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
Welcome to Cinematic Nightmare Candy. Providing your horror sweet toothits (hopefully) terrifying fix.
For me, as a lover of various genres, some of the most terrifying viewings are the ones that are based on true crimes. There are many real-life situations that have made me cringe, and curious and exploratory. Mostly, it’s the psychologically fascinated part of me that wonders, why? What happened? What caused this? Well, there are three recent cases to hit streaming for me to evaluate. Each of these had a lot of attention, and some tales were relatively unknown. Until now.
One I was very familiar with (The Staircase) but in the other cases, I was unaware. With all, I was able to scratch that itch for truth, and I was digging. Mostly. All three proved that true horror exists in the depiction of real-life monsters. For all three, go in blindfolded and wait until after if you’re someone who likes to do research, make your own assessment. Truth can be in the eye of the beholder. Yeah, it’s scary.
source: Hulu
Candy (Nick Antosca, Robin Veith)
While, personally, the most disappointing of the three series I’m about to cover, Candy, I’ll admit, has its disarming charm. I say this with a definitive level of ickiness because it leaves the ultimate bad taste, but the performances keep it engaging, and the fact that the main character is named Candy is very ironic. This is not the kind you want to try. This limited series has the makings of a shocking, strange real-life story, but ends up losing some of its flavors as it goes.
Sweet than Sour
Candy (Jessica Biel) seems like the perfect housewife, mother, and community member. She’s attentive to her children, and active in her local church all with a pleasantly deceiving demeanor. She and her husband Pat (Timothy Simons) embody the perfect 80s household.
Meanwhile, on the other side of things, Betty (Melanie Lynskey) is having a harder time. Her husband, Alan (Pablo Schreiber), is away a lot on business and her career has taken a sideline as she raises her kids. Betty seems like she is just trying to get through each day, even as she feels unseen, and the always fabulous Lynskey captures her pain with sincerity; the idea that Betty could just disappear at any time.
These two women seem extremely different but remain on a similar trajectory as they are both mothers and their paths are inevitably crossed as their daughters are close friends. What occurs on this particular day though, is one of speculation, and one that even by its end, never fully feels answered.
Each feels isolated in their own ways, but Betty’s character, doesn’t get as much exploration, but still feels more understood (mostly because of the talent at hand), By the end, I didn’t really feel I knew Candy or what exactly was going on inside her brain. It does feel like these are real women and not parodies, and that sensitivity helps ground this series. I just wish I knew them both more.
This five-part series starts with a bang when a visit to Betty’s for a simple and innocent purpose: to get a bathing suit for her daughter who stayed the night at Candy’s house, ends in a bloody and confusing event. We don’t know quite what has happened yet, but give it time. The series calculates its reveal purposely, shifting from the before, to the future, and even the eventual trial, as a way of illuminating what exactly happened. Turns out, this suburban housewife has her secrets.
Candy has a very exaggerated feel, especially in its waning final two episodes, but it doesn’t fully deliver on the real psychological element at the center. What makes someone who seems relatively level suddenly snap?
Something I loved about the series, besides the performances, was the 80s vibe. This includes the perms, home decor, and costumes. Undoubtedly conventional, Candy is a true-crime series that doesn’t break the mold. It’s a gruesome event that becomes an unspooling of “truths” as it turns into a courtroom procedural.
source: Hulu
Biel shines as the oppressed housewife, that we watch slowly become the opposite of what we and her small community know her to be. It’s a nearly unbelievable case, and the series handles this story with respect and care, which can be a slippery slope for many trying to recreate events as horrifying as this. Candy tells the story of two housewives, seething internally amid their unhappiness until one of them bubbles over. Is what really happened what is displayed in the trial?
Who can say?
Narratively the writers were able to give us sizeable portions to keep us sustained, and while the performances were terrific, I still remained hungry for more. I wanted to know what happened and what became of Candy enough to follow the breadcrumbs to its finale. But, overall it’s an intriguing project that doesn’t totally stick the landing. As always, it seems like things come in pairs (sometimes more) as it looks as though another series on HBO will follow this story as well. It’ll be interesting to see how that one goes.
