Film – Page 2 – Wonderfully Weird & Horrifying

Spooktober 22, Day 27: The Night Eats the World

Posted on October 27, 2022October 28, 2022 by Kstrouse

Alright, beasties. It’s that spooky time of year again. For this edition of Spooktober, 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 spooky.

Somehow, we are already on Day 27! I’ve been trying to be as different with my choices as possible because if there’s one truth to horror, it’s that the stories and potential for imagination are near, limitless.

The subgenre of zombie films is a commonly revisited one, and the ones that stand out are usually saying something new. The Night Eats the World (wonderful title) concentrates less on the gore when considering elements of surviving a zombie apocalypse, and instead leans into one man’s journey through the isolation and the danger that lurks outside.

The film starts with musician Sam (Anders Danielsen Lie) visiting his ex while she’s having a party in hopes to get some of his things back. When he passes out in one of the rooms he wakes up to find the place empty with blood everywhere. When he makes it outside he realizes that overnight a zombie apocalypse has occurred forcing him to survive on his own. Dominique Rocher creates a movie that focuses on both the unimaginable horror of an event like this, with the imaginable fear of being alone.

A minimalist approach to storytelling when it comes to flesh-eating monsters, Sam is mostly the only character on the screen once things happen. He finds ways to pass the time and keep his sanity, but his loneliness is abundant. A trapped zombie named Alfred (Denis Lavant) provides him some “company” but for the most part, we see the film take its time and we get to know Sam.

In some ways, it may sound like it would be a slog, and perhaps for action junkies it could, but it’s genuinely compelling. I found myself intrigued watching him be methodical about collecting survival gear or building musical instruments out of random items. That’s not to say there aren’t at least a few encounters with some bloody chompers, but the horror of the film instead is wrapped around a convincing character study and his internal and external struggles.

The Night Ate the World is unhurried, thought-provoking, and features an absorbing performance from Anders Danielsen Lie to make something new out of an aged premise.

The Night Ate the World is currently streaming on AMC+

Spooktober 22, Day 26: Barbarian

Posted on October 26, 2022November 9, 2022 by Kstrouse

One of my most anticipated films of the year has finally arrived digitally and I was able to experience the unforgettable, and one of the more creative of the 2022 horrors: Barbarian.

It’s always smart to use an aspect of the current climate as fodder for scares, and in the day and age where Airbnb’s are commonly booked, it’s got its finger right on our pulse. And yes, Barbarian ratches up our heart rates.

Could there be something worse than booking a house for the night only to arrive and have it already occupied by another? Well, yes, yes there certainly is, which we will get to, but even that is terrifying in and of itself.

When Tess (Georgina Campbell) arrives it’s late, pouring rain and she just wants to settle in. But, the key isn’t in the lockbox and the person she booked with isn’t answering. Then a light comes on, and opening the door is Keith (Bill Skarsgård) who also paid and secured the room on a different, similar site.

The predicament has Tess on edge, rightfully so, and she almost leaves and finds somewhere else to stay. Maybe it’s Keith’s charm or the fact that he has an answer or solution, for all of her concerns, but she ends up staying the night with her in the bedroom and him on the couch.

There’s most definitely an element played up here that keeps the audience on edge, suspecting, unsure who we can trust or what is happening, but just accepting the truth that this is most definitely going to get dark. The two have a great rapport, and bond over some wine, and there’s even a sense that maybe these two could have a real connection. If, they both have a future that is.

The next day’s light shows the neighborhood in Detroit that she’s in is completely dilapidated, with this being the only home still standing. Coincidence? Not likely.

AJ (Justin Long) is an actor in LA that seems to be on top of the world until he’s accused of rape by a coworker. His life quickly unravels and his finances dwindle so he heads to Detroit to liquidate a property he owns. Can you guess which one? When he arrives and notices that it looks like someone has been staying there (or two) he investigates.

I’m not going to give much more plot detail than that, but I will say that there’s something sinister that resides below. Georgina Campbell, Bill Skarsgård, and Justin Long are all fantastic. Long despite being a rather dislikable tool at times, is absolutely hilarious (he always is) adding some lovely humor to color this grim, strange story with occasional laughter.

Writer/director Zach Cregger employs a lot of misdirection and ensures that Barbarian is quite surprising at every turn.

Certainly, Barbarian is one of our best treats this spooky season with ample mystery and pure entertainment value. It’s what you’re looking for, even if you don’t know quite what that entails, but the set design, acting, and perverse, disturbing twists, make Barbarian a worthwhile discovery. Just bring a flashlight.

Barbarian is currently streaming on HBO Max

Spooktober 22, Day 25: Cat’s Eye

Posted on October 25, 2022November 6, 2022 by Kstrouse

Stephen King rocks. If you don’t already know this, somehow, I’m happy to consistently remind you.

