An evil begins to plague barman Will (Armie Hammer) after he picks up a mobile phone left behind by people on a night out.
The second picture from writer-director Babak Anvari, all fans of his debut Under the Shadow[short review] will know what to expect: a nerve-shredding slowburn with atmosphere in buckets. The sound design played a big part in the terror (just like in his debut feature). The performances from our leads Arnie Hammer and his on-screen wife Carrie (Dakota Johnson) are highly believable. I felt sucked into the world of this increasingly burnt out down-and-outer as his life spirals to the gutter.
And if you are a fan of Under the Shadow [long review] you will know what else to expect: a film that collapses after Act One. Just as Under the Shadow was all set-up, never really delivering on its promise, Wounds also gives us a lot of hope for an immense film, but just goes nowhere. Despite being involved in the world in front of me, I realised we were forty-five minutes in and we were still at the set-up, five minute mark in a normal film. Worse than this overly long set up, there is no properly developed Act Two, no finale, and the film just goes nowhere. Nothing is tied up nor made to make sense. For example, Carrie is increasingly being affected by the evil, mesmerised by a truly disturbing portal, but that plot thread sadly goes nowhere; how can that be?? Some hail this type of thing this as ‘open-ended and subtle’, but it really isn’t. It’s the sign of a filmmaker self-indulgently (although understandably) revelling in the world he’s created instead of doing something with the world he’s created.
Anvari is clearly a talented filmmaker with a unique and disturbing vision. However, I strongly suggest he not take screenwriting duties for the next movie. Sure, we all want to be singer-songwriter, but some folks just aren’t cut out for it (see: David Gilmore). Likewise, Anvari should get a writer on board who can fulfil his undoubtedly powerful and frightening vision. I look forward to experiencing that picture.
Strong on atmosphere, light on plot, vacant of ending.
Thomas Richardson (Dan Stevens) goes undercover on a dangerous mission to the isolated island of Erisden where his sister is being held hostage by a wild religious cult. The task is not easy; the island’s magnetic leader Malcolm (Michael Sheen) is becoming increasingly paranoid, and the island is ruled by a kind of religious police who control people’s actions and movements.
Apostle is an original film. It portrays the cult-village believably. Part Meet the Amish, part The Village, part penal colony in 1905, the egos of the main characters are believably presented. The cult itself is increasingly bizarre and it turns out there may be truth to the mysterious preachings of their prophet Malcolm. None-the-less, the supernatural aspects of the film are secondary to the psychology.
Good performances from all. A believable cult, a convincing community, a bizarre but original supernatural secret at the heart of the island, Apostle is a really good film. However, the full-on gore and body horror aspect might be too much for those expecting a period drama.
Writer-Director Gareth Evans reminds of a Welsh Neil Marshall, a rising star to watch, for sure.
A group of young scammers go around “cleansing ghosts” from haunted houses much to the emotional comfort of their clients and the financial comfort of themselves. However, the fun and games stop when one of their clients houses actually is haunted and our young leads discover a secret about themselves that they hadn’t bargained for.
Malevolent is a simple film: haunted house in the country with hidden secrets and a group of unprepared wallies who stumble into it. The film is actually very linear and moves forward and concludes in a straight line. It left me wanting more, a little development. None-the-less, it was entertaining with convincing performances from rising star Florence Pugh and Olivier award-winning Celia Imrie. The loan shark plot thread hung loose a little for me, however.