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Review- Psycho Goreman

Psycho Goreman certainly lives up to its name, awash with vivacious color and bouncy characters ready to show you just how iconic a true to heart monster mashup is!

Director Steven Kostanski is known for his horror filmography, with awesome films racking up his eccentric genre authorship, including The Void, Leprechaun Returns and a segment in ABC’s of Death 2. Psycho Goreman truly encapsulates what Kostanski does best, showing normalized chaos in a fantastical world where the story shines just as much as the visuals. 

PG: Psycho Goreman' Acquired By RLJE Films & Shudder For 2020 Release –  Deadline

The film follows brother sister duo Mimi (Nita-Josee Hanna) and Luke (Owen Myre), as they unearth a mysterious glowing gem. At first nothing is too out of the ordinary, but later that night an extraterrestrial overlord is resurrected, who Mimi gleefully nicknames PG for short. Psycho Goreman reads just like a rad 1980s video game, equipped with shameless absurdity, an epic screenplay and a whopping great big creature to tie things up.

Without oversimplifying, the film at the heart is straightforward allowing for the amazing performances to shine with both Hanna and Myre’s sibling antics coming across as both hilarious and warming at the roots. This is what made the film stand out to me; too many love letters to obscure cinema of the 1980s eventually become muddled and confused in an attempt to create an entire cinematic universe in a 90 minute time frame. Psycho Goreman on the other hand is fully aware of its adventurous path and it fully explores that dark fantasy element that continuously appeals to viewers, without becoming too lengthy. 

Psycho Goreman Review - HeyUGuys

Accompanying this soon to be cult classic is Kostanski’s treatment of what is notoriously difficult to master in filmmaking, using kids as your main character in a horror film. The rule of ‘never work with children or animals’ seems to ring true for most, with child actors in horror being hard to perfect’, but the juxtaposition of a bestial creature aiming to take over the world whilst being controlled by menacing youths make for a delightfully ambitious watch.

The character of Mimi is unbelievably well written and embodies the role of a cheeky 12 year old with immense genuinity. Hanna is certainly set for an exciting career ahead. At one point we even see PG join Mimi and Luke in a rocking garage band session. And that’s my exact point, the entire film is fun, sporadic and completely ridiculous (but in a genius way). The thrashing dismissal to conform only furthers the charm, with Kostanski not falling into the typicality’s of these genre films. We usually see a towering destructive creature gradually evolve into their surroundings and lose their murderous urges; in short, do not expect the ordinary when it comes to Psycho Goreman. 

Review] 'Psycho Goreman' Puts Emphasis on Goofy Gory Fun - Bloody Disgusting

The film reminded me of classic B-movies, prominently The Toxic Avenger, Class of Nuke ‘Em High and Xtro, with a good dose of Rawhead Rex thrown into the mix. It’s action packed, booming with nostalgia and most importantly, the effects are dynamic and striking. PG’s appearance resembles almost anyone’s worst nightmare as he dons a molten coat, hiding effervescent cracks of glaring crimson. The creature design is impeccable, and most importantly they look like they came straight out of a wild game of Dungeons and Dragons; the whole regime of monster hierarchy mimics similarities to Hellraiser’s Cenobites (another favorite of mine!).

10 Reasons Why You Should Watch Psycho Goreman Right Now

The disavowment of high-brow entertainment basks in its ludicrousness, with Kostanski crafting a well formed comedic timing. Not only is this one of the most outlandish films I’ve seen this year, it’s also one of the most impressive, marking itself as an official hidden gem that I completely recommend.

Psycho Goreman is available now exclusively on Shudder.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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Review- Spiral: From the Book of Saw

“He could be anywhere, he could be anyone. We’re gonna tear this city apart”

Just like that Saw is revived. The Saw franchise has sorely embedded itself within modern horror instantaneously when James Wan and Leigh Whannell released the first segment in 2004. The series had reached a lull and drifted from its pioneering ways, with later instalments simply existing to test audiences’ gag reflexes, but could Darren Lynn Bousman’s Spiral sway the franchise back to its esteemed position? 

Bousman is no stranger to the world of Saw, with three previous installments under his belt. Joining him is Chris Rock who helms writing credits, as well as taking the lead as Detective Zeke Banks who reluctantly partners with rookie officer William Schenk (Max Winghella), as they race against the clock to solve a string of murders against the police force by a Jigsaw copycat.

Greeting Banks with more trouble is his tumultuous reputation within the force as his reputation has been plagued since he uncovered a dirty cop. Only tying the situation tighter is his estranged relationship with his police veteran father, Marcus Banks (Samuel L. Jackson). 

Persisting with the judicial rendition is a tempered story that loosely tackles a serious topic, police immorality. Such topics deserve a full backbone to thrive, but I believe that making a statement was not the goal, nevertheless the political basis could have profited off of a more rounded payoff if the bouncing clichés were not as blatant. Banks is divorced, rogue, and ridiculed, with a zealous newbie as a partner, which reads as a typical crime horror layout.

