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Retrospectives Reviews

Retrospective – The Crow (1994)

The Crow is perhaps one of the best films of the mid-1990s. It wows audiences and critics alike and has cemented itself as a definitive classic for the ages. As the film celebrates its 30th anniversary, let’s dive into the turbulent world of grungy, vengeance-seeking chaos, gothic aesthetics, rocky sequels, and the tragic production of The Crow. 

On Devil’s Night, the night before All Hallows Eve, rock musician Eric Draven (Brandon Lee) is murdered after his fiance, Shelly (Sofia Shinas), is brutally attacked by a group of vicious men the night before the couple’s wedding. However, in a twist of events, Eric rises from the dead and embarks on a violent mission for vengeance. 

The idea for this twisted and gritty thriller was first conceived by comic artist James O’Barr in the early 1980s as a way of him dealing with his own fiancée meeting her demise at the hands of a drunk driver. Brimming with anger, O’Barr poured himself into this tale of revenge and hurt, which would eventually be released in 1989 after it was shelved for several years. With the burgeoning popularity of the series, O’Barr was contacted by studios hoping to adapt the story into a feature film. However, that idea was scrapped after executives wanted to transform the film into a musical starring none other than Michael Jackson. Whilst music did eventually play a large part in The Crow, the striking change in layout shut down any initial hopes of adapting the comic books. Eventually, The Crow resurfaced and was brought to the attention of writer John Shirley, who admired The Crow’s haunting style as O’Barr had originally envisioned, leading to a fleshed-out script that was ready to film. Although there were some bumps along the way, with Shirley leaving the production and David J. Schow being brought in for rewrites, the film finally took way. 

Casting the role of the lead, Eric Draven, was crucial to the film’s success. The character needed to be at equal levels of dark, mysterious, dangerous, and crazed, but whilst still remaining almost burdened with a deep level of empathy and emotional vulnerability. It was a challenge that the development crew had originally thought either big names such as Christian Slater or River Phoenix could tackle, but it was Brandon Lee who was graced with this career-defining role. Lee, son of legendary martial arts figure Bruce Lee, had appeared in a small string of feature films such as Legacy of Rage (1986) and Laser Mission (1989) prior to filming, but The Crow was his ‘big break’ into mainstream cinema.

It is well known how immersed Lee became in the role, dedicating his physical strength to losing 20 pounds to slim down for the character of Eric. As well as helping choreograph his own fight scenes with long-time friend and fellow martial artist Jeff Imada. The film was going full throttle, with its fantastic lead and a brilliant story shaping up to be a future success. However, on the 31st March 1993, tragedy struck as Lee was fatally wounded on set. During a scene which showed Eric being shot by the thug gang, a prop shotgun was fired by co-star Michael Massee. The revolver was supposed to be filled with commercially made and checked dummy cartridges that could not cause harm or injury. Devastatingly, the prop department forwent the cartridges purchase and made their own by extracting real bullets, ridding the gunpowder charge and then loading the magazine with the doctored ‘dummies’. The crux, however, is that the crew did not extract the primer, which meant that the bullet could detonate with substantial force, essentially acting as a normal, lethal bullet. 

The scene in question required Massee to stand about 11-15 feet in front of Lee and shoot him in the midsection. The actions were taken, the trigger was pulled, and director Alex Proyas yelled ‘cut’. Tragically, Lee did not stand up, and it was realised that the weapon was actually discharged. After great difficulty and negotiations, the film commenced after a break to mourn the great Lee, with the fatal scene being wiped and replaced. 

Upon its release, The Crow was met with favourable reviews, particularly concerning what was essentially Lee’s swan song in the industry. The prowess he held in playing such a multifaceted character spoke to the complexity of his talents and ultimately was one of the leading determining factors in the film’s long-running success. Further praise was garnered due to The Crow’s stylistics, which to this day is still as deserving of applause as it was then. The film has an aura of morbid, gothic grunginess that coats each visual with a textualness that can be described as a leather-clad, steampunk-esque and moody journey into darkness. Much of the film’s imagery is complemented by the scoring, which features music from The Cure, Rage Against the Machine, Stone Temple Pilots, Nine Inch Nails, and Pantera. The Crow’s central theme, ‘Burn’ by The Cure, summarises the film’s inspiration and subsequent influence on goth culture, with the edgy luridness emulating the film’s macabre and pained portrayal of vexed sorrow.

