Fréwaka (Review)

Writer/ Director: Aislinn Clarke
Cast: Clare Moonelly, Bríd Ní Neachtain, Aleksandra Bystrzhitskaya, Clare Barrett
Year: 2024
Min: 103

Shortly after the suicide of her estranged mother, Shoo (Clare Monnelly), a young in-home care worker, is assigned to care for an elderly shut-in named Peig (Brid Ni Neachtain). This old lady lives in a secluded town in the Irish countryside. She is also hard to care for, being untrusting of Shoo and generally paranoid. On top of her off fears, there is her weird beliefs. But, as they spend more time together, they grow closer. Eventually, Shoo, who is dealing with her own trauma, begins to think that maybe Peig's fears of those she wishes to keep from coming in the house, might, in fact, be very real.

Fréwaka is a supernatural/ folk horror film and the second feature from writer/ director Aislinn (The Devil's Doorway) Clarke. From the beginning prologue and the suicide that follows it, the movie sets up a very uneasy feeling. The fact that the flick is shot mostly in the Gaelic language adds to this foreboding feeling. 

While, the pacing is slow the apprehensiveness of it helps to carry the movie throughout its running time. This is compounded by a continuous undercurrent of malevolence. The excellent sound design further adds to this helping the flick to get even more under your skin. I also really like the movie's use of religious imagery which make them come off as especially spine-chilling. Another key factor is its very somber tone tone.  Combine this all with it's use of past trauma and abuse, and  the flick manages to stay with you. 

I do have to say that there is over reliance on typical tropes. For example, the phone reception sucks. You have other circumstances (covered up mirrors, creepy villagers, etc.) that you expect in a movie like this. This makes it sometimes feel as if it over relies on these motifs. However, for the most part these things don't really deter from film. They are incorporated into the plot, and their use, however typical they maybe, are well done. They help to add to the compelling and involving mystery. 

The acting is very strong, especially from the two leads. Clare Monnelly is very likable and believable as Shoo. Brid Ni Neachtain is also great Peig. Her character is complex and feels very real (within the context of this story, anyways). And, as we get to know her, she too is very likable. I also really appreciated the way their relationship develops as the story moves along. It is credible and becomes filled with heart and pathos as we get closer to the climax. The scene between them in Peig's bedroom is an especially good example of this. As, it is a touching and heartbreaking study in PTSD. 

 
Another factor helping the flick is that Clarke really does a good directing job. This is especially true of certain scenes that are really nicely shot. She also does a strong job with the movie's climax. As it is one that odd and yet intense and compelling. This, in turn, leads to the nightmarish and bone chilling ending. 

Fréwaka is a well done supernatural, folk-horror film. It may use a lot of overdone tropes, but the compellingly mysterious plot overturns this. The acting, especially from our two leads, is great. While, certainly a slow burn, it builds up nicely, ending on a chilling note. The movie, itself, remains unsettling and haunting from beginning to that just mentioned ending. It starts streaming on Shudder on April 25, 2025, as part of their "Halfway to Halloween" programming. Be sure to check it out then.

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The Demon Disorder (Review)

Director: Steven Boyle
Writers: Steve Boyle, Toby Osborne
Cast: Charles Cottier, Dirk Hunter, John Noble, Christian Willis, Liam Wallace, Tobie Webster,
Year: 2024
Min: 85

Graham (Christian Willis) has been estranged from his two other brothers, Jake (Dirk Hunter) and Phillip (Charles Cottier). This happened after dealing with the seemingly demonic possession, mental deterioration, and eventual passing on of their father (John Noble). He now works at his garage where he is helped out by a girl named Cole (Tobie Webster). Suddenly one day, Jake appears at said garage looking for Graham's help. Their younger brother Phillip is now showing similar behavior to that of their dad. Graham doesn't want anything to do with this, until he sees Phillip's behavior for himself. Reluctantly, at first, he decides to see what can be to help his brother, as he deteriorates mentally and increasingly horrific things occur.

The Demon Disorder is a 2024 Australian body horror meets demonic possession genre movie. It also adds heavy elements of familial drama. This is all filtered through a slow burn feel and style. The result works but in varying degrees.