Candy is currently streaming on Hulu
source: Hulu
Under the Banner of Heaven (Dustin Lance Black)
All of these series are packed full of star power, so it’s rightfully mentioned that the acting is never the issue.
Religion extremists can be some of the most terrifying portrayals of abuse of power, and a misconstruing of faith as a right to do horrific things. Much like within a true crime story, anyone who is an extremist, of any sort, is truly creepy.
When Brenda Lafferty (Daisy Edgar Jones) and her child are brutally murdered, the community is at a loss. The series starts with Detective Jeb Pyre (Andrew Garfield) a fellow Mormon who is investigating the heinous murder of a woman and her infant child. This happens in a generally Mormon community and its trajectory leads to an intro into some unfortunate and outlandish perspectives of the religion.
His partner Bill Taba (Gil Birmingham), doesn’t share his beliefs, and the two work concurrently to discover, the who, the why, and what has occurred. The biggest suspect? The husband Allen (Billy Howle), whose story seems plausible, and whose own family may be at the crux of the crime.
Under the Banner of Heaven is what a true-crime series should be (another from Hulu too) that’s not to say it didn’t have its faults, but it is aware of its own nature. I was intrigued and visibly disturbed from the opening murder to its ultimate truth. The show often traversed time and perspective giving us varying points of view ranging from early Mormon history to recent extremism and implied righteousness.
The story focuses on the Lafferty family, primarily: Ron (Sam Worthington), his wife Dianna (Denise Gough), Dan (Wyatt Russell), and his wife Matilda (Chloe Pirrie), Robin (Seth Numrich), Samuel (Rory Culkin), and many others. It focuses on this family in Utah, and the behavior and belief that separates many despite blood relations.
I am not to say what is true (I’m not knowledgeable enough in this religion, so I stake no claim) but I am coming from what is portrayed in this series. The truth is that people were murdered, and regardless of the reasonings, it’s a fact. Life was taken, and that’s a hard pill to swallow.
source: Hulu
Andrew Garfield is excellent in his performance as the lead, often facing scrutiny from his community for his involvement, but ultimately, always, heartfelt in his endeavor for justice.
The performances are truly spectacular, some of the cast were next to unrecognizable which made this series simultaneously easy to breathe in but excruciating to exhale. Not only does the show tackle the murder, and the ideals of some members of the Lafferty’s, but also the undeniable and discomforting imbalance within marriage and home (specifically the lack of voice a woman has).
There are some stretches when the show gets tangled up too much in its backstory and history. However, it is able to recover with a vast amount of in-depth characterization, and a focus on the struggle with faith, and the laws of man. It’s unique, even if it is something too detailed for its own good.
Under the Banner of Heaven is a riveting series, with an ambiance of a character-driven narrative, and a realistically horrifying tale, that makes this series ultimately hard to take. This is a tough watch, but it’s important. It’s done with deft hands and a creative perspective that makes you realize the dangers of fundamentalism.
Under the Banner of the Heaven is currently available on Hulu
source: HBO
The Staircase (Antonio Campos)
This is one of those cases that is quite well known and having seen the documentary, I was unsure if this would bring much more to the table. With a combination of stellar performances and intricately discerned dramatic retellings, The Staircase is another HBO hit. If there’s already been a documentary, what else can be said? Well, let’s see.
Author Michael Peterson’s (played here by Colin Firth) wife Kathleen (Toni Collette) died at the bottom of the staircase in their luxurious South Carolina home. There are a lot of potential motives for murder, many odd coincidences with his past, as well as some curious answers that seem like a freak occurrence. The fact that this series acts out all three, portrayed in painful realization from Collette, makes for a visceral experience. All of these seem reasonable in how the creators master it, and the performances included.