Nothing new here. Although we do not necessarily need a buzzing sub-plot of corruption for Spiral to have scored, possibly focusing less on factuating a sense of moral motive (similar to how Jigsaw targeted the ungrateful) and instead work on turning the attention towards the thrill would have helped avoidance of the negative criticism regarding a cluttered narrative. 

On a positive note, I fully appreciate that Bousman aims to reimagine the tale rather than just tell the same story in an alternative light. Let’s view this in lieu of franchise semantics, Spiral is not Saw IX, the actual subtitle is ‘From the Book of Saw’. Instead, Spiral simply takes a note out of Saw’s book, an ode, a dedication. Viewing Spiral as a spin-off resolves many issues that fans have raised. Take for example the bloody and brutal traps that Saw is known for, in Spiral they do not make a keen appearance.

No longer do we witness victims suffer from what seems like an endless prolonged death. That’s not to say that the new copycat is not as harsh, as although the traps are not suffocatingly graphic, they are all nearly impossible. Each trap is slightly tuned down when compared to the film’s previous reputation, yet the lack of exposed explicatives is not to be underestimated as I still winced at the sight of tongues being ripped off, melting faces, skinning, and a body being obliterated by a train. 

Conjoining the tension is an air of unease that Bousman brings to the table. With all types of cinema there is a certain sense of familiarity, a comfortable position where we know that despite hardships all will be resolved and the lead will get a happy ending. Spiral fortunately does not drift into the certain. Instead we are threatened with the fact that no one is off limits, seriously NO ONE. And its this infiltration of precariousness disavows us to tire entirely, no matter the viewer’s opinion. 

Chris Rock and Samuel L. Jackson’s performances are one of the most applauding features of Spiral. Their witty and dishevelled relationship is reminiscent of the buddy-cop genre, with a few back and forths forcing us to warm to their characters, despite obvious flaws. Not only did I actually care about their fates, I would have happily watched an entire cop drama with them two pairing as leads.

The on-screen partnering, combined with Spiral’s general thematics reminded me of 1990s crime thrillers, with Se7en (1995) immediately coming to mind. The mimicry to exhilarating police thrillers can be seen as a far bargain when we throw in the additional elements such as the above mentioned traps and the history of the Jigsaw killer that is frequently mentioned. However, Spiral is not entirely a plea to wake up an unkempt franchise, alternatively the film offers a bridge into horror for a new generation

Spiral has an instinctive drive for worming its way back to what made the early film’s so great, but with a contrasting guise. No longer will Saw continue as a hyper stylized, grungy gorefest with twists and turns pounding down as soon as the disequilibrium hits. Instead, the fresh take on a demented serial killer (arguable term) will breach out into a world of theatrical dramatics, heavily immersed with inner trauma and current topics. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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This week in horror – 14.05.21

The controversial 1970s film ‘Faces of Death’ set for a remake from Cam creators 

The 1978 mondo film Faces of Death set audiences roaring upon its release. Never had viewers come across such so-called ‘filth’, with the UK hastily adding it to the infamous Video Nasty list. Now, we have not only become rather desentized to such material, but often there is a keen rejoice in praising once-controversial films.

The remake will follow the original closely but with a modern spin; the story will follow a young woman whose job it is to moderate and cleanse an internet streaming site of obscene material, but she soon stumbles across a channel showcasing snuff films. It is now her responsibility to uncover whether these gruesome clips are genuine murders, or some amateurs attempting to gain online fame. The remake will see a reunion of Daniel Goldhaber and Isa Mazzei who collaborated together in another online-based horror, Cam (2018). 

1980s documentary series In Search of Darkness announces a Part III

In Search of Darkness brought together all things holy within the horror world; featuring the genre’s most beloved icons, including Caroline Williams, Tom Savini, Robert Englund, Bill Moseley, Doug Bradley, Barbra Crampton and Kane Hodder. After a successful Part II, which acted as a continuation of this 1980s extravaganza, it was announced that a third entry into this documentary series is in development.

The new doc brings about a whole new wave of excitement, as they are welcoming fans to contribute with an official tweet inviting 1980s horror aficionados to help the creators in what movies and topics they want covered. It was made clear from Part I that the four-hour long film would be entirely inclusive to all areas of the genre, with discussions ranging from cult classics to the more unknown films to come from this iconic era. 

Check out our review for In Search of Darkness Part II 

George A. Romero’s lost film ‘The Amusement Park’ is restored for a summer Shudder release 

Romero’s legacy has pioneered the genre, not only due to his revolutionary zombie films including Night of the Living Dead and Dawn of the Dead, but also due to his avid adventurous filmmaking that always manages to keep audiences on the edge of their seats. Shudder has released an official trailer for his supposed ‘lost’ film The Amusement Park which will finally get a wide release this summer.

Filmed in 1973 was one of Romero’s most underweighted and controversial films, with it not even garnering a release. The Lutheran Society had contacted Romero about making a film on ageism and elder abuse, however due to its gruesome content it was shelved for over 40 years. It had a miniscule premiere in 2018, but audiences will finally get to see what is known as one of the most ‘Romero-esque’ films he ever made. 