The movie definitely starts in a manner that catches one's attention. It has this great tracking shot into an old, shitty looking house. After a nightmare scene, we see a skinless, bloody pig, that has to be put out of its misery. But, as I said this a slow burn. So after these scenes, the movie's pacing comes down quite a bit. I actually hate to say the following (especially considering how I ultimately felt about this flick), but, at first, I felt a little bored with it. 

Another complaint, I initially had, is that it feels like we have been here before. What with the brothers arguing, in particular, over the fact that Graham left. It really felt like a typical trope a movie like this might take. However, it is setting up characters and their relationships, which as the film advances adds to the dramatic tension. These elements ultimately contribute heart to the proceedings, which is so important to the story being told. That all being said, I wasn't very keen on the jump scares, many of which just made me roll my eyes.

Still, after the one hour mark, the movie finally picks up. It is here that that said slow burn, finally pays off. In this last act, it builds and builds and gets better and better as it moves along. In fact, once the cops show up, it gets really exciting and turns into a wild and messy good time. This actually feels like a great pay off to what were the slower first two acts. All of the preceding moments finally come together and everything clicks. Plus, there is a cool and fun twist as to what is possessing Phillip.

That being said, it is the acting that is the movie's most consistently good quality. The cast all provide excellent and believable performances. This is of utmost important in a movie whose cast is really of a limited size. The two leads playing Graham (Willis) and Jake (Hunter) are particularly strong in their acting. Their interactions are, as I alluded to before, the central part of the plot. I also like that aside from the obvious The Exorcist influence, it also takes some elements from Alien and The Thing, in the monster aspect of it all. 

The practical FX are, for the most part, excellent. About twenty minutes in, we get what is, up and until that point, the best part. This being a scene that has some great bladder FX, as well as the puking up of a crawling, hideous slug, like thing. I should also give a trigger warning, as lots of prosthetic chickens get killed throughout the film. Gonzo from the Muppets, best keep Camilla as far away as he can from this place! Anyway, the demonic beast FX are truly great! There are some weird and hideous looking monsters. And, as a monster lover, I couldn't be happier than when it suddenly became a creature feature. Plus, the body horror aspect of it all, lends itself to some great gross-out visual terrors.

You know, for a movie that starts off kinda slow and generic, it really does turn into a solid watching experience. The last thirty minutes or so are really wild and fun. The acting, by its limited cast, is excellent, with character and dramatic interactions that ultimately do payoff. It also has solid and gooey/ gross practical FX. Plus. I love that we get some monsters in this, cuz Lord knows I love me some cool looking creatures. In all, The Demon Disorder is an uneven but, nonetheless, good time to be had. One that will leave you feeling pleased after its over. And, you will be able to experience that, when it begins streaming on Shudder on September 6, 2024.

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Leave (Review)

Director: Alex Herron
Writer: Thomas Moldestad
Cast: Alicia von Rittberg, Herman Tømmeraas, Stig R. Amdam, Ellen Dorrit Petersen, Morten Holst
Min: 106

A baby, wrapped in a blanket with satanic symbols (I'm sure some of you will probably be wondering where to get one of your own!) and wearing an inverted cross necklace, is found by a cop. Cut to the present, where she is now a young woman named Cecilia (Ellen Dorrit Petersen). She wants to discover who are parents are, and why she was abandoned as a newborn. This is somehow connected to a black metal band, and, so, she heads to Norway (cause of course, it would be Norway!) to find out the truth. But, she lies to her adopted father telling him that she is headed to the college campus and dorm that she will be attending. In Norway, she meets a friend and, soon afterwards, the family of her mother Anna (Maria Alm Norell) and discovers that her dad had killed her mother. And, that he then set a church on fire with her body in it. But, the deeper she delves into what happened the more terrifying and dangerous the truth becomes, from evil that maybe supernatural or, perhaps, very much human.

Leave is a dramatic, horror/ mystery with an American and Norwegian cast. It is director Alex Herron's first feature film, though he has directed for TV. This allowed him to work on specials on hard rock and metal acts like the Deftones, BabyMetal, and Architects and festivals like Bloodstock, making him a solid choice to direct a movie that deals with this genre of music.  Shot in Norway this slow burn takes the heavy metal horror movie in a more serious and dramatic take than some of its more campy brethren. And, while it doesn't do this as wonderfully as say The Devil's Candy, I still quite quite like the way it deals with the subject matter. But, in reality, while metal serves as a start-off point there is actually oh so much more to this movie. 