Seconding the dynamic power of the soundtrack is the costume and design, which showed Eric draped in his iconic black trenchcoat and the signature face paint, which Lee would actually do himself every day of the shoot. The cinematic origins of Eric’s appearance originate after he is resurrected from the dead, where he takes inspiration from a masquerade mask complete with blackened paint smeared around the eyes and lips, with vertical and horizontal stripes exaggerating the features, creating an eerie, cosmetic smile across his face. 

Throughout the years of success, The Crow has seen many sequels, which primarily have not been as well received. Just two years after the original, a sequel titled The Crow: City of Angels (1996) premiered, following another revenged paved story. After another two years, a TV series, The Crow: Stairway to Heaven (1998), was enrolled into the growing franchise. The year 2000 saw The Crow: Salvation hit screens with yet another round of generally unfavourable reviews. The final film until this year was released in 2005, The Crow: Wicked Prayer, which once again failed to live up to the triumph of its originator. All of the highs and lows of The Crow franchise lead us to 2024, where the tragic tale of Eric Draven is reignited in a remake directed by Rupert Sanders and starring Bill Skarsgård as the aggrieved widower. 

As the 30th anniversary of The Crow is honoured and the remake looms, it is crucial to remember just how prominent the film is. To say that the film has a cult fandom is an understatement. Instead, The Crow is unbelievably beloved by masses of viewers, many of whom agree that the film’s force is largely at the hands of Lee’s immersive, powerful performance that he was sadly never able to experience on the big screen.

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Reviews Top Horror

Top ten underrated horror movies from the 2000s

1- Exhibit A (Dom Rotheroe, 2007) 

Exhibit A is a bleak, depressing exercise into nihilistic terrain as the film follows the King family, whose patriarch spirals after failed promotions and financial burdens. The film’s timely release circa the mid-late 2000s speaks to the detrimental economic climate the world was experiencing at the time. In this sense, Exhibit A delivers a cold, callous look into the societal landscape of the era, but with the guise of horror, adding a gritty, affective touch of dramatisation to the mix. Found footage has been around for decades (and then some more), and it seems that Exhibit A goes continuously unrecognised on a larger scheme, donning this chilling feature as an underrated gem. 

2- Alexandra’s Project (Rolf de Heer, 2003) 

Although Alexandra’s Project’s labelling as a ‘horror’ might be pushing the lines for those with strict definitions of the genre, it is undeniable that this Australian thriller makes for a horrifying watch. The film chronicles the breakdown of a man who seemingly has it all: a stellar career, adorable children and a supposed loving wife. However, the bliss is soon interrupted when he comes home one day and finds a barren house with a mysterious tape waiting to be played. The particularities of the film are a deliberate conundrum as the convoluted, non-linear, layered story unravels with such complexity, eventually breaking down everything you thought you knew about the world of this disturbing film. 

3- Taxidermia (György Pálfi, 2006) 

Describing this Hungarian horror comedy as anything less than bizarre, obscure, and a grotesque circus ride would be a disservice. This surrealist film embodies a chaotic fever dream that follows a parodic yet utterly unnerving retelling of Hungary’s political, cultural and social journey from WW2 to the contemporary period. The overtone of reciting the landscape of history may sound fairly intriguing, making for a potentially complex and possibly informative watch; however, Taxidermia offers a whole lot more than what its synopsis purports. The film is rife with some of the grossest body horror cinema has to offer; think if Cronenberg, Lynch and the whole of Troma Entertainment colluded to create one of the gnarliest visions they could ever conjure. 