DC set to release horror comics centring around The Conjuring franchise

Comic book powerhouse ‘DC’ recently announced their latest project and new venture into the horror universe, The Conjuring comics. The new line of comics will attempt to reach further than their usual audiences by drawing in horror and thriller fans as new readers. The first issue titled The Conjuring: The Lover, will be released as a prelude to the upcoming film The Conjuring: The Devil Made Me Do It, and follows a young college student who is dealing with a bad romantic experience paired with poor grades and mounting pressures, however she soon feels an uneasy presence that is holding an evil power over her life.

As the first issue shows, the comics will follow a clear character-driven study, with the horror arising from emotional and personal issues. The limited series will help majorly set up the above mentioned third Conjuring movie, with writer David Leslie johnson-McGoldrick (The Conjuring 2) co-writing the first issue with Rex Ogle. 

John Carpenter and Sandy King Carpenter announces new podcast collaboration with Realm 

Horror legend John Carpenter has brought us classics such as Halloween, The Thing and They Live, and now an official three series podcast released via Realm. Carpenter will collaborate with his wife Sandy King Carpenter, who has acted as a script supervisor on multiple projects including, Sixteen Candles, Big Trouble in Little China and Prince of Darkness. Together they revealed that their three shows Roanoke Falls, Angels to Some and Furnace will have a scattered release with Roanoke Falls being released first in October this year, with the other two series being released in late 2022.

Details have remained tightly guarded, but what we do know is that each series will follow different areas of horror, ranging from serial killers and the paranormal to sci-fi frights.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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Review- Relic

Relic both devastates and captivates us all whilst establishing a rich environment made to heighten fear and immerse our intrigue. The 2020 Australian horror left its blemish across the virtual festival scene last year, with reviews storming in boasting its brilliance. Quite impressively this is Natalie Ericka James’ directorial debut, despite this, the film received almost immediate interest upon its pitching, with Jake Gyllenhaal serving as a producer. Relic’s buzz was imminent due to its pressing and at times daunting portrayal of decay, both physical and mental, paired with a haunting atmosphere that goes straight for the jugular. 

When Kay (Emily Mortimer) receives a call from police alerting her of her mother Edna’s (Robyn Nevin) disappearance, she packs her bags along with her daughter Sam (Bella Heathcote) to search their family home. They soon find the house withering away alongside multiple reminder notes scattered, hinting that Edna’s dementia has gotten worse. However, when she mysteriously returns as if nothing happened they soon get the feeling that something much more sinister is at play. 

Unfortunately, memory loss seen within elder people, particularly family, is a dreadful circumstance that many people find themselves dealing with. James understands that our reaction to horror is deeply personal, our own experiences and fears develop our reaction. The echoes of loss are as above mentioned dispersed across not just the characters but also the self.

We are presented with a haunted house story but are met with much more than doors closing on their own, strange whispers and ghostly figures. There is a rather surreal tonal element that James masters. In recent years horror cinema has matured. Although plenty of entertaining slashers and gory films remain popular, a good handful of films drift towards an art-house structure, using eerie environments and character-driven stories, with thanks being owed to Robert Eggers and Ari Aster with the likes of The Witch and Hereditary favouring dramatics over bloodshed. 

An element that I personally admired throughout Relic revolves around the looming sense of dread that both Mortimer and Heathcote portrayed so robustly. They perform with a cathartic drive that aims to accurately embody what our reactions would be in such a situation. I mentioned that Relic is an immersive experience, mainly due to the reality illustrated. We wouldn’t be able to feel compassion for their situation without genuity. We follow three generations, that’s multiple generations of baggage and experience, they all naturally have alternative responses to the situations, yet the roots remain the same. Relic has a reeling heart and soul, reminiscent of the gothic tales from Edgar Allen Poe and Heathcoat, Mortimer and Nevin soulfully handle an impassioned story with effective ease. 

Furthering the terror is the complicated setting. Similar to Kubrick’s The Shining, I noticed that the internals of the house are convoluted and seemingly never-ending. At least twelve different rooms are shown, and although the exterior boasts a lengthy space (thanks to cinematographer Charlie Sarroff’s work) the camera still endlessly weaves through this maze of a house, only exaggerating the inescapability of this haunted house.

It is disorientating and threatening to be alone in a big empty house in an already isolated environment, facilitating this even more is the immediacy of terror presented to us regarding the “coldness of the house”. Sam notes the copious amount of locks that Edna has installed as she remarks that someone has been breaking in and moving furniture, yet there is not a single trace left. The camera lingers on the still idleness across the empty rooms and hallways. However, the frames remain thriving with a presence of lingering life, visible or not; this awareness of spiritual manifestation blossoms through transcending visuals. 


Relic relishes in a simplistic disguise. There is no bountiful torture or dark humour (granted it is still entertaining). I applaud the mossy baroqueness that drifts throughout this slowburner. On the point of slowburner, although I sing its praises Relic certainly will not please every audience member, or at least at first.