I also need to mention that I absolutely loved the opening credits. With their newspaper headlines mentioning fire and black metal, they do a great job of grabbing your attention. The framing of shots within the flick help to give it a great look. Then, there is the excellent score by Jamie Christopherson, which is actually one of my favorite aspects of the flick. It is both haunting and beautiful.

While it deals with metal, or more specifically Norwegian black metal, it does so in non-condescending manner. This isn't something I wasn't expecting at first, but as a fan of this music, I ended up being pleasantly surprised. It also deals with women's roles in patriarchal societies, family connections, and religion. Though to go into any of these themes further is to spoil the movie, so I will just say that they are dealt with well and add depth to the proceedings. Another plus to the flick is that it has quite a bit of heart to it. 

The plot definitely takes its time to unfold. Some may even be a bit bored with it, at some points. But, I actually found myself invested in the mystery and like our heroine, I wanted to learnt the truth. This pays off, because at about the 1:07 mark, shit really starts to pick up. Once the truth begins to unravel, you will find yourself fully sucked into what is occuring. And, thankfully I found the revelations to be satisfying and well executed. The tense and suspenseful climax is great and had my heart pumping blood and my fists tightly clenched. It also had me absoluting hating the villain(s) and cheering for his/ their demise. 

The flick is also aided by some strong acting and good characterizations. This is especially true of our protagonist Cecilia. Played by the talented and lovely Ellen Dorrit Petersen, she comes off as super likable and believable. She is introduced in a that we immediately see how sweet and down to earth she is. Within only a few moments you know enough to be and, ultimately stay, on her side all the way to the ending. The characters of those she meets from her biological mom's side seemingly come off as sweet, but you can tell something is off adding to the intrigue. Among them is her cousin who is quite the dick, and you'll wish you could punch the fuck out.

As a slow-burn, Leave definitely takes its time to get going. But, the mystery is involving and has a satisfactory resolution and revelation to it. I found the climax to be nail-biting and very well done. It's a mature and serious heavy metal/ horror flick that deals with black metal in an excellent manner. Though, to be fair metal only plays one part in the story. Beyond that, it has deeper themes, such as religion, than you might expect. Also unexpected, but ultimately welcomed, is the amount of heart that it has. It's also further helped by good directing and a beautiful score. Finally, the acting is solid, with Petersen playing a very likable lead. It begins to streaming on Shudder on March 17, 2023, so be sure to catch it then!

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Spoonful of Sugar (Review)

Director: Mercedes Bryce Morgan 
Writer: Leah Saint Marie
Cast: Morgan Skylar, Kat Foster, Myko Olivier, Danilo Crovetti, Keith Powell, Laura Coover
Year: 2022
Min: 94

Millicent (Morgan Skylar) is a pretty but disturbed babysitter, who is doing a thesis on kids with severe allergies. This works perfectly with her taking on a sitting gig for Johnny (Danilo Corvetti) a mute, little boy who is allergic to every fucking thing under the sun and then some. To protect himself he, spends all his time dressed like an astronaut. His parents, as good looking as they maybe, aren't exactly shining examples of normality. But, then neither is Johnny, who on top of everything else, also has a violent streak, especially when it comes to his mother (Kat Foster), as well as having dead rabbits in the backyard. Meanwhile, Millicent, who is addicted to LSD, develops a thing a for the hubby (Myko Olivier), causing her sexualilty to awaken. She also wishes to be mommy to little Johnny. They both begin to form a bond, that doesn't exactly sit well with his mom, to say the very least.

Spoonful of Sugar is a psychological horror film from director Mercedes Bryce Morgan. It's a complicated character and familial study; that takes a look at the dark side of humanity and mental illness. It's also a messed up flick, in the best possible way. One that can be seen like a more morally ambiguous, complex, and, at times, more sexualizied version of The Hand that Rocks the Cradle. But, even this is oversimplifying it. For you see the film appears to be one thing, only to be oh so much more as it advances.