The anthology film Cat’s Eye is one of those lesser-known King ventures, despite him having penned the screenplay (his first solo) based on two of his own short stories (both from Night Shift), and one new one. This screams King in all the ways you may expect, and others, well, they may just surprise you.

It follows three stories linked through a cat, and it’s chock full of Easter eggs and is darkly hilarious. It feels a lot like Creepshow but somehow gets significantly less traction. Lewis Teague directs the interestingly offbeat breed of storytelling that is Cat’s Eye.

The first story stars James Woods about a man who signs up for a service to help him quit smoking, but the terms…well, they may require quite the sacrifice. It’s got a wicked burn this one, and Woods is perfect in the role. It is my favorite of the three and starts the movie with a bang.

Next, our kitty companion takes us to a wealthy man’s (Kenneth McMillan) own twisted vengeful obsession with gambling to new heights when he bets his wife’s lover won’t make it around the building on a tiny ledge. While I feel it’s the weakest, it’s still wildly entertaining.

Finally, we visit a young girl (Drew Barrymore) who is being tormented by a small troll in her walls. It’s delightfully campy with a tricky little creature that doesn’t want to let up, and a girl no one believes. But the troll is cute, he’s got bells on his hat like a court jester and just wants to suck the life out of children!

Cat’s Eye is pure, bizarre camp with just the right amount of Stephen King’s signature terror.

Cat’s Eye is currently streaming on HBO Max

Spooktober 22, Day 24: Carnival of Souls

Posted on October 24, 2022October 28, 2022 by Kstrouse

The alienating feeling begins swiftly and remains wrapped around Herk Harvey’s 1962 film Carnival of Soul until its final scene. This isn’t a movie that thrives on visual scares, but instead, the effects of trauma, psychological peril, and the sense that you’re misplaced.

That’s not to say the film isn’t creepy, it’s just delivered in a way where the fear is read in the eyes of our lead, and in the well of loneliness, you see in her tears.

Mary Henry (Candace Hilligoss) is the only survivor of a horrible car accident. She tries to put it behind her and start anew, getting a job as a church organist, and settling into a boarding house in Salt Lake City. Soon though, she is haunted by visions of a man, and other disruptions that begin to unravel her grip on reality. She’s also fascinated with the site of an old carnival pavilion as if something is pulling her towards it.

Carnival of Souls is definitely eerier than it is scary, made on a small budget, without any of the more pushy aesthetics or violence that so often accompanies the genre. Here it works, though it wouldn’t be surprising to find that some viewers think it tedious. For me, the 80 minutes went by in a flurry, and I can see how this paved the way for many films to follow (one, in particular, I won’t mention because it spoils the twist). I love tracing the inspirations in horror throughout the beginning of the film. Each time I discover a new one it’s like coloring in the picture a bit more.

Carnival of Souls isn’t a complete stunner for me (though damn close) but it’s a resonating, effective piece of work that nudges those feelings of lonesomeness we often face with a moody, nightmare-tinged quality.

Carnival of Souls is currently streaming on Amazon Prime

Spooktober 22, Day 23: Cat People (1982)

Posted on October 23, 2022October 30, 2022 by Kstrouse

Alright, beasties. It’s that spooky time of year again. For this edition of Spooktober, 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, lists, audio, or video may also exist. I hope you’ll enjoy it and remember: stay spooky.

Earlier in the month, I saw the first Cat People, loved it, and covered it for Spooktober. Forty years later we got another Cat People, this time directed by Paul Schrader which is wildly different. Of course, I had to watch it, and now that I have, I feel compelled to write about it.

source: Image Entertainment Inc., MCA/Universal Pictures

Irena (Nastassja Kinski) has just arrived in New Orleans, meeting up with her brother Paul (Malcolm McDowell) who she hasn’t seen since they were kids. The film doesn’t really touch on where she’s been after their parent’s death, more than a brief dialogue, but it isn’t entirely necessary. This movie has some supernatural teeth and it doesn’t waste time before biting.

When a woman is attacked by a black leopard, it is then trapped in a hotel room and local zoo employees including zoologist Oliver Yates (John Heard), and Alice (Annette O’Toole) come to take it in. They bring the leopard to their zoo, and Irena finds herself drawn to it, where she also meets Oliver, who she falls in love with.

If you know the story at all, you’ll know that being intimate with another triggers the shape-shifting ability in an uncontrollable, bloodthirsty fashion. Something her brother Paul knows a lot about.

There are some callbacks to the original, including the diner and pool scene, with similar bones and ideas but warped into something weird and feral. It’s sexy, it’s sensual, and it’s strangely intoxicating. I found myself mesmerized at times by the texture of it, the horror, and the magic of watching Natassja Kinski, who is truly captivating. It also has some genuinely creepy scenes.