4- Subconscious Cruelty (Karim Hussain, 2000)

With a title as brazen as Subconscious Cruelty, it is rather obvious what to expect throughout this extreme art house horror. This film is on the borderline of being quite difficult to sit through, what with the frame constantly being filled with graphic violence and torture that rivals the likes of the August Underground trilogy and the controversial and lovingly named Slaughtered Vomit Dolls (2008). The categorisation of Subconscious Cruelty, an anthology horror, bodes well to complement the twisted and maniacal nature of the content, offering the film somewhat of a layered aesthetic that allows some viewers to view the visuals in a more philosophical light. For instance, in each segment, aspects of nature, mother earth and religion are explored under the costumery of horror. Whichever opinion is formed after watching, one thing is certain – Subconscious Cruelty is completely thought-provoking. 

5- Creep (Christopher Smith, 2004) 

While the title Creep may immediately ring bells for fans of the 2014 Patrick Brice film, in this case, the ‘creep’ proprietary belongs to the 2004 British horror directed by Christopher Smith. The film follows a woman trapped with a monstrous humanoid on the London Underground after falling asleep, leading to a barrage of bloodied antics in the fight for survival. Although it may seem like a detriment, Creep is not necessarily a trailblazer in the genre, but it most definitely is a blast of frightening fun to watch, akin to that of nostalgic cinema where one can expect plenty of gory buffooneries and a tense battle to the death. 

6- Visitor Q (Takashi Miike, 2001)

Takashi Miike is no stranger to horror, with films such as Audition (1999), Ichi the Killer (2001), and One Missed Call (2003) lining his filmography. Nevertheless, as with any creator whose titles surpass 115 directorial credits, there is bound to be an entry that is a hidden treasure – for Miike, this feature is Visitor Q. The film details the lives of the Yamazaki family and their truly disorderly attitudes to life, graphically exhibiting depravity in the most vile ways possible. This standout Japanese horror is not for the faint and not to be missed. 

7- The Hamiltons (Michael Altieri and Phil Flores, 2006)

Michael Altieri and Phil Flores, also known as ‘The Butcher Brothers’ mid-2000s horror film The Hamiltons thrives on the dark secrets beyond the walls of Hamilton’s family home, with the film taking a gradual approach in revealing the big mystery as to why the brood feels a little strange. Whilst the intrigue around what skeletons lie in the closet best remains a secret for potential viewers, what can be commented on is the film’s rather emotive approach to what is quite a grizzly flick. The Hamiltons rides the waves of uniqueness, often going against the grain within its subgenre and offering a refreshing yet visceral journey into the plentiful frenzied events. 

8-  Bug (William Friedkin, 2006)

Despite having the legendary William Friedkin, director of The Exorcist (1973), at the helm of Bug, the film has gone under the radar over the years. This psychological horror presents the story of a couple who become convinced that their entire beings and surroundings are infected by bugs that have been deployed by the government to infest and infect as spies. The maddening concept is only the tip of the iceberg. Friedkin exacerbated the terror by incorporating a claustrophobic atmosphere into the film and enlisting brilliant and powerful performances from the leads, Michael Shannon and Ashley Judd. 

9- In My Skin (Marina de Van, 2002) 

French horror, particularly that from the New French Extremity reign, has come to be known as an entirely engrossing yet nauseatingly brutal and bloodied division of genre cinema. Marina de Van’s independent film In My Skin is no exception to this rule. As a baseline, the film follows de Van as the lead character who develops an obsession with self-mutilation, which eventually escalates into autocannibalism. In My Skin has received a cordial reputation amongst many, but it has yet to receive the wide acclaim and recognition that it so desperately deserves. 

10- Session 9 (Brad Anderson, 2001)

Session 9 defines itself as one of those horrors which can only be described as bone-chillingly unsettling, with the aura and atmospheric tone completely taking over the film and commanding a formidable power over the viewer. Not too heavy on jumpscares and boding its tension through engaging frights is a film which follows an asbestos cleaning crew who are faced with a job in an abandoned mental hospital, only to discover that the building’s poison runs far deeper than anyone could ever imagine. Session 9 thrives on the premise of isolation and eerie loneliness within the self, both through the film’s impressively intimidating setting and through the compelling performances from David Caruso, Stephen Gordon, Josh Lucas and Peter Mullan.