Morgan does a phenomenal job with her directing. She sets up the mood pretty much from the get-go. The movie contains shots that are beautifully framed. This is achieved through the use of the lighting, which is has a stunning use of brightness and shadow. I also love the way she is able to bring to life the LSD inspired hallucinations in ways that are beautiful, nightmarish, and uncomfortable. 

The movie also, thanks to the excellent script from Leah Saint Marie, managed to have me intrigued very early on. The flick is slow moving but remains fascinating, throughout its runtime. It even managed to make think "What the fuck?!", which is no mean feat. It's a gloriously unnerving time that leads to a goddamn amazing climax. And, then there is that ending, which to put it quite simply is fucking great!

And, Jesus Christ are the characters in this film ever fucked up! They showcase a world of broken, and in some cases twisted, minds and personalities. Even when you think this one is normal, nope no such thing. These characters are brought to life thanks to some truly excellent acting from the entire cast. 

At its core, though, is Morgan Saylor's Millicent. She gives what is an early candidate for breakout performance of the year. One feels sympathy, even concern for her, well until we don't. She has a great way of going from sweet to sexy to intimidating. All of which Saylor effortlessly pulls off and brings to life. As the mother of Johnny, Rebecca, the absolutely gorgeous Kat Foster, also gives an amazing performance. A put upon and unstable mom and wife, Rebecca is a frustrated woman. I may not like her as a character, but there are moments I can understand her. All while, I'm still thinking "She is so fucked up!", which is honestly in keeping with many of this film's themes.

Spoonful of Sugar is lead by some truly spectacular acting, especially from its two female leads. In fact, Saylor gives the kind of star making performance that is award worthy. The flick looks gorgeous thanks to exceptional filmmaking and directing. Seemingly being one thing, only to become something, it has a rich and complex script. It's a film that is an alternately disturbing, haunting, sexy, and above all engrossing time. The absolutely smashing climax and powerful ending help to elevate the quality even higher. It is a complex and messed up indie movie that needs to be seen, which you will be able to do when it begins to streaming exclusively on Shudder on March 2, 2023.

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Dark Glasses (Review)

Director: Dario Argento
Writers: Dario Argento, Franco Ferrini
Cast: Ilenia Pastorelli, Asia Argento, Andrea Zhang, Andrea Gherpelli, Mario Pirrello
Year: 2022
Min: 86

A vicious serial killer has been killing call girls and prostitutes, including a brutal slaying early in the film. Diana (llenia Pastorelli) is a call girl, who manages to escape said killer. But, in doing so is involved in a car crash with an Asian family of three. From them, the father ends up dead, the mom in critical condition and a coma, and the little boy, Chin (Xinyu Zhang) gets sent to a orphanage. Diana goes to visit him and gives the kid what looks like a Nintendo Switch. He, then, runs away from the orphanage and asks Diana to let him stay with her. She accepts, but the killer has turned his attention to her. He wants to finish what he started and kill her.

Dark Glasses (Occhiali Neri) is Dario Argento (here directing and co-writing along with Franco Ferrini) first movie since his wretched Dracula 3D. Admit ably Argento's film output has been hit or miss post-Opera, with the vast majority being huge misses. Which is a shame because Argento is one of the genre's true masters, and, at the end of day, my favorite director. While, it never reaches the greatness of say Suspiria (1977) or Opera (1987), it is his finest flick since The Stendhal Syndrome (1996). In short, I am happy to proclaim that Dark Glasses is, for the most part, a return to form for the master. 

The film's opening kill is a spectacular way to setup the movie's killer, and is the most Argento feeling scene he has made in years. It's a brutal garroting that is gorily realistic. Frequent Argento collaborator Sergio (Demons 1&2, The Church, Opera) Stivaletti provides the excellent gore effects, which also include throat ripping and stabbings. On top of the bloodletting there is also a bit of topless nudity from our lovely lead star.

Argento manages to add some legitimate suspense to the film, keeping it very involving. His direction, coupled with the excellent editing and driving score, makes the car chase scene exciting and leads to a violent crash. Even the cheesy snake attack in the water comes off as fun, rather than being groan inducing like say the giant praying mantis in the aforementioned Dracula 3D. In fact, this scene actually feels like the type of wild fun one wants in an Italian horror flick. The movie leads into a tense and great climax that had me cheering. 