Do not expect rapid twists and turns or countless jump scares; it’s a slow burner true to the bone. Relic aims to make a witness out of you, and to invite one to simply watch as the unease unravels. And for this very reason, I’m marking Relic as a must-see for anyone willing to bear a small ounce of patience in return for a big payoff.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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Review- Fried Barry

Warning: a few spoilers ahead…

Bashful, absurd, and full on chaotic is the aptest way to describe Ryan Krueger’s rising hit, Fried Barry. Describing trippy horror film’s as a sensory overload is nothing new, however I cannot stress enough that Krueger’s vision of an alien possession gone awry is anything but ordinary; in fact, good luck keeping a steady focus with forceful cinematics hitting you from every angle.

Fried Barry is a South African film streaming on Shudder and is based on Kreuger’s three-minute short from 2017, and is heavily improvised, with a traditional script being abandoned in favour of on the spot dialogue. 

We follow Barry (Gary Green), a grubby drug addict who after a string of highs is abducted by aliens. The extraterrestrial forces at play have free reign over Barry as they go on a wild night out in Cape Town. Plenty of sex, drugs, violence and mayhem takes centre stage in one of 2020’s most surprising films.

The neon drenched scenes take over the audience’s perception of conformity, whilst Cape Town transforms from a popular known destination to some sort of new dimension imitating a strange acid laden environment.

This foreign territory comes across as more alien than wherever these jovian creatures originated from. Barry is significantly outstanding in his role as a ridiculous caricature-esque being who at the stem is careless (even in serious circumstances), but I found his character to be so at home and warmed in this kaleidoscopic setting. Green is actually not a trained actor by profession, but instead a stuntman, making his performance extremely impressive in consideration. 

All of this praise over visuals is certainly not a case of ‘style over substance’. Personally speaking, although motive serves purpose in most films, it is not always necessary. Barry’s possession is a deep exploration into humankind, with all things weird and wacky embraced. It’s through his lack of control that we end up warming to his disillusion, he is not aware of his cruel behaviours and you understand the glimpses of his past self.

Through this a series of pinnacles become risen via creative filmmaking. We are witness to constant narrative contortions where we genuinely have no clue what’s going to happen next. This sporadic nature thrives throughout, with one rather memorable scene exhibiting Barry impregnating a prostitute, to which she immediately gives birth in a grotesquely excruciating scene. 

Kreuger’s direction is invasive, resulting in a strikingly seedy tale of innocent pandemonium. What Fried Barry accomplishes so well is the inherent nature of bringing Grand Guignol adventures back to the mainstream. The film fits right in with 1980s schlock, with a clear ode to oddball characters and rather testing sights.

We thrive with the obscene, which quite simply drips throughout the entire film. Alongside this is the lack of situational care, we see plenty of aggressive pimps, sign-wearing preachers, deluded asylum patients, nagging housewives and then we have Barry himself, a stereotypical substance abuser – There really is something to offend everyone.

I could easily compare Fried Barry to similarly eccentric films such as The Greasy Strangler (2016) and Bad Boy Bubby (1993), but in reality Kreuger has created an immensely unique and convoluted film that really is worth a watch.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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This week in horror – 07.05.21

Amazon Video pens new TV series based on the 1990s hit, I Know What You Did Last Summer 

1990s horror wouldn’t be the same without the writing talents of Kevin Williamson, who penned Scream, The Faculty and I Know What You Did Last Summer. As with any classic we are set to get a remake of Jim Gillespie and Williamson’s collaboration as Amazon Prime Video bravely begins early production stages. Following closely to the original 1997 slasher hit, we’ll see a bunch of teenagers in small town America battle a mysterious killer after one of their most deadliest late-night adventures leads to a fatal ending.

The series will be directed by Craig William Macnelli (Them, Channel Zero & The Twilight Zone) and stars Chrissie Fit (Picth Perfect), Madison Iseman (Annabelle Comes Home), and Brianne Tju (Scream: The TV Series). So far the series will follow a limited format, with only six episodes lined up, however with its already hyped reputation, we could possibly be seeing a major franchise revival of I Know What You Did Last Summer. 

One Cut of the Dead remake starts shooting 

In 2017 a relatively new director Shin’ichirō Ueda released One Cut of the Dead, a low-budget Zombie comedy. Little did the industry know that the film would go on to make over a thousand times its budget. The meta-parody flick zoomed across the horror world with a powerful force, as it went onto win several acclaimed awards. Now four years down the line French filmmaker Michel Hazanavicius (The Artist) directs the French-language remake of this Japanese hit.

Production has just begun rolling with an official cast finally being revealed; starring is Bérénice Bejo, Romain Duris, and Matilda Anna Ingrid Lutz (Revenge). Further details still remain quite hidden, but fans have speculated that this remake will be far from ordinary, with Hazanavicius bringing French extremism vibes to this Japanese rooted horror. Certainly an interesting combo…

Shudder’s May line-up revealed 

Shudder reveals quite the exciting line-up for this month’s schedule. Armed with a mix of older classics, and Shudder originals equals to a rather fan-pleasing month. New gems including the sci-go extraordinaire Fried Barry, Neil Marshall’s witchy haunt The Reckoning and the trippy Psycho Goreman will be released throughout May, with other genre essentials such as folk horror’s The Blood on Satan’s Claw and The Witchfinder General, as well as the very much underrated classics Def by Temptation and Black Roses. 