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Review – The Strangers: Chapter 1

When Bryan Bertino’s The Strangers hit theatres in the spring of 2008, not many could guess that this fairly low-budget feature debut would become the iconic home invasion thriller that it is. Years later, the chilling hit was met with another sleeper success with The Strangers: Prey at Night (2018); now, 16 years later, horror fans have been met with the third and latest entry – The Strangers: Chapter 1. However, does this new housebreaking horror have what it takes to stand alongside Bertino’s brilliant original? 

Chapter 1 follows Maya (Madelaine Petsch), partner to Ryan (Froy Gutierrez), who together decide to up and move to the Pacific Northwest for a fresh start. Stranded after their car breaks down in the insular town of Venice, Oregon, they settle in for a night at a remote Airbnb. However, it is not long before the lodge is descended upon by a trio of formidable, masked intruders. 

The story itself is not necessarily groundbreakingly original, but there is a reason why the saying “if it isn’t broke, don’t fix it” exists; it is precisely this reason why Chapter 1 is granted some initial praise. Home invasion horror exudes an air of terror. The fear of safe spaces eroding and the threat of ruin where vulnerability thrives is what makes the subgenre so effective. Even in its most stripped-back form, the invasion trope is terrifying. Chapter 1’s take on this well-oiled subject is almost applaudable. Essentially, it ticks all of the boxes: rural location where no one can hear you scream, plenty of windows where the seeker has the advantage, and the most crucial point; the film showcases a long-running, frenzied cat and mouse chase. 

Sustaining the momentum is the film’s overall composition. The appearance itself, from the lighting to the set design, is measurably effective, with the cabin aesthetic creating some interesting crevices for the killers to hide, as well as honing in on that quintessential atmospheric quietness that projects from remote chalets. Still, the merits soon halt as the rest of the film suffers at the hands of its own unclear direction. Chapter 1 was largely marketed as a prequel, with even the trailer blasting the promise that the film would provide the chance to “witness how the Strangers became the Strangers”. Yet, any watcher of Chapter 1 will retrospectively state that the film is actually a relaunch of the original movie. 

Lionsgate has revealed that Chapter 1 is the first in a new ‘Strangers’ trilogy, with the other two films being shot concurrently with the first entry. The strategy behind the upcoming series is to launch the lore of The Strangers to new audiences. Whilst a level of excitement is owed at the thought of a new franchise development, it might’ve been worth creating a new, original string of home invasion horrors rather than rebooting a film which was made less than twenty years ago. Nevertheless, Hollywood prevails…

It is at this point where Chapter 1 shrivels. Indeed, the aesthetic and thematics of its subgenre stand tall and pack an effective surge of thrills, but other than the sequestered semantics, Chapter 1 does not offer anything necessarily innovative or worthy of imminent discussion. Instead, it is best to take the film for what it is: a fun, jumpy popcorn movie that bears nostalgia to the amusement of 2000s horror, but not enough to owe significant enthusiasm towards. 

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Review – Abigail (2024)

New horror instalment from directing duo Matt Bettinelli-Olpin and Tyler Gillet sees a group of unscrupulous criminals brought together to carry out the carefully plotted kidnapping of a billionaire’s daughter and subsequent blackmail for ransom. The power play quickly changes however once the group discover that they are in fact victims of a game orchestrated by an unlikely puppet master.

Bettinelli-Olpin and Gillet are well known for their original horror concepts which combine vivid scenes of violence with a comedic overtone; to this, Abigail is no exception. The movie follows the group as they are plunged into a fast-paced game of cat and mouse and amongst the carnage, comedy and ballet, portrays a modern twist on the traditional vampire sub-genre.

(Screenrant, 2024)

One stand out element from Abigail was the homage paid throughout to Tchaicovsky’s ballet Swan Lake. Abigail (Alisha Weir) herself, whilst dressed in a feathered tutu, provides us with several dance sequences which are accompanied by the unmistakable Swan Lake theme; this is reminiscent of the white swan. However, despite the physical likeness to the beautiful and innocent white swan,

Abigail’s character is more implicative of the dark and manipulative black swan. When we first meet Abigail she presents a small and frightened demeanour – as expected since we believe that she has just been abducted from her family home. As we uncover more about Abigail’s character we see her transform into an evil and vengeful creature who only played the innocent in order to trap her believed kidnappers and lure them into her game. The choice here to mirror Tchaicovsky’s ballet allowed Bettinelli-Olpin and Gillet to create a balance between the classy and elegant – two themes often associated with vampirism – and the graphic blood and gore.