Argento also keeps the flick looking good throughout. Now, I must say that there isn't as much stylistic flourishes as his older work. But, we still get some really beautiful wide shots and bird's eye views. The flashbacks and dream sequences use the color red, actually recalling his work on Suspiria. One aspect that has long been missing from Argento's recent work is a great score. Thankfully, this movie corrects that. The soundtrack handled by Arnaud Rebotini and is driving as well as being really catchy.

But, what is most surprising is the amount of heart that this movie has. I really love the relationship between Diana and Chin. Of course, it helps that both of them are great in their roles. Chin is that rare kid in genre movies that is very likable, as little Andrea Zhang does some great work here in his role. Ilenia Pastorelli is especially good in the lead role of Diana. She is obviously sexy and gorgeous but is also a strong, independent character with a good soul. Coupled with Pastorelli's acting talent, it really gives us one of my favorite female lead roles of 2022. Meanwhile, the always welcomed and stunning Asia Argento has a very likable role as Rita, an instructor for the blind.

Some might not appreciate the more syrupy feel, but I think it makes the suspense payoff better. Plus, we get a great doggy heroine in Nerea, Diana's brave and beautiful seeing-eye dog. She ranks right alongside of Sarii from the awesome Predator prequel Prey, making this year a great year for horror hero puppers. Honestly, if I had seen this earlier, she would easily have made my recent list of The 10 Greatest Good Doggies in Horror Movies. And, who doesn't love a great movie dog? I wouldn't wanna meet the person who doesn't anyway.

Dark Glasses is an involving and entertaining return for Argento. Thanks in large part to the acting of Pastorelli and Zhang as Diana and Chin, respectively. Their sweet relationship of surrogate mother and child adds a loving feeling and soul, that helps to make the film more riveting. Rebotini's awesome and driving score is another pleasing factor, especially as an Argento fan. The good looking flick has a couple of good, stylistic moments, as well being very suspenseful and having a climax that me cheer from my seat. This solidly made film actually makes me once again care for a new Argento project. You can experience this joy when the movie premieres in New York City and Los Angeles on October 7, 2022, then starts streaming exclusively on Shudder on the 13th of this same month. 

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Who Invited Them (Review)

Writer/ Director: Duncan Birmingham
Cast: Perry Mattfeld, Timothy Granaderos, Ryan Hansen, Melissa Tang, Matthew Kimbrough
Year: 2022
Min: 81

Adam (Ryan Hansen) and his wife Margo (Melissa Tang) are having a house warming for their fancy new home. After everyone else leaves one couple consisting of Tom (Timothy Granaderos) and Sasha (Perry Mattfeld), which no one invited or bought with them, stick around. They say that they are their wealthy neighbors and admit to crashing the party. The two couple have drinks, do coke, and basically have a fun, wild night. But, it's a long night, and as the proceedings escalate, things begin to get worse and worse.

Who Invited Them is a horror/ thriller that looks to try something new with the home invasion trope. And, while the way the couple do the home invading is a slight bit different than the usual offerings, the end result isn't all it's cracked up to be. It certainly starts off feeling like it'll be a fun movie. And, while it is a slow burn it doesn't feel boring, at first. But, note I said, at first, as the movie drags its ass to get where we know it was going from the get go. There is a moment where it feels like it is getting intense, and then it slows down again. 

There is also a pointless subplot where a friend couple of Adam and Margo are babysitting their little son. Said kid is suffering from nightmares, and he doesn't have his plushie. The wife of this couple spends her time driving around looking for our protagonists' house. She's lost and can't find it. Any and every time it cuts back to this, it made me feel irritated. As it quite frankly doesn't add tension or suspense, it's simply fucking annoying.

The twist/ revelation about the party crashers, which we all fucking know what it'll be, takes forever to happen. And, needless to say, it isn't shocking or intense or memorable. As a matter of fact, once it comes; it all but kills this flick. For fuck's sake, it's in the title and the goddamn trailer! Although, then the climax happens, and it looks like everything is coming alive and getting exciting. Only to get get one final nail in its coffin, as we end on an open ending. This finale isn't creepy, disturbing, deep, or thought provoking. It is simply frustrating.