Dexter’s return is imminent as the first teaser trailer premieres

Ever since it’s 2006 release serial killer TV series Dexter has been nothing but a hit with audiences. Back in October, it was revealed that Michael C. Hall will return as the Jekyll and Hyde killer one more time with a ten-episode limited series premiering some time next year. The long-awaited revival’s trailer was released this week, which shows a snowy cabin setting with the camera backing to Dexter with a menacing grin, perhaps signaling that he’s been hiding all these years, preparing for his imminent return. 

First images revealed of the Children of the Corn reboot 

Stephen King’s 1997 short story has been adapted yet again. Kurt Wimmer’s take on evil children has already had a quiet release last year as it briefly played at two theatres, but the reboot is now set for a wide release later this year. Wimmer takes us down a less traditional route (in comparison to the other adaptions) as the film is primarily a prequel leading to the massacre situation that the story essentially follows.

The film will focus on how one young girl recruits the youth of the town to slay corrupt adults, but a hopeful high-schooler is not as easy to fool as the rest. Although the Children of the Corn franchise has spun several follow-up films, their success rate has rapidly descended with each release. However, the recent images that have circulated definitely show some promise, with a dark atmosphere, impressive cast, and a lingering sense of dread being very apparent. 

First look: Brand new images for new Saw film ‘Spiral’

Patient audiences finally get a sneak peek into the long-awaited ninth installment in one of modern horror’s most brutal franchises. The brand new images tease a brutal cat and mouse chase between the wicked Jigsaw and the brash detectives investigating a series of bloody and twisted murders. Although the series has gradually become slightly more slick and esteemed, Spiral promises that this new entry will be far from mundane, with one particular image graphically showing a torn open body strewn across train tracks! Spiral will be hitting theatres next week over in the States, however, here in the UK, we won’t have to wait long as Spiral premiers across the country in cinemas from the 17th of May. So, who’s booking their tickets?… 

New and exclusive trailer for Stranger Things season 4 

It has been nearly two years since season 3 of Stranger Things ended, and after such a long wait we have finally been granted a quick preview into the upcoming series. However, the eerie clip seemed to leave more questions than answers as we see Eleven (Milly Bobby Brown) back at Hawkins Laboratory with the creepy Dr. Brenner abusing her powers yet again. The climactic finale of season 3 left audiences shocked with the apparent death of beloved Chief Hopper, yet the new trailer does not reveal or tie up any of these loose ends that have left audiences quizzical for a while now. And it seems that the wait will only continue as earlier this year the proposed release date was postponed until further notice. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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This week in horror 02.05.21

Friday the 13th: The Game finally gets new patches 

Friday the 13th: The Game has been keeping both horror and gaming fans fueled since 2017. Creators have been battling with further developing the game as ongoing licensing issues have prevented brand new additions from being made. Yet, a little loophole allows players to still play online. To keep the old content fresh developers have done a series of patches to create a better playing experience. New features include fixing max safe zones, alterations to combat teleportation, spawn issues resolved and easier access to weapon changes. 

American Psycho comes to TV as new series begins development 

Mary Harron’s American Psycho has successfully maintained acclaimed status ever since its release 21 years ago. Fans can’t get enough of Patrick Bateman’s maniacal behaviour with an official TV series closely following the film officially beginning development. The production details have been kept tightly under wraps as we’ve been left with more questions than answers; will we follow Bateman in his 50s continuing his ritualistic beauty regimes and intricately discussing business cards? Or will we see a new serial killer embody Bateman’s eccentric murder tactics? Quite interestingly this is not the first time Bret Easton Ellis’s 1991 novel has been adapted, with American Psycho 2 (2002) and a musical showing Bateman (played by Doctor Who’s Matt Smith) taking his music obsession to the next level as he dementedly sings his way through the murders. 

NECA debuts the sixth generation of Toony Terror horror figures 

Horror collectors rejoice as the game-changing merchandise machine NECA showcases their latest series of Toony Terror figures. Previous editions featured genre favourites, such as Pennywise (90’ & 17’), Jason Voorhees, Michael Myers, Beetlejuice, Leatherface, Pinhead, Ash, Regan, and Victor Crowley! The sixth wave may just be one of the most exciting volumes yet as we see some of horror’s most underrated characters get a cartoon makeover, including Elvira, Captain Blake (The Fog), Herbert West and The Miner (My Bloody Valentine). 

Trailer for William Brent Bell’s upcoming horror Separation has horror fans adding it straight to their watchlists 

The trailer for Separation shows a haunting story of a young girl struck by grief as she attempts to find solace with her dead mother. The beyond creepy clips grab your attention immediately as we are treated to gloriously unnerving imagery of adult sized puppets who have seemingly come to life, as well as a disturbingly dark energy riveted throughout this haunted house. Separation stars Rupert Friend (Homeland), Mamie Gummer (The Ward), Madeline Brewer (Cam) and Brian Cox (Braveheart). 