But, I Regress
What really happened? What’s interesting is the dive into all of the possibilities, regardless of how obtuse or unbelievable they are. To this day this hasn’t been a case truly tested. Much like the Paradise Lost series, another I’d suggest to anyone interested in true crime or a look at the justice, and injustice system, this is a perspective that varies. What really happened? Do we know? That particular case is one I’ve studied a lot, and while I have my hypothesis, you don’t really know. It’s one of the struggles. It is also one of the intrigues.
In this series the star power is palpable. The family is portrayed by a variety of talents including Margaret Ratliff (Sophie Turner) and sister Martha Ratliff (Odessa Young), Dane Dehaan as Clayton Peterson, and brother Todd Peterson (Patrick Schwarzenegger). Rosemarie DeWitt as Candace Zamperini sister of Kathleen, as well as Juliette Binoche as Sophie Broussard, and Parker Posey as Freda Black. It’s a powerful group of talent that makes the storytelling and direction influences that much more impactful.
With The Staircase, this is a dramatized version of a story that has already had hot headlines and a full documentary devoted to it. What’s intriguing here is that it capitalizes on terrific portrayals, and the differentiating “possibilities” and also includes the documentary with an almost meta feel.
source: HBO
The series takes place from the initial tragedy and then 15 years later as the case and family deal with this circumstance that most should never have to navigate. It’s at times a family drama, a courtroom experience, and a retelling of potential scenarios. In all ways, the show goes the distance. What I appreciated and also felt most empathetic for was the extended family and how they dealt with this trauma. This is a truly untenable event, and those involved dealt with it as best they could. Everybody involved gives it their all, and it dismisses any hesitancy that I had when I first heard that they were making this series.
I was waiting with bated breath for the finale, and while I enjoyed it, it made me realize that some of the episodes did sag a bit, and the momentum had faded. That’s not to say it takes away from the performances or the immense dedication a show based on a true story and a documentary while remaining unbias requires, I just felt it lingered longer than needed.
Something that The Staircase is terrific at is the real emotion and empathy displayed. This family goes through so much, and the death of Kathleen Peterson is one of those mysteries that so many feel unable to move on from. This doesn’t necessarily give any indication or insight, it merely paints a few of the scratched-away corners in color, allowing us to see more of what may have been. Truth or not? Who knows.
Kudos to the final shot, it was chilling.
The Staircase is available to stream on HBO
All three of these have their highs and lows, but none of them are without their curiosity. Isn’t that why many watch things such as this? Sometimes the most unbelievable is reality. Regardless, even with the amassed amount of talent through these three, Under the Banner of Heaven definitely felt the most comfortable in its shoes. And let’s be fair, none of these was anything more than adequately discomforting. This is reality dissected, diluted, and ugly.
Have you seen any of these? What are your thoughts? Let me know!
Created by Silka Luisa Shining Girls (based on the book by Lauren Beukes) follows the mind-bending reality of Kirby (Elisabeth Moss) as she tries to navigate life after a devastating near-death attack. This series, which may very well only be one season (or at least I hope) can be head-scratching, nearly anxiety-inducing at times, but remains an intriguing, immaculately performed story that interweaves sci-fi elements with real character-driven drama.
source: AppleTV+
In part, this series focuses on Kirby and her frequently changing reality. She takes notes each day reminding her of her place and where she is within this world as it shifts unexpectedly. One day her desk is moved; another it’s her apartment, her lifestyle, her hair, her pet – you name it. After surviving a nearly fatal attack, she becomes aware of a recent murder that may be connected to her assault. This starts her on an investigative hunt for the truth, and for the assailant, played with expertly portrayed malice, by Jamie Bell as the elusive Harper.
The show takes place in Chicago in the 90s and while there is an element of time travel, it also believably lives in the world of journalism at the Chicago Sun-Times. As someone who wanted to be a reporter, but after her attack worked in the archives, Kirby is a character that embodies a woman you root for. Moss, who has proved she can really portray any role, does it again with a performance that doesn’t leave anything behind.