To the flick's advantage, it is well acted. But, the two male leads, played by Ryan Hansen and Timothy Granaderos, come off as douchebags, and note one of these, Hansen, is the supposed good guy. This would be OK, if Melissa Tang's character of Margo was likable, but she comes off as not particularly interesting. The absolutely gorgeous Perry (In the Dark) Mattfeld is great as Sasha, though. She comes off as sexy, seductive, dangerous, and interesting, and is the best thing about this movie. But, that's not enough to save it. Still, the four leads do have good chemistry together, but if you don't like anyone why would you care about what happens?

Who Invited Them has some great acting and a fairly interesting setup. Unfortunately it takes too long for the secret or twist or whatever you want to call it to reveal itself. Even though we all fucking know what it is from the very beginning. The characters aren't particularly likeable, this is especially true of both males who are total douchebags. Mattfeld is great and easily the best thing in the movie, but she's definitely not enough to save it. The open ending kills whatever little hope the climax had given me. This film is a total missed opportunity as it could have been at least good fun and an intense horror/ thriller. But, in all honesty it ends up being tiresome and infuriating, making you feel like you wasted your time watching it. That all being said you can check it out for yourself when it starts streaming on Shudder on September 1, 2022.

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Boris Karloff: The Man Behind the Monster (Review)

Director: Thomas Hamilton
Writers: Thomas Hamilton, Ron MacCloskey
Cast: Peter Bogdanovich, Ron Pearlman, Guillermo del Toro, Sara Karloff, Stephanie Powers
Year: 2021
Min: 99

This 2021 autobiographical documentary is about horror legend Boris Karloff's life and, in particular, his career. In the pre-credits, it mentions and talks about the later part of his career: IE Mario Bava's classic anthology Black Sabbath, The Grinch Who Stole Christmas, and Peter Bogdanovich's Targets. From there it goes back in time, into his early work discussing his breakthrough role in James Whales' Frankenstein and his follow-up role in The Mummy. It is from here that we go into his rough upbringing and journey into his acting career, including his involvement with SAG, and his following roles, right into his passing. 

Throughout its running time there are some great interviews with experts and legends on the genre and Karloff, as well as those who knew and/ or worked with him. Those interviewed include, but are not limited to David J. Skall, John Landis, Guillermo del Toro, Karloff's daughter Sara Karloff, Joe Dante, and many more. These interviews are informative, entertaining, and loving in nature. And, to be honest, I could listen to guys like Skall, del Toro, Landis, and Dante talk horror movies all day long!

Learning that he had a rough childhood, thanks to his father who was abusive to him and his mother, was wholly new information to me. In fact, I knew nothing about his pre-Hollywood days, till watching this douc. But, then there are many fascinating facts that are revealed both through interviews and the excellent narration. The documentary is never boring and always feels like you are learning something new about this legend or basking in the glorious admiration so many rightfully have for him. 

A couple of moments even hit me and really warmed my heart, as in when the late, great Dick Miller (a cult horror legend and favorite in his own right) talking about working with him in Roger Corman's The Terror. Corman, himself, appears, and as is the case with any interview with him, provides truthful and insightful facts about movie productions. In this case being in reference to the aforementioned The Terror and the preceding flick The Raven, both of which, of course, featured Karloff.

Other captivating moments include the scene where Karloff, as the monster, throws the little girl into the water in Frankenstein. I knew the scene was cut back then but didn't know the exact details. And, I certainly didn't know Karloff's thoughts on this classic moment in the genre. Later we have various interviewees discussing one of my favorite movies of Karloff' and Bela Lugosi's career, The Black Cat. They mention its boundary pushing subject matters of Satanism and necrophilia. 

Then there is talk of the struggle Karloff had finding work in the early days of the horror hating Hays Code. As well as, his work for horror producer Val Lewton, and so many more great moments. In fact, the discussion on the the three Lewton movies is extensive and fully engrossing. And, finally, as a long time convention goer, the part where his daughter Sara Karloff speaks of meeting fans and seeing and hearing their love for her father, is a truly touching highlight all its own.

It's also great to hear how TV airing classic horror movies revitalized his career the 50s and 60s . We learn that thanks to this, he got to do a lot of television roles and appearances and a string of movies in this later part of his life. Among these include the beloved Targets, highlighted by an interview with its director Peter Bogdanovich. His words on the making of it are inciteful and captivating. The fact that he so recently passed away makes this interview with the legendary and respected director that much more memorable. 