Set for release 30th April. 

https://www.youtube.com/watch?v=gXQdaCkmmIU

Netflix announces official plans for Death Note 2 

Japanese Manga series Death Note was bravely adapted by Netflix in 2017, but feedback from both fans and critics left a sour note on its reputation. However, despite the negative reception the streaming giant recently announced that a sequel is most definitely taking place… The nervously anticipated sequel has conjured plenty of rumours, with creators supposedly hoping to win fans back by focusing more on the horror and abandoning the stereotypical character developments and Americanisation that the first Death Note succumbed to. Allegedly one of the few positive aspects surrounding the first remake will be resurrected in the sequel; Willem Dafoe will return as the death god Ryuk, who will surely rise plenty of torment.

Blumhouse Productions set for another triumph as The Black Phone nears the end of production

The Black Phone follows Finney Shaw, a cunning teenage boy who is abducted and locked in a soundproof room. All hopes seem to be lost, but when Finney finds an old phone he discovers that it can transmit the killers’ previous victims’ voices. The Black Phone is directed by Scott Derickson, who has directed The Exorcism of Emily Rose (2005) and Sinister (2012). His return to horror has been welcomed by fans as we also get to see a reunion between him and Ethan Hawke, who takes on the lead role. The Black Phone is based upon Joe Hill’s award winning short story of the same name. 

Set for an early 2022 release. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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Retrospective – Silent Hill (2006)


A retrospective deep dive into Silent Hill on its 15th anniversary

Video games, particularly of the horror/survival genre have a rooted integrity that has a massive potential to complement cinematic adaptations. But, typically when game adaptations appear on the ‘big screen’ an overall lacklustre effect looms over any positives, with House of the Dead (2003) being a prime example. Silent Hill manages to swerve any major perpetration and has successfully conjured an almost cult status 15 years later.

A keen passion for the game, truth to pivotal details, and a brave narrative are what allowed Silent Hill to keep its beloved status. With this being said, in no way is the film entirely welcomed, with a mixed reception clouding its reputation. However, as I’ll soon decipher, the craft behind Silent Hill is undeniably worthy of cult class. 

Surrealist imagery, an atmospheric score and a labyrinth setting all melt together to create a purposefully incoherent jungle of horror. The rumor of Konami’s 1999 game being developed began circulating in the early 2000s, with director Christophe Gans constantly bartering for the rights to remake the rapidly growing game into a feature film. In fact, Gans was so personally drawn and passionate about this adaptation that during pre-production he would bring a large gaming setup with him so that whilst he was playing cast and crew would see exactly what angles and stages they should focus on re-creating. This is where a primary issue with its critical consensus lies.

Personally speaking, I do not have a great knowledge of video games at all, let alone Silent Hill. Yet, after watching plenty of playthroughs and description pieces I can fully understand how well Gans translated the hellish world of Silent Hill onto the screen. And with this basic knowledge comes a completely new perspective on the film. To lay it bare, the essence of Silent Hill relies neither on a visual frenzy nor a discerning setting, instead it’s unique perspective depends on every single detail above, even the small features that go unnoticed make a drastic difference to the audience’s experience. 

This amalgamation is tremendously challenging to effectively orchestrate. The story itself continuously takes 180 turns whenever it pleases, seeming almost nonsensical at times; but, let’s not forget that Gans is recreating a video game that has an almost unlimited amount of moves and scenarios to work your way through. Hence the film running for a staggering 125 minutes. Where I found myself truly drawn in straight away is through the narrative.

We follow Rose (Radha Mitchell), as she takes her adopted daughter Sharon (Jodelle Ferland) to the mysterious town of Silent Hill to uncover the truth behind Sharon’s innate devotion to this town. However, after they get into a car accident en route, Sharon is nowhere to be found. As a basis, I found that the extensively daunting and dark landscape encapsulates the disturbing nature of the story. When we dig down to its roots Silent Hill tells the tale of parallel dimensions and the consequences regarding veneration of power and the idolisation of higher beings. 

In avoidance of abundant spoilers, Silent Hill imitates a curse, where its unlucky visitors become stuck in limbo. The fog-casted town is a purgatory whose history has led Sharon to practically become cursed. However, an effective backstory does not immediately grant the film a gold star, instead, the boundless story can leave audiences bewildered with many questions unanswered. And this is where one of the main criticisms lies. Personally, as a viewer who had no previous experience with the game, I was at first confused with the immeasurable amount of information that I had to comprehend to understand the ending.

Seemingly I was not alone as many reviews voiced hassle over the excessive exposition drops. But for me, this is where my intrigue to know more about this film grew. Colloquially when we first watch a film we do not always become immediate fans, we need time to process and revisit to appreciate its intentions. I’ve watched Silent Hill a handful of times now and I can truthfully say that the constantly expanding universe entwined with the town is entirely enthralling. 