The case grabs the attention of struggling writer, Dan (Wagner Moura) whose career has taken some hits after dealing with addiction. The two form a unique team, discovering many grisly murders that point to a serial killer. Shifting realities often derail Kirby, and she is an unreliable narrator at times, but one who is also committed to figuring out the connections with these deaths. There are a lot of plotlines at work here, one of which is a very enthralling murder mystery and a psychological thriller. Even though we know the who, early on, the why and the telling of the events takes time to be discovered.
Harper’s character is really, truly despicable. He doesn’t generate much empathy; a clear villain. Yet, and kudos to the writers and Bell’s performance, he’s quite curious. What are his motives? Even if we don’t get all of the answers, like the novel delivers more of, we can’t help but wonder about all of the questions.
source: AppleTV+
What’s ultimately frustrating but somehow simultaneously stimulating is the constant differing realities. This is where the science fiction aspect becomes especially prevalent. You feel as if you are with Kirby, understanding her confusion and her relentless perceptions of what her life is. She has all of her memories, but her surroundings and the people involved, including her mother Rachel (Amy Brenneman) and her sometimes husband Marcus (Chris Chalk) make for an overly sympathetic protagonist that truly captures the damage and struggle of someone dealing with a traumatic event. The supporting characters are as equally important as they present a level of both sustainable empathy and disconnect. Shining Girls is nothing if not a vestibule for contemplation. At times, you may feel on par with Kirby, unsure of what you are seeing.
A Mysterious Take On A Serial Killer
While most of the victims are already gone, there is one that can potentially be saved, with a riveting performance by Phillipa Soo as Jin-Sook. The relationship with her and Kirby is one I could have used more of, but it provides a sense (much like her and Dan, but varied) of recluse from her loneliness. The pain and healing of such an event can make someone feel like they are on an island, and we get to see Kirby’s resurgence which is (by its end) is as satisfying as you could hope for.
Shining Girls may not be for everyone. It is an acquired taste because, much like the lead, you’re traversing a difficult situation. The fact that this series personified this so definitively is admirable. Personally, it took me a couple of episodes, but then I was hooked.
There is a lot to potentially spoil, and I won’t. Much like many of this genre, the value is in the experience. It also is a series that earns your approval, your investment, and in its end, proves to be worthy of it. AppleTV+, I feel, has been a streaming service that has very rarely let me down. I’ve had several I’ve written about admirably here and on my other site (filminquiry.com) and some I haven’t but appreciated all the same.
source: AppleTV+
Shining Girls mixes investigative mystery with science fiction in a way that never feels exploitative and it gives a voice to trauma and an inventive story to boot; an avenue for imaginative storytelling that still somehow feels grounded. Come for the intrigue, stay for the performances; everyone is at the top of their game, and Elisabeth Moss, again, proves she is one of the best actresses on television.
A perplexing series with no shortage of hard-to-watch moments, Shining Girls is an enthralling, bold tale.
I dug it.
Shining Girls Season One is available to stream on AppleTV+.
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.
Outer Range is truly a curious concoction of vibes, and intentions. Josh Brolin is as disconnected as I have seen him, giving us a fully charged and gutted performance. In just the first episode alone, there’s a murder, a curious arrival of a stranger, battling ranches, and of course, a random black hole that has appeared on The Abbott Family ranch.
And, bonus, I have to say there is a very inquisitive Buffalo.
But let’s rewind back through the mysterious universe of this strangely fascinating, slow burn, familial drama/sci-fi.
On a big ranch in beautiful, sprawling Montana, Royal Abbott (Josh Brolin), his wife Cecilia (Lili Taylor), sons Rhett (Lewis Pullman), and Perry (Tom Pelphrey) along with Perry’s daughter Amy (Olive Elise Abercrombie) reside. Before the arrival of said murky, mysterious hole, the family already has their struggles. Perry’s wife Rebecca went missing, and no one knows where she is. Rhett wants to be a bull rider, but can’t seem to leave the family and its ranch behind. Then there’s Royal, who has a mysterious past that had him finding his way to the ranch as a child, his memory gone, and his family with it. Not to mention, the wealthy Tillerson’s, who want part of their land, specifically, the one that has a potential time traveling yawn at the center.
source: Amazon Studios
Autumn (Imogen Poots) arrives in a seemingly innocent fashion: she’s just looking for a place to stay, to put up her tent and not be a bother, specifically a place ripe with natural beauty. It doesn’t take long for Royal to become skeptical of her intentions, and for the two to become borderline adversaries. Their connection and disconnect are one of the most intriguing aspects of the series.