Boris Karloff: The Man Behind the Monster is a wonderful, informative and, above all, affectionate documentary. It serves as both a testament to Karloff's incredible body of work and as a loving tribute to him. The interviews speak with a great amount of deserved reverence and admiration for him and his movies and roles. The facts revealed are illuminating and fascinating. The docu, itself, is never, not even for a split second, boring, as it is always entertaining watch. As such, its an absolute must watch for fans of Karloff and classic horror, in general. The documentary also ranks as one of the finest, utterly enjoyable, and perhaps most heartwarming ones on horror movies. You'll be able to see it and enjoy it yourself, when it begins streaming on Shudder on January 27, 2022.

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Seance (Review)

Writer/ Director: Simon Barrett 
Cast: Suki Waterhouse, Madison Beaty, Inanna Sarkis, Ella-Rae Smith, Stephanie Sy, Djouliet Amara
Year: 2021
Min: 92

At a prestigious all girl academy, a clique of girls, led by the popular and mean Alice (Inanna Sarkis), attempt a séance to contact the spirt of a girl named Edelvine. She was a former student who, according to urban legend, committed suicide. But, the séance, itself, ends up being a prank that they are playing on their classmate Kerrie (Megan Best). She subsequently runs away, and ends up falling out the window of her dorm room and dying. A new student named Camille Meadows (Suki Waterhouse) takes Kerrie's place and moves into her dorm, where she eventually notices ghostly shit happening. She also quickly befriends Helina (Ella-Rae Smith), who had shown her the dorm room, upon her arrival. Camille also runs afoul of the same group of girls, from the beginning, and gets into a fist fight with them. This leads to all of these girls getting detention, together. There, they attempt yet another séance, this time to contact Kerrie. And, soon, there after, one by one, the girls get taken out by an unseen force.  

Seance is a 2021 horror movie that marks the directorial debut of You're Next and The Guest screenwriter Simon Barrett, who also wrote this script. It mixes the ghost/ haunted house movie with some slasher elements, as well as a heavy dose of mystery. This mix of subgenres ends up working well and makes for an overall enjoyable, viewing experience.

At first, the movie doesn't feel very original. It follows many of the tropes and clichés of the ghost/ supernatural horror flick. Fuck, it even has some really annoying jump scares that, for the most part, don't work. Although, to be fair, a few of them do hit their mark. Still, the movie is certainly never boring and keeps one entertained on one level or another. 

It also succeeding in keeping me interested enough to keep watching and not wanting to stop the movie. Yes, I realize it is my duty to watch the whole flick, as I am reviewing it. But, I actually cared and wanted to, as opposed to having forcing myself. Through his directing and script, Barrett manages to keep the mystery interesting, even when it might not feel wholly original. Watching this you might think that it is the same old shit that you've seen a million times before. However, you should still do yourself a favor and keeping viewing it. You see, the flick has one hell of a payoff, as it leads to a fun and thrilling climax. At this point, the film suddenly becomes quite sanguinary, which is something I wasn't expecting at all. 

Barrett was, I feel, knowingly playing with these tropes and expected plot developments. It achieves in making you think it is yet another crappy and generic haunted house (err, school) flick, only to come out swinging and end up being a shit load of fun. Seeds are planted sporadically in the movie, hinting at it being a little more than the expected, including an exciting and nicely shot kill scene involving dancing and throat slitting. 

The acting from the cast is really strong. It's one of the aspects that really helps to elevate the movie's quality. Especially good in her role is beautiful, British actress Suki (Pride and Prejudice and Zombies) Waterhouse, as lead protagonist Camille. Her character is very likable and easy to get behind, which is a great thing since most of the other girls are far too bitchy and mean to be likable. That being said, the actresses portraying them do a very good job with their characters. The only other truly likable character is that of Helina, the girl she befriends. Well played by the lovely Ella-Ray Smith, she is bought to life in a believable and charming manner. The young ladies in this flick are all beautiful. And, yes, I realize that isn't important to the flick's quality, but it most certainly doesn't hurt it.