Silent Hill would have not been as effective without the immaculate creature designs. The film’s unnerving atmosphere is impressive, but for audiences to sit through 125 minutes of sole environment-based scares is a lot to ask. Gans re-envisioning of Pyramid Head, Dark Nurses, Grey Children, and Lying Figures all graphically personify what made them so scary in the game.

Perhaps the most interesting and overall perplexing discovery that was made evident by the film is that these monsters primarily disturb as they are all forms of humanoids, rather than completely alien antagonists with zero resemblance to an actual person. Sharon’s connection to Silent Hill is due to a tragedy that was struck by people; everything regarding the horror of the town is rooted in human consequence

This furthers my next point, the symbolism behind Silent Hill. It takes only a brief read of a synopsis to compare Rose’s journey into the abandoned town to Dante’s Inferno. The tale of Dante’s Inferno is such an iconic method used in the horror genre to attain a deeper meaning to a film, which of course leads to rushed endings and a plethora of stereotypes. Yet, in this case it’s hard to think of a more viable explanation. Grief, revenge, fear, anarchy, trauma, and guilt all come to life within each setting of Silent Hill. Of course, I’m not going to explain the copious layers moulded within Inferno, but when we compare the torturing of souls without rest, alongside the grossly immoral evils of lust that led to the corruption and downfall of Silent Hill we can rest assured make sense of this ambiguously misleading universe. 


The legacy of Silent Hill has been rather unconventional. Unlike many horror adaptations, Silent Hill was not made into an ever-expanding film franchise, with only one sequel to bare its name to. However, the game did soar as multiple editions and continuations followed. What we can take away from this retrospective look at Silent Hill is that the actual visual appeal that Gans has produced, combined with the game’s true essence of immorality and personal dread has certainly left its mark on video game adaptations within horror.

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

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News

This week in horror 25.04.21

Goodnight Mommy remake casts Naomi Watts  

The 2014 Austrian horror, Goodnight Mommy both shocked and engrossed audiences at its Venice Film Festival premiere, with its sinister portrayal of identity marking its reputation as being one of the best horrors from the 2010s. As with any internationally successful film a remake has been announced. Naomi Watts will lead the film as the key character, and although news of the remake has been somewhat apprehensively perceived audiences are warming to Watts taking on this role, with her reputation of excelling in previous remakes such as The Ring and Funny Games. 

First look: The Conjuring: The Devil Made Me Do It 

Excited horror fans finally get a first look at the latest installment in the Conjuring Universe (The Conjuring: The Devil Made Me Do It). Due for a June 2021 release the film sees paranormal investigators Ed and Lorraine Warren, take on one of their most perplexing and challenging cases. The latest trailer promises a haunting thrill of deceit, tension, and beyond chilling demonic antics as we see the Warrens dig into yet another ‘real case’. As fans eagerly await to see the eighth entry into this ever-growing cinematic universe a lot of apprehensions has been made abundant by fans. This is the first Conjuring film to not be directed by James Wan, instead, the director is Michael Chaves. Chaves previously directed possibly the least favorite film out of the series, The Curse of La Llorona. 

The Last Will and Testament of Charles Abernathy picked up by Netflix 

Netflix horror films only continue to soar the market as they pick up yet another movie, ‘The Last Will and Testament of Charles Abernathy’. The script has been floating around for quite some time now, with a rather mixed bag of reviews following closely behind it. However, with Alejandro Brugués (Juan of the Dead) directing this upcoming horror, the film is surely destined for an interesting ride. The story follows Billionaire Charles Abernathy, who on his 75th birthday invites his family back to his estate in fear that something or someone is going to kill him. 

Alexandre Aja’s latest horror Oxygen releases trailer

Alexandre Aja has certainly gained a name for himself within the horror market, with multiple hits lurking in his filmography including High Tension, The Hills Have Eyes and Mirrors. Aja’s latest journey is the upcoming sci-fi flick Oxygen, which has already amassed quite a buzz since its trailer debut this week. The film follows Elizabeth (Mélanie Laurent), a scientist who wakes up shut in a cryogenic chamber with complete memory loss. With her oxygen drastically depleting she must uncover the mystery to survive. The trailer is just as claustrophobic as it sounds as confined spaces and psychological thriller tactics merge together to create an utterly gripping experience. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.

Categories
Original vs remake Reviews

Original vs. Remake: It (1990) & It (2017)

Remakes, reboots, and revivals have taken possession over a hefty section of horror productions, with a plethora of classics being reenvisioned to either accommodate younger and newer audience members or to bring new light to beloved genre favourites. Although we have seen our fair share of remakes gone wrong, there remains a select bunch of films whose newer additions have proven to be just as good or even better than the original.

For this ‘Original vs Remake’ edition, we will be comparing It (Tommy Lee Wallace, 1990) and It (Andy Muschietti, 2017). 