(Variety, 2024)

Returning to the aforementioned modern twist on the vampire genre, Bettinelli-Olpin and Gillet were not only able to incorporate traditional associations with the mythology, but elevate them in order to entice a modern day audience and provide Abigail with its own, original vampire lore. One scene that we always expect -but is nevertheless enjoyable – is the sequence in which our characters try to decipher how to kill a vampire. We are treated to all of the classics including: stake through the heart, sunlight and a humorous mix up between garlic and onions. Here we are provided with all of the traditional mythology which without, you couldn’t possibly imagine making a vampire flick!

What struck me as the most innovative choice was the way in which the vampire legend was established within the narrative. Once the group realise that they have been trapped and are being picked off one by one, they recall a rumour that they had heard concerning one of Abigail’s billionaire father’s bodyguards, who literally tears apart his enemies like an animal. This was a clever way to maintain the vampire figure as an urban legend but update the way it is presented to our characters in order to uphold the mystery of their attacker, and raise the stakes once they uncover the truth.

(Bloody Disgusting, 2024)

Another important theme addressed in Abigail is the internal conflict of the human versus the monster. Right from the word go we understand that our group of kidnappers are monstrous enough to abduct an unsuspecting child for their own profit; it isn’t until later however, that we learn why each of them sign on to the job and can separate the selfish from the desperate.

Joey (Melissa Barerra) and Frank (Dan Stevens) are two of our criminals who are pitted against one another in order to convey this contrast. Joey is elected to watch over Abigail whilst she is locked up in the mansion they are holed up in, this allows us to see a more compassionate side to her; we also learn she has a son, her reason for participating in the crime in the first place.

Frank on the other hand is aggressive and abrasive in his attempt to lead the group suggesting that his true desire is power. We see Frank wrestle with his humanity and his loyalty to the group but he eventually succumbs to his own sense of self preservation resulting in a permanent embrace of the monster, both inside and out. In a final showdown we see Joey fighting – alongside an unlikely ally – to keep her promise to her son, and return home to her family. It is through Frank we learn it’s not just the curse of vampirism which makes someone a monster and through Joey that one can commit a monstrous act with the most human of intentions.

(CBR, 2024)

Bettinelli-Olpin and Gillet have once again created a wacky and unique horror picture that audiences won’t soon forget as Abigail has taken theatres by storm and proven to be a thrilling cinema experience. This vampire-comedy uses the art of ballet to display some unforgettable scenes of violence whilst reminding us that a delicate, twelve year old dancer is the undoing of six hardened criminals. The success of Abigail will hopefully pave the way for more exciting genre experiments and unexpected hybrid horror films in the future!

Hope Lelliott-Stevens

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Events Reviews

Event special -The Moor Review

Epitomising looming doom amidst a backdrop of murky greys and even murkier secrets is The Moor, a new and unmissable horror directed by Chris Cronin and written by Paul Thomas. Weaponising the beauty and dread of slow-burn terror, combined with the dramatic performances and startling dark narrative, equips the film with mystery and intrigue, making it one of 2023’s Frightfest’s best screeners. 

The film begins in ‘God’s Own Country’, also known as Yorkshire, in 1996. Youngsters Claire (Billie Suggett) and Danny (Dexter Sol Ansell) hatch a plan to steal sweets from a corner shop, with Danny distracting the shopkeeper whilst Claire fills her bag. Claire successfully leaves (treats acquired); however, Danny never leaves the shop. A compilation of archival footage and newspaper clippings show that Danny’s disappearance was only a notch in the belt of a long line of child abductions in the area. Now, 25 years on, the man supposedly behind the tragedies is set to be released from prison, leaving Danny’s still distraught father, Bill (David Edward-Robertson), hellbent on finding his son’s remains to close the situation once and for all. With the help of Claire (now played by Sophia La Porta), her podcast, and a curious crew, they set off into the Yorkshire Moors to decode this grand mystery once and for all.