I totally dug how charged the movie felt, from its opening gorgeous scene to its end. Throughout the film we hear the music from David Bowie’s Cat People track, but not until the final shot do we get to experience it, and hear him belt out the lyrics.

I can see why some people may not love this version, and I try not to compare it negatively to the original, which holds its own in unique but varied ways. If the 1942 version was our quiet intro, the 1982 one is the loud, controversial counterpart. More violent and extroverted than its predecessor this is less thought-provoking, but more visceral.

Paul Schrader makes this movie his own and I found it to be intoxicating, strange, and at times horrific- a reimagining served with a side of mysticism that is certainly never dull.

Cat People is currently streaming on the Criterion Channel.

Spooktober 22, Day 22: The Eyes of My Mother

Posted on October 22, 2022October 23, 2022 by Kstrouse

Chilling. That’s the first word that comes to mind with writer/director Nicolas Pesce‘s The Eyes of My Mother.

A tragedy occurs and breaks up a family’s quiet, happy life. Young Francisca (Olivia Bond) is taught by her mother about human anatomy, which sparks a keen curiosity in her, but also an acceptance of life and death. When she gets older Francisca’s (Kika Magalhaes) interest grows in disturbing ways. The film chronicles her transition in a compelling, and sickening manner.

The film is only an hour and 16 minutes, yet each minute is felt. It’s not said as a negative, it’s just so heavy that you carry each scene with you as you go. It’s one of the oddest, but honestly, most impressive horror films I have seen in a long time. It manages to completely capture you, unnerve you, but also entrance you.

In stark black and white, there’s a foreboding cloud hanging over, and yet it is beautifully shot. The music is subtle and many scenes are filled with silence. Kika Magalhaes is fantastic, and stoic for most of the film, with moments where her facade breaks and the trauma and emotions overwhelm her. The film primarily takes in one location, a farmhouse in the middle of nowhere, and in ways, it feels like another world: Francisca’s. With no connection to anyone and a loneliness that pervades, she’s always yearning for the family she once had. The cinematography by Zach Kuperstein is also exquisite, heightening the sense of isolation.

The Eyes of My Mother is really one of a kind. It has a presence that doesn’t disappear when the credits roll. Each scene is meticulously crafted, and it is one where the atmosphere lives in you. A unique directorial debut that shouldn’t be overlooked.

The Eyes of My Mother is currently streaming on HBO Max.

Spooktober 22, Day 21: Haxan

Posted on October 21, 2022October 28, 2022 by Kstrouse

What’s amazing about this 1922 film is that, well one: it was 100 years ago, and two: it’s giving lessons and reenactments, and they are, at times, more well-structured than some new embodiments of witches and lore since. It’s a common subject in the film be it horror or folklore, but there’s a reason. It is embedded in our history. I feel this prejudice against anything that seems off, weird, or not the “norm.” It’s a part of history that’s painful to see, which makes this both captivating and challenging.

In some ways, this is the most terrifying new (to me) film I’ve watched recently because its documentary style reminds us how things were perceived 100 years ago. For this much info to be compiled, about innocent people being persecuted, at that time, is disturbing to me. And honestly, while the witch trials ended, there are still a lot of connections and our own versions of it that show how much we have regressed. It’s a bit harrowing to see because it’s nonfiction and fiction at work, showing how dangerous people can be when they don’t understand something.

For its time the visuals are especially potent. Obviously utilizing practical effects, it seems realistic, and it is truly unique. The devil is especially menacing. It casts a spell on you and doesn’t let go.

My only gripe and this can sometimes happen with silent films, is the music used. Sometimes I feel it overcompensates and it’s not necessary, and it’s also not tonally connected to the images we are seeing on screen. Still, that’s a very limited aspect.

Benjamin Christensen’s Haxan is really a creepy wonder, a hybrid, an anomaly we don’t often get to experience. Stylish, informative, and ultimately, unforgettable.

Spooktober 22, Day 20: Thirst

Posted on October 20, 2022October 20, 2022 by Kstrouse

A well-known and beloved priest Sang-hyun (Song Kang-ho) is tired of seeing people perish from a deadly virus. In turn, he volunteers for an experimental procedure to find a cure, but doesn’t live through it. However, unbeknownst to anyone, the blood used in his transfusion is different and brings him back to life. It seems like a miracle, and perhaps, hope, that a cure is in their grasp. But soon, Sang-hyun finds himself changing. At first, it’s a stronger sense of smell, then its odd cravings, and then a sensitivity to sunlight. Bumps are appearing on his skin, and he seems to be getting weaker, until, he accepts the truth he’s been avoiding: he needs to drink blood.

Sang-hyun at heart is a very giving man, and he finds that he can “sip” from a comatose patient’s I.V without causing harm to anyone, or drawing attention. He frequently visits people in the hospital for prayer, so it’s a smart plan. This suffices for a time, but soon he notices other new urges, specifically when it comes to Tae-ju (Kim Ok-bin), the wife of his childhood friend, Kang-u (Shin Ha-kyun) who is stuck in an abusive family, and the desires he feels.