Storming onto the screens in 1990 is It, a terrifying portrayal of a demonic entity who takes on the shape of a clown to terrorise its victims every 27 years. However, its latest string of targets (the self-acclaimed “Losers Club”) may just be brave enough to banish Pennywise for good. Unlike a generic (yet anything but mundane) humanoid creature Pennywise the Clown does not play the typical game of lurching out from dark corners and hiding under the bed, instead, it preys upon individuals own specific fears to weaken and destroy them in what is their worst nightmare.

Of course one of the only writers capable of conjuring such an unsettling story is Stephen King. King penned It in 1986, and although the film drifts slightly from the novel the true essences are kept clear. 

To determine the winner of the old and new “It’s” is an impossible battle as each film encapsulates alternative identities, but to firstly differentiate between the two we need to discuss the classic character of Pennywise. The 1990 It casts Tim Curry (The Rocky Horror Picture Show) as the dreaded clown, with simple makeup and costume (at least for a clown). As Curry is the titular character there is an immense amount of pressure to create a multidimensional performance that can both lure his child victims in and then frighten the living daylights out of them.

Curry does not fail once, in fact, I might even go as far as stating that his portrayal is one of the best that horror has ever seen. The sheer embodiment of shapeshifting terror is brutally brazen, which is only furthered by Curry’s witty balance of stark humour and horrifying antics

It was made as a tv miniseries, with two episodes and a total original length of 192 minutes, with the physical release merging the episodes to become a feature length movie. It is a unique factor within itself for a ‘made-for-tv’ movie to become an outstanding success, let alone make its mark as one of the most iconic horror’s. Due to the broadcasting, certain restrictions were put in place that is typically abolished within mainstream horror including a limit to bloodshed and gore, as well as censorship to graphic content.

After horror audiences were subjected to grisly violence from exaggerated 1980s horror, It certainly was a breath of fresh air. Audiences’ tactics shifted from gratuitous shock to psychological character studies. We are not met with generous carnage, with the piece actually having an almost black comedy mechanism. However, the comic motifs are not a replacement of fear, with the flicking of Curry’s performance from inviting to menacing being nothing less than startling. 

On this note, It relies upon subtext and internalised concepts to create a bounding journey. During the first act, we see the losers club as children dealing with their own individual issues, which are rather harrowing yet realistic considering their age including traumatic milestones such as grief, and abuse. Although the ‘losers are all dealing with scarring experiences Lee Wallace does not show them in extreme jeopardy, with the camera simply cutting to their expressions when Pennywise strikes. Despite some scenes feeling slightly dated, It is an undeniable classic that still holds up to this day. 

News of a remake began to emerge from as early as 2009, but it was not until 2015 when the production began to pick up speed with Muschietti being announced as the director. The trailer almost immediately amassed a cult following of its own, with the view count entering the millions. The brand new shiny Pennywise enthralled audiences (myself included!). Curry’s vivid and rambunctious appearance was wiped away in favour of a brandished shadowed look complete with dusty clothing and a more styled-out ginger barnet.

Bill Skarsgård took the brave step of becoming the nerve-wracking Pennywise. Such an iconic role is accompanied by severe pressures, however truthfully his small appearance in the trailer and posters was enough to create a swift fan appeal. It was about to enter onto the horror scene with a killer force, conjuring a vigorous reputation as being one of the highest-grossing horror films of all time

It is not better than the original, but it is on par. There are a plethora of reasons as to why this is my belief, but one of my main factors is that the loser’s club has refined and well-developed personas that transcend into a coming-of-age movie. Quite favourably I admire any film that decides to use age appropriate characters rather than twenty-somethings playing tweens. Although It (1990) enacts the same character backstories, the relationships between the losers have such an authentic bond that plays out as non-scripted; just as if the camera was kept rolling whilst they would playfully make jabs at one another.

Simply due to more modern filmmaking and techniques, Muschietti transforms the fictional town of Derry, Maine into a hellish landscape with treacherous corners lurking in the ordinary. Pennywise does not even have to be in shot for our senses to start heightening. The atmosphere alone is daunting, with the town hoarding a dark omen; Derry exceeds being just a town, instead it becomes a character. This is certainly an aspect that It (2017) focuses on, alongside one of the other primary differences, the graphicness.

It does not shun its psychodrama roots, yet we are welcomed to indulge in grisly carnage. Although visual gore is not the focus, there is plenty of horrific imagery whose sole purpose serves to disconcert our awareness. The infamous opening scene shows a little Georgie (Jackson Robert Scott) chase his paper boat that falls down a storm drain where he fatally meets Pennywise. At first, Pennywise dons the joyous clown persona to fool Georgie, before he mutates into a disgustingly ferocious beast with razor-sharp fangs ripping into this small boy’s arm. His metamorphosis into a barbaric behemoth both entices and panics the audiences. 

Muschietti and Lee Wallace’s take on King’s beyond incredible tale of a demonic clown truly emulates and escalates some of the most vital and engrossing moments of the book. It is not necessary to compare and battle these two films as they are each substantially iconic in their own individual ways. I view them as equal contenders who compliment each other, and both deserve their own hallmark within the horror film history. 

This weeks article comes via Grace from Film Overload, you can check out more of her work here.