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.
A group of friends out on Hallowe’en stumble upon an “extreme” haunted house which promises a real life nightmare. However, it soon becomes apparent that something is very wrong in this haunted house, this is one nightmare they won’t wake up from.
A kind of Halloween-cum-Saw-cum-Escape Room, this movie is in no way derivative or exploitative. It’s thrilling, disturbing and tense. I have to say, I haven’t enjoyed a horror this much for a while. From co-writer-director duo Scott Beck and Bryan Woods, the minds behind the wonderful A Quiet Place, you are in for a treat.
This kind of movie usually ends with a stapled-on plot twist which “explains” the motivations of the baddies, even though this ending never follows on logically from the movie itself. Ya know the kind of ending: “It turns out the baddie done it because (s)he’s mad with grief after his son killed himself with drugs as a result of depression caused by failing a single physics class paper set by his teacher — the mother of the protagonist!” On one hand, it was a relief not to have to deal with this kind of movie-ruining ending; on the other hand, the total lack of rhyme and reason for how, why, when the baddie did all of this stops the movie being five stars. There just is no reason or sense to why the baddies do what they do, how they were able to set up their elaborate trap, where our baddies came from, and why nobody have rumbled them before.
In the year 1922, a simple but proud farmer decides to murder his wife, with the help of his son, in order to seize her property before she divorces him.
She wanted to move to the city and open a hat shop, as you do; he wanted to undertake back-breaking labour in the scorching Summer sun harvesting corn, as you do; the son — caught in the middle — wanted to bang the next door neighbour’s daughter, as you do. So our farmer brutally slits his wife’s throat in her sleep with the help of his son, as you do. Compellingly portrayed, the story is told by our protagonist as a confession which is a nice framing device so we can see how living with his crime has affected him.
Adapted from the acclaimed Stephen King novella, 1922 is a well portrayed tale of what happens when you give in to your darker side. King is a wonderful writer, albeit not everyone’s cup of tea, yet everyone can agree that films based on his works are a decidedly mixed bunch: from the truly sublime (The Shawshank Redemption, Green Mile, Stand By Me) to the truly stupid (The Night Flier, Thinner). 1922 is no classic, but it’s no bum note, either. It’s a good story which has been adapted well.
King fans should definitely watch this. Those who like psychological horror and fans of true crime stories should also watch this. Those who don’t enjoy watching middle-aged men sip lemonade on their verandas whilst brooding on the nature of sin should skip this.
All in all, “enjoyable” — insofar as watching sin destroy a family is enjoyable.
On a small, isolated island, deadbeat Harry (Chris Sheffield) still lives with his self-professed only friend — his Dad, Tom (Neville Archambault). But Tom ain’t alright; he’s starting to display bizarre behaviour, such as blackouts, catatonia, and sleepwalking where he terrifyingly finds himself repeatedly on his boat in the middle of the sea, apparently drawn there by a malevolent force. What’s happening to Tom? And does it have anything to do with the dead animals that keep washing up on Block Island or the new windfarms? Harry needs to find out before Tom does something to harm himself — or his family.
The Block Island Sound is a disturbing slowburn that keeps you riveted; what is the mysterious source of Tom and the island’s malaise, and can it be reasoned with? And just how much of a threat does it pose to Tom and his family? The evil presence, if it’s even real, is reminiscent of works like The Tommyknockers and Honeymoon (long review, short review).
The Block Island Sound is a solid movie with great acting. Unlike other similarly mysterious films, BIS has a very clear, almost spoonfed conclusion which kind of turns the whole film on its head. I’m not sure whether it qualifies as a “twist”, rather it just gives a different viewpoint, a new set of glasses through which to view the film. This ending, combined with the frankly horrifying nightly appearances to Harry of Tom, and the magnificent sound design, push this film from being a solid and memorable movie into being something a little extra, a little special.
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.