to be… okay. We know better.

Our intro scene features neither of these characters though, instead, it focuses on a Halloween evening when the accidental death of a child occurs, and his babysitter Corey (Rohan Campbell) is looked upon by the community as being at fault.

In many ways Corey, as he becomes introduced to Allyson and they begin what seems to be a sweet blossoming romance, is our main character. This is quite the direction to take, and one many of us did not see, as it takes the leads we’ve lived with and relocates them to the side. Except for the final act, which, had some satisfying conclusions to a degree, but still had some things to be desired. It wasn’t the fact that a new character took center stage, it was the character itself, and by extension his interactions that didn’t work for me. It also seemed this trilogy’s finale took notes from another past Halloween sequel, and despite my dislike of the last one, I had hoped for something more inventive.

I think all three of these films feel assorted and in many ways, like different intentions, as if trying on various horror costumes, and never fully finding the attire that works. I’ve seen every Halloween film in the franchise, and while I didn’t feel fulfilled, what was I really expecting? While this isn’t in the vein of Halloween Resurrection, this is most certainly not the movie it could have been. You have such an icon in the character of Laurie, that whenever she is in the film, there’s added pressure.

I feel like I went trick or treating and got three of my least favorite candies, but still felt a sense of glee because I am still very much the targeted audience.

Halloween Ends, well, it certainly does. This finality is most likely, if we can account for any horror trend, not truly dead and buried, but it leaves me yearning for a better send-off to this influential slasher.

Halloween Ends is currently in theaters and streaming exclusively on peacock.

Haunt-tober 22, Day 13: Jennifer’s Body

Posted on October 13, 2022August 11, 2023 by Kstrouse

“Hell is a teenage girl.”

I have always had mixed feelings about Jennifer’s Body. I walked away from it the first time thinking the characters were obnoxious to a degree that annoyed me, and the dialogue seemed tacky.

However, after watching it more than once it grew on me, and while I still think some of these things are true, I also think that it’s an intentional thing and that the overall style is pretty unique. It most definitely screams writer Diablo Cody‘s signature voice, but Karyn Kusama‘s biting satiric horror-comedy is most definitely a vibe, it’s its own brand.

Needy (and nerdy) (Amanda Seyfriend) and Jennifer (the school-known hot girl) (Megan Fox) are best friends in the town of Devil’s Kettle. When an indie band comes to town who are -to say in Jennifer speak- salty morsels, what begins as a fun trip to the bar turns into a massacre and a sacrifice. But, these Devil-worshippers make a valuable mistake in assuming she’s a virgin, turning Jennifer into a high school boy-eating demon.

It’s obvious that this is trying to fill the 2000’s slot for a Heather’s-eque teenage dark comedy. This goes much further into the horror element, and it’s probably my favorite aspect of the film. When Jennifer is her flesh-eating newly developed demon self, the story is more compelling than its snarkiness. Even though some of the jokes are quite clever, others, just cringe.

This is probably Megan Fox’s best outing. The supporting cast, which includes J.K. Simmons and Adam Brody (as the perfectly menacing and comical lead singer), are all terrific additions and have some of the funniest lines. Fox and Seyfried have a good rapport, with an ample mixture of jealousy and resentment buried beneath all their years as besties. The incident makes the band rise to fame with a song that becomes the high school’s anthem. Even worse, it is actually catchy, and this writer will now be stuck with it for days once more.

Sometimes I think Jennifer’s Body bites off a bit more flesh than it can chew. It becomes, like Jennifer, greedy when it works and overextends some of its flexes. That being said, there’s a charm in the details and the originality, even if the combo of horror and comedy doesn’t always mesh.

Bonus points to the satisfying end credits sequence.

Haunt-tober 22, Day 12: M

Posted on October 12, 2022August 11, 2023 by Kstrouse

This iconic thriller from Fritz Lang is one that hits not only on the anxiety-driven note of a serial killer in Berlin who preys on children but also the mentality and reaction of the city’s inhabitants as they demand justice and take things into their own hands. The fear in the streets is affecting everyone, police, grieving parents, and even those in the criminal underworld, who can’t run their businesses because of the police force and patrol. Wide-eyed Hans Beckert (Peter Lorre) continues his assault, without being suspected for a time. Lorre’s insane Hans is a standout, from his moments of inability to contain his twisted impulses, to his expressions and body language.

Written by Egon Jacobson and Fritz Lang, Lang crafts a genuinely stunning piece of work that would continue to shape films for years to come. Technically, it is very impressive with the use of long tracking shots and some scenes with little sound, and terrific editing, that makes each moment feel like we’re on the hunt as much as everyone else. Its use of low lighting and shadows gives us what would inspire many noirs of the future. Our first introduction of the identity of the killer comes early and is through his reflection in a window, and his reasoning for being caught is a whistle that Lorre does, and then an “M” is marked on his back. Some of those simple but intentional choices make M a film that impressed and whose impact hasn’t been lessened since its release in 1931.

There’s a menacing unfurling of tension that’s a bold work of expressionism that utilizes every person and object in each scene. It makes its runtime full of taut and edgy moments.

Exceptional performances, packed with social commentary, M is a nail-biting thriller that is brought to life through its expert direction and techniques. A prime example of a must-see classic masterwork ahead of its time.

M is currently streaming on HBO Max

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

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.

Category: Film