Another plus is the film's solid score, handled by Tobias Vethake (here credited as Sicker Man). It further contributes to raising the bar on this movie. For example, the opening scene feels pretty generic but is elevated by the somber score. There are some beautiful tracks contained within the movie, an even some John Carpenter influence, in at least one track, further adding to my enjoyment of it. 

Seance looks to be a been there, done that flick that one should discard. But, if you stick with it, you will enjoy it. The end result is actually an entertaining, good time, that you'll want to check out. The climax is exciting and rousing, as well as featuring a shocking uptick in the gore content. Also, strong is the acting, especially from leading lady Waterhouse. Add, in a great score, and you have a movie that far surpassed my expectations. It's a very pleasant surprise that you will be able to enjoy for yourself, when it starts streaming on Shudder on Wednesday, September 29, 2021.

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Superhost (Review)

 

Writer/ Director: Brandon Christenson
Cast: Sara Canning, Osric Chau, Gracie Gillam, Barbara Crampton
Year: 2021
Min: 83

Teddy (Osric Chau) and Claire (Sara Canning) are a couple who run their own travel vlog named Superhost. They have been losing viewers as of late and need to get their numbers back up. The latest place they are staying at and reviewing seems awesome and gorgeous. It is run by Rebecca (Gracie Gillam), who is eager for a good review from the duo. She seems nice, though very eccentric at first. But, it becomes clearer and clearer that she is insane, and the couple's lives are suddenly very much in danger. 

Superhost is a 2021 horror/ thriller with slasher elements from writer/ director Brandon (Z) Christenson. The movie throws in some found footage along with the more traditional third person camera perspective. It also has a great sense of humor, that is sometimes deliciously dark. On top of all of this, the film also serves as a pitch-perfect parody of vloggers, while still achieving some wonderfully creepy moments.

Christenson is at the top of his directing game. You can see this from the very get-go, with a nice little title scene that effectively sets up the movie. The vlog scenes feel, look, and sound like something you see on Youtube. This includes the whole "like and subscribe" line, which we have heard and seen a thousand times over. As he proved in "Z", he is very apt at having a creepy tone. A great example of this are the shots of our antagonist appearing at nighttime. He also very effectively uses his camera framing and movement to further enhance the movie's mood and feel. 

At a brisk 83 minutes it is very well paced and is always a great time to be had. The flick very effectively mixes the hilarious with the suspenseful. There are some really funny moments in the movie and others that are unquestionably filled with tension. It also doesn't fuck once it really gets going and has a killer and absolutely smashing climax. The ending is the perfect one for this film, making it end on a very high note.

There is a real fun attitude and feel to the flick, thanks in large part to the small but excellent cast. They really bring the strong script by Christenson to life, sucking you right into the story. Osric Chau and Sara Canning are very likeable as the couple. There is a real grounded feeling to their relationship, which makes them highly relatable. Genre legend and all around goddess Barbara (Re-Animator, Jakob's Wife) Crampton is awesome in her small, but actually pivotal role of Vera, a former superhost with a grudge of her own. But, it is Gracie Gillam's Rebecca that really steals the show. She is effortlessly both creepy and likable, many times being both in the same scene. In some ways, she is equivalent to a sort of female version of Norman Bates or The Stepfather, a character both likable and scary. Though, she is admit ably more fun or funny than either of two, classic psychopaths. 

Another aspect I really liked was the score by Blitz//Berlin (Psycho Goreman, The Void). The ominous music combines nicely and fittingly with the excellent cinematography, handled by Clayton ("Z") Moore. A great example of this is the aforementioned opening which made me recall The Shining. The superb music also does a nice job of setting up foreboding moments in the movie. 

Superhost is an incredibly fun horror/ thriller with some great, sometimes dark humor and is among the year's best. It manages to keep its tonal shifts flawlessly mixing the fun and the funny with the intense and creepy. The small but excellent cast really deliver the goods. But, it is Gilliam's Rebecca that truly shines and comes off as the horror villain of 2021. And, honestly, by the excellent ending, I was demanding more of her! The climax that proceeds it is suspenseful, shocking, and violent. Working also as a parody of vlogging, this winner works on multiple levels. You can catch it when it starts streaming exclusively on Shudder on September 2, 2021.

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