The complex backdrop is rife with a pitch-black horrific context of missing persons, death and unresolved trauma, making for a sorrowful feature that is reminiscent of the plague conjured by grief and heartbreak. Although all of these intense emotions speak to the film’s ability to tug on the affections of viewers and their own fears of losing someone, what is perhaps the most stringent element to diffuse from the fantastic smorgasbord of thematics is The Moor’s exhibition of the ‘unknown’. Much of the film toys with the mystery of what is dubbed as the Summer of Fear, the year that all of these strange disappearances happened. Despite the perpetrator’s conviction, there are too many occurrences that do not sit straight, which catalyses the primary storyline of Bill and Claire, uncovering the dark truth behind it all. 

Little is known, and little is revealed until the very end, leaving the viewer sat in trepidation, stewing at the thought, and imagining a plethora of horrid scenarios; essentially, Cronin employs our dark imaginations and forces us to manifest horridness throughout the film. In keeping with this ‘thiller-ific’ psychological torture is how The Moor captures and presents its melodic meaning on screen. The cinematography takes advantage of the rural British countryside and all of its folkloric, haunting discourse to showcase not just visually captivating shots of foggy greenery and daunting skies but also intimate shots of the characters as their psyches are ripped apart and shattered by the horrors of The Moor. 

All of the carefully composed mayhem throughout would not be the same without the showstopping performances from the cast, particularly from the characters of Claire and Bill. They each embrace the cryptic tone of the film, carefully expressing immense emotions to pair perfectly with the big reveals. Their emotions are consistently raw and authentic, managing to not fall into the trap of being caricatures of grief.

Adjacent to the stellar staging is the film’s homegrown feel that amplifies the effective eerieness cultivated throughout British horror. The actual Moors residing in the north of England are home to a barrage of lore, with the lush, heathered Moors being at the centre of many ghost stories and legends. Cronin’s clever use of fabled trickery forces us, especially those familiar with the Moor landscape, to re-examine the depth and capabilities of those horrific tales that keep you up at night – does something unexplainable truly lurk amidst these strange disappearances…?


How The Moor bares its true bones is akin to a smouldering fire, delivering an impactful thwack of an exposition but then turning down the heat and letting it simmer and bloom until it reaches a scorchingly shocking end. This film is a gem that commands captivation and promises a visceral and uncanny journey into the great unknown.

We’ll be screening Chris Cronin’s incredible feature THE MOOR, which has wowed festival audiences worldwide since its debut at Frightfest in August. This is one of the final opportunities to experience its haunting beauty in cinemas, so don’t miss the chance to see one the best UK horror films of the past few years on the big screen.

Chris will also be attending to have an intimate Q&A with horror fans after the screening – GRAB YOUR TICKETS HERE

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Dead Northern Festival News and Reviews Events

Dead Northern 2024 – Early bird tickets available now!

The Dead Northern Horror and Fantasy Festival is coming back in 2024 – Expect a huge line up of new feature films, classic feature films, short films from some of the worlds best up and coming horror film makers, Q&A’s, live music, awards and our signature HORROR THEMED LIVE EVENTS.

Dead Northern is a Film Festival that pushes the boundaries and puts the FESTIVAL in the Film Festival! VIP Weekend Passes, day passes and individual screening tickets are available.

Details of the full line up released August 2024, limited VIP tickets available at a discount until 31 May 2024.

Grab your tickets here…

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News Reviews

Review – Late Night with the Devil (2024)

Late Night with the Devil sees the excellent David Dastmalchian as Jack Delroy, a 1970s host of the late night chat show, Night Owls. Desperate to gain viewers back after a tragedy in his personal life, Jack themes his latest episode around occultism, however, the broadcast goes horribly wrong when a possessed guest unleashes a world of hell. 