Directed by Park Chan-wook and co-written by Park Chan-wook and Jeong Seo-kyeong Thirst is a beautifully designed, sensual, and yet violent affair. The chemistry between the two leads is electric, and it makes for some sultry scenes. Their lust for each other, and also for blood, makes for an intriguing psychological, emotional and physical dance. The acting is terrific, and the direction and writing slick and compelling.

My only complaint, and its minimal, is its length. There are a few periods that stretch on longer than they probably need to, but ultimately, I also can’t think of what I’d possibly cut. Thirst has ample amounts of style too, and a script that touches on heady themes of temptation, faith, love, as well as what you’re giving up with immortality. Can your soul remain pure?

Heartbreaking, funny, sexy, disturbing, and even sweet at times, Thirst manages to be an intriguing rumination on vampires that stays afloat amid an ocean of its predecessors.

Spooktober 22, Day 19: Slither

Posted on October 19, 2022October 28, 2022 by Kstrouse

I remember the first time I tried describing this film to my parents as I recommended it for a watch. This sci-f/horror comedy is not an easy one to lay out with a straight face. It’s also not one that writer/director James Gunn may be precisely known for, but it is one that I immediately think of because I have fond and hilarious memories tied to it.

In the small quaint town of Wheelsy, something out of this world (a meteorite) has just landed in the woods.

Starla Grant (Elizabeth Banks) and Grant Grant (Michael Rooker), are married but struggling. One night, when with another woman, he comes across a strange substance in the woods, and it takes him over. From there, well, I’ll just say, hell hath landed.

Local sheriff Bill Pardy (Nathan Fillion), Stella’s past love, is at the forefront of investigating some strange behavior, but nobody could expect the grotesque truth that is waiting. What Grant is now, is something that wants to feed, and this small town is here for the picking.

Slither is a blast. It’s funny and absurd, disgusting and a slimy mess, but really gives homage to the B horror movies of the past. I’d recognize this as a cult film for sure because it is so over the top and uses its inspirations wisely. Some of the edits mixed with music are just the kind of horror comedy I look for. As the creature that was once Grant Grant grows (and inherits a sort of hive mind), so does the ridiculous plot, ensuring, at the very least, some laughs.

Everyone involved is enjoying themselves, and some of the jokes and remarks about the outrageousness of the circumstances make it even more hilarious. Is it spectacular? No, but it is inventive in its own right. It also has some underlying themes of toxic masculinity and possessiveness. Michael Rooker is fantastically creepy, and the script never wavers from making each scene ripe with discomfort, before being followed by a laugh. Also, the practical effects are really worth a cheer.

Slither is inherently weird, and if that’s your sort of thing, and you want a film that doesn’t take itself too seriously, this is one hell of a time.

Spooktober 22, Day 18: The Loved Ones

Posted on October 18, 2022October 28, 2022 by Kstrouse

Sean Byrne‘s 2009 directorial debut The Loved Ones, may just be a low-key stroke of genius in the sense that it is uniquely horrifying, over-the-top, and darkly funny, all while being quite unique. It’s a low-budget, primarily one locale film, which allows its sadistic nature to feel claustrophobic too.

Lola (Robin McLeavy) wants her prom and she wants it her way. With the help of Daddy (John Brumpton), she’ll get it at any cost. However, her dates, including the newest Brent (Xavier Samuel), are in for a terrifying night.

When troubled and grieving high schooler Brent is asked by Lola to go to the prom and he declines (to go with girlfriend Holly Victoria Thaine), he’s kidnapped and brought to Lola’s home for their “special” night. This isn’t the first time she’s done this, and what unfolds is darker and sicker than you can imagine. Daddy, along with a lobotomized woman they call Bright Eyes is also there to celebrate the occasion.

What pushes this beyond a usual torture flick is not only the bizarre story, and the totally unhinged Lola, but its witty script. I won’t sugarcoat the fact that this film is utterly disturbing at times, as the acts portrayed are truly deranged. The addition of terrific sound design and a twisted villain in Robin McLeavy makes The Loved Ones nightmare fuel of a different sort.

It’s an impressive debut feature from Sean Byrne that is wildly entertaining even if you’re watching some sequences through splayed hands. The movie also bursts with color and music, showing the contrast between the bloody truth of the circumstances to the sadistic joy Lola gets from it over its brisk but energetic 84-minute runtime.

I like when movies are unexpectedly wicked, but also when they fully commit to their intentions. This was most definitely one of those occasions.

Some of the actions feel a bit repetitive, but through surprising and shocking turns, and dedicated performances The Loved Ones is a darkly comic, twisted horror gem.