Over the course of season one of Outer Range, a lot happens. There are many subplots and moving parts, and not all of them get their full due. Every member of the Abbott family is dealing with new strifes, and then there are the others in this smaller community, who have their own hardships and motives.
Will Patton is Wayne Tillerson, patriarch of the family, and someone who has a unknown tie to this discovery. Not in the best health, his children, Billy (Noah Reid), Luke (Shaun Sipos), and Trevor (Matt Lauria) seem to be running things themselves. These two families are clearly rivals from the onset of the first episode, but there are also tattered threads within the Abbott family threatening to rip them apart. These two families have more in common than they realize, which makes for an interesting dynamic.
When Royal finds this unbelievable discovery he keeps it to himself, and he puts the burden on himself, therefore, pushing away his family. This, and the accidental death, creates a fissure within their home that continues to grow, thicker and more aggressive with time. Time, as it is, is incredibly important to the mythos of Outer Range, especially as the season continues. It’s this secret that manages to set each of the Abbotts on their own unique collision course.
Some of what intrigues me most about Outer Range is its unpretentious use of random plot devices. There are some scenes (for example one with Lili Taylor) that serve no reasonable purpose, at least not yet, and despite this, I was intrigued. I even relished those oddities.
This is a series of mysteries, first and foremost. Some are revealed by the finale, and some are still throbbing and pressuring as the expectation (and hope, here) for a second season mounts.
Let’s Talk About Poots
source: Amazon Studios
I’ve been a fan of Imogen Poots for a while. Whenever I see her listed in the cast, I’m elated. She’s one of those actresses that really aces every assignment she is given. In Outer Range her character is enigmatic, completely imperceptible, but also incredibly curious. Why is she so interested in this ranch? Who is she really, and what are her intentions? That investment and uncertainty makes for a plot line, in itself, that’s very riveting. I have my theories, but we will see what comes to fruition.
There are some killer supporting characters as well. Deputy Sheriff Joy (Tamara Podemski) as the local police who wants to win her quest for sheriff, but also needs to be under the thumb of the community’s elite to do so, specifically the Tillerson family. There is also Rhett’s childhood love, Maria Olivares (Isabel Arraiza), that has come back into his life. This provides a sweet romance in the corner of Outer Range, further capitalizing on its intricate paths. Each of these characters has a vital role in what is to come. Even if the expectation is uncertain.
Outer Range proves to be quite the rabbit hole. There are so many threads to follow, some more compelling than others, but they are all equally pointed. What is the significance of this find? Can Royal save his family? Who is Autumn, really?
source: Amazon Studios
The finale of Season One gives us tidbits of an explanation but mostly proves to encourage more questions than it does answers. With a story like this, I’m not surprised. While this series definitely takes its time, sometimes questioning your dedication, it ultimately made me engaged to a point where I was genuinely disappointed that I could not see where its narrative was headed. There are some gorgeous shots, wonderful sound design, and truly incredible acting performances. If not for anything else (and there is plenty), it should be viewed for its technological achievements.
Narratively, the show takes a concept that is a collaboration of ideas, making it one that stands out even when it is muddled. There were no episodes I saw where I wasn’t immediately invested in its next adventure.
Outer Range proves to be unique, alluring, and infinitely odd. This isn’t a negative. If anything, I applaud its approach to the unknown with a distinctive, massive anomaly that still takes a personal approach. This is human meets the mysterious in ample scope.
Outer Range season one is currently streaming on Amazon Prime
Wonderfully Weird & Horrifying 