The directing duo, Colin and Cameron Cairnes delivers a menacing and mischievous feast brimming with hocus pocus trickery that constantly deceives and takes the viewer on a  rollercoaster of havoc as we see a talk show spectacle turn into a cinematic rendition of satanic-panic-like mayhem. Late Night with the Devil’s wacky, yet utterly malicious narrative takes shape due to its clever filmic development; the film immerses itself into its vintage layout, with the frame taking on a surprising found footage arrangement, but not how one would generally expect it to. In other words, instead of a small handheld camera capturing POV’s, the found footage lens is of a ‘lost tape’ that has been discovered by a group of current documentary filmmakers. It’s a unique breaking of found footage codes, shaking colloquial storytelling and providing a level of exciting mystery. 

Shadowing the film’s fresh take on the diegetic lens is its meta-esque feel, thanks to the late night lost tape appearing as a live broadcast. Immediately, bells ring to the likes of Ghostwatch (1992), WNUF Halloween Special (2013) and Haunted Ulster Live (2023) all of which utilise an almost forbidden feel, watching realist-coded footage gone wrong. Late Night with the Devil joins these witty displays of interactive filmmaking that have created an intriguing and entertaining cinematic discussion surrounding participatory viewership.

Whilst it is certain to say that presenting the moving image as an unplanned, charged, live piece aids in the fright factor and immediacy of it all, what is not to be underestimated is how the film’s performances equally contribute to the overwhelming impact of it all. Dastmalchian shines on screen, taking the already fantastically written character and making the role come to life with his portrayal of a broken man attempting to redeem some form of oomph back into his career, only for it to all come crashing down in a great calamity. Further to this is the film’s ability to conjure a scare or two. It is also worth mentioning how the film does not solely rely on brief and rapid ineffective jumpscares to entice a shriek, instead, the scenes are crafted in a way that allows for slowburn reveals that act to chill rather than shout ‘boo!’. 

Since the film’s premiere at 2023’s South by Southwest Film Festival, reviewers have raved about Late Night with the Devil, commending its distinctive atmosphere and novel style, yet there has been some commentary regarding its use of CGI. Despite the beloved (and deserved) reputation of practical effects, the use of computer-generated imagery is not the devil, it can in fact be an effective tool. However, there are some pretty obvious, and poor uses of it within Late Night with the Devil, particularly involving scenes featuring lightning, which feels quite out of place and inauthentic when compared to the rest of the film’s stylisation. 


In short, Late Night with the Devil oozes appeal, whether that be through its enthusiastic medium that the exciting story is told, or through its riveting storyline that unfolds, convulses, twists and turns until it reaches an almighty, and showstopping revelation – whichever way, Late Night with the Devil is a must-see horror.

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Review- The First Omen (2024)

In the world of remakes and sequels, few franchises (if any) have escaped their fair share of criticism, many of which comments involve leaving the ‘original’ entry alone and stopping with the rambling continuations. One series in particular whose successors have fallen flat is The Omen. With a talented cast including Ralph Ineson, Bill Nighy and Nell Tiger Free, along with a generous budget and an adequate storyline, it seemed that The First Omen had everything in its favour. However, does the sixth instalment in the franchise live up to its grave potential…

The First Omen introduces us to Margaret (Tiger Free), a young novitiate who begins her probation before becoming a church sister. She travels to Rome to begin her service at an orphanage. During her quest, a series of events unfold, leaving her in the middle of a conspiracy between the church and the Antichrist. With the film encompassing Margaret’s discoveries and the subsequent chaotic journey of truth-seeking regarding a colossal conspiracy, the entire narrative situates itself around her both psychically and emotionally.

This prolonged exposure to a character requires a fully dimensional persona to be written, which writers Tim Smith, Keith Thomas, and director Arkasha Stevenson brilliantly do. Margaret’s complexity is where the figurativeness of the film shines. It captures a level of humanness which makes character study-based films excel. Take, for example, Saint Maud (2019) and Pearl (2022), both of which utilise emotional resonance to conjure a complex study of how a tainted psyche escalates situations. The First Omen joins the likes of nuanced horror films, capturing the intricacies that develop when one is in duress. Margaret is not written as a prop for which jumpscares thrive; she is a ‘real’ person whom we can imagine a backstory of, sympathise with her journey and feel the full force of terror when it comes her way.

