Strangers carpooling together across Italy get stranded in the woods and stalked by an evil presence and must fight tooth and nail to get out in one piece. As one of our characters remarks, “It’s like the set-up of a classic horror movie.”
A Classic Horror Movie, ironically, won’t go down as a classic horror movie. Indeed, it doesn’t even have the storyline of a classic horror movie. It does feel eerily familiar, however, with hints of Evil Dead, Saw, and Cabin in the Woods thrown in. The spooky house in the woods (another classic horror trope) was well-designed and very unsettling. What the movie sometimes lacks in acting it makes up for in atmos.
A suspenseful and gruesome flick with a wonderful post-credits sequence which is just perfect. However, it thinks it’s a bit cleverer than it actually is. Should be called A Classic Horror Story Medley.
Strange events and a murdered wife brings a motley collection of investigators — a cop, a doctor, and a paranormalogist — to this Buenos Aires neighbourhood to investigate. Will they get to the bottom of the case and stop this evil from spreading?
Terrified a.k.a. Aterrados is a disturbing horror film. It never allows you to get your bearings. And asides from a dodgy bit of special effects early on, the film is darkly creepy with a disturbing evil presence.
Unfortunately, the film’s apparently deliberate decision to have no character-based central narrative thrust or fixed protagonist makes it hard to get into and stay with this movie. The effect is that a bunch of weird and disturbing stuff is happening, but without any reason focus or point. It’s frankly hard to care about what happens.
Like much Argentine cinema, there is a great idea here, and some wonderful acting, direction, and film design, but a film that none-the-less is ultimately an unsatisfying mess that goes nowhere. No matter how good these other things are, if the central narrative doesn’t work, it’s game over for the film. Sadly.
A woman (Meera, Freida Pinto) starts a new life with her husband (Henry, Logan Marshall-Green: Tom Hardy’s American doppleganger) after overcoming a bleak cancer prognosis in the dream house that he designed and built. But when they fall victim to a home invasion and robbery, Meera’s newfound sense of security is left shattered.
Intrusion plays the old “vulnerable wife, is the husband too-good-to-be-true?” angle quite well, although I could see where the film was going quite early on. None-the-less, this felt like an episode of Columbo: the excitement wasn’t so much in whodunnit, as we could guess quite early on, but howdunnit and whydunnit — although it must be said that the film didn’t quite deliver on the why.
Somewhat trite, somewhat staid, Intrusion was none-the-less capably written, effectively directed, and well acted. An entertaining Friday night flick.
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.
In last roll of the dice, a desperate family moves from their village to the city. They hoped their dreams would come true, but their new flat is a house out of their worst nightmares.
Fairly generic stuff: bad stuff happens in the apartment many years before, new family get short shrift from the ghost(s) of the fallen, experts in spookology get drafted in to help fix it, the shit generally hits the fan. So far so standard. But the acting, especially from Iván Marcos (paterfamilias Manolo), is powerful: broad-shouldered, literally and metaphorically, but broken, we can still just about glimpse the young and raw buck that Candela (Bea Segura) fell in love with. The film is deeply atmospheric with great use of all tropes.
The best generic horror movie for a while. But it is deeply generic.
A terminally ill mother boards a transatlantic flight with her son to get specialist medical treatment overseas. However, when the plane is hijacked by a group of terrorists, she is forced to take action and do something she hoped she’d never have to do.
Blood Red Sky is a fairly standard hijacker flick but with a horror movie twist. The horror spin gives the film something extra, but the basic hijacker story is thrillingly acted and directed.
Mother and child are played well by Peri Baumeister (Nadja) and Carl Anton Koch (Elias), but the movie is frankly stolen by supporting acts Kais Setti (Farid) and mesmeric Alexander Scheer (Eightball).
The movie plays slightly better if you don’t know the nature of Nadja’s mystery illness before watching it. Sadly, all of the publicity spills the beans. None-the-less, the film is still very entertaining. A slightly unoriginal story whisks us along in the wake of its taut hijacking.
Agoraphobic divorcee Anna Fox (Amy Adams) is increasingly losing touch with reality, most of her days are spent staring out of her window and spying on her neighbours. But one day she witnesses her next door neighbour, and sole friend, Jane Russell (Julianne Moore) murdered in her own house. However, when the police check it out, it turns out that her neighbour is well and alive, but is not the woman that Anna knows (Jennifer Jason Leigh).
Is Anna crazy, or is there a cover-up afoot? The Woman in the Window is a thrilling mystery crime drama. Off-kilter performances and direction with several twists.
There is a vaguely Scream-esque aspect to the final reveal, but done straight-faced. That’s not necessarily a good thing. Other aspects of the film are slightly derivative. None-the-less, the movie was well acted, logically scripted, and compellingly directed.
A really good movie, albeit one which underuses its wonderful cast.
Álvaro (Javier Gutiérrez) is a worn-out notary who harbours dreams of becoming a successful writer of high literature and is thoroughly tired of people constantly going on about his successful wife Amanda’s (María Leon) latest novel. “Writing about what you know” doesn’t yield great results when you’re a boring clerk, so Alvaro decides to cause conflict in his own life and the life of those around him in the hope that this will bring better results.
The Motive a.k.a. El Autor (‘The Author’) is a slow-moving, delicate yet thrilling character study. Beautifully portrayed by sociopath-on-demand Javier Gutiérrez (see The Occupant), we can see the cogs turning in Álvaro’s brain by the slightest pause or flicker of the eyes. Gutiérrez brings everything to this highly believable portrayal.
The script, based on Javier Cercas’ 1987 novella, is highly believable. But despite its strengths, this film will not to be everyone’s tastes. There isn’t a lot of “action”, but there is a lot of scheming. Nonetheless, a fantastic movie.
A nurse struggling to overcome a recent tragedy starts work at a rundown hospital where an evil presence menace the young wards under her charge.
Fragile features a measured and convincing performance from Calista Flockhart. Sadly, her co-stars don’t quite convince, especially Elena Anaya (nurse Helen) and mandatory mental kid Maggie, Yasmin Murphy.
The story was fairly generic, but none-the-less decently constructed. It’s just that this is something we’ve seen many times before. None-the-less, the “abandoned” part of the hospital has a believably thick and creepy atmosphere, highly believable, and this kept us watching (more-or-less).
Not bad stuff at all, but subpar and fairly forgettable. Better execution from all players and the special effects department is what Flockhart deserved for her performance.