With this being said, it is worth tipping the hat to Tiger Free’s formidable performance, with her execution of a troubled, fearful, yet powerful young woman being a cinematic delight. Further to the film’s benefit is the scoring orchestrated by Mark Koven, whose previous soundtrack credits include The Witch (2015) and The Lighthouse(2019). The score is grim and foreboding, with harsh crescendos which jolt the senses without replicating a clashing metallic sound. This delicate balance of sinister atmospheric strings, along with the softer moments of choir vocals showcasing a blend of baritone lows and alto highs, is what makes The First Omen’s haunting aura swell. 

In all of the film’s prominence, one thing must be said: the narrative is rather predictable. Foreseeing every story beat, big or small, can have quite a negative effect due to its revelation of transparent twists, which, more often than not, will be guessed by many viewers by the time the first chapter has ceased. This does not necessarily take away from the film’s magnitude and evident prowess, but it does mean that allure and a sense of heightened suspense are stripped back. Due to its prequel nature, meaning that we already know of the following events, and considering the film’s association with countless films it was an easy pitfall for The First Omen to tumble into.

Concluding on a positive note, Stevenson’s directorial capabilities must not be overlooked by any means. With all of its merit, it is easy to forget that this film was a feature debut from the director, with her background being in television, namely season three of the anthology series Channel Zero (2018). Stevenson’s vision stands tall against the rest, executing some pretty graphic scenes (warning for those with sensitive eyes come ‘the birthing scene’!). It is this precise flare of intensity that horror fans will truly appreciate, particularly considering how many mainstream scares tend to censor gory potentials due to a barrage of rules and regulations. The First Omen breathes fresh air into the lungs of 2024’s horror, notably because of some of the releases this side of the year has seen. Is this prequel as good as Richard Donner’s The Omen (1976)? Not a chance. But is it a great standalone film incorporating a plethora of fantastic filmmaking elements? Indeed it is!

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Retrospectives Reviews

Twenty Years On – Shaun of the Dead (2004)

Believe it or not, it was a whole twenty moons ago that one of the best horror comedies graced the screen—(yes, 2004 really was that long ago). Edgar Wright’s Shaun of the Dead is a bonafide classic whose edgy humour, offensive charm, and bloodied zombie mayhem have cemented its zealous reputation all these years later. 

Wright’s prized status began in the early 2000s thanks to his directorial efforts in Spaced, a British comedy series starring Simon Pegg, Nick Frost and Jessica Hynes, all of whom feature in Shaun of the Dead. It was from Spaced where Wright and Pegg conceived the idea of their soon-to-be horror hit. It is based on an episode titled ‘Art’, which features Pegg’s character hallucinating a zombie invasion after a prolonged session playing Resident Evil 2. With the pair both being major appreciators of the genre, the duo took their idea of hilarious zombie antics to Film4 before the studio eventually overly condensed the budget and, therefore, broke down certain crucial plot points. With a dream in mind, Wright refused to quit his zombie feature and pursued various studios over a two-year period before Working Title Films finally invested.

The project soon gained traction, casting major names in comedy from television series such as Black Books and The Office. Actors included Peter Serafinowicz, Dylan Moran, Tamsin Greig, Martin Freeman and Lucy Davis, alongside major names in feature films such as Penelope Wilton and Bill Nighy. The star-studded lineup also included a mass of extras playing the ghouls, nearly all of whom were part of fan communities for Spaced that were contacted on their online threads to be a part of a production from the makers of their favourite TV show. With a solid cast and crew, the nine-week filming process began before wrapping up and premiering at a whopping 367 cinemas and staying in the box office top ten for a total of five whole weeks. 

It’s safe to say that audiences went wild for this raucous zombie flick, with its reputation only growing stronger yearly. As it nears its twentieth anniversary, Shaun of the Dead is still making waves, dominating the discourse of satirical horror and creating conversations in the landscape of cinema. In the world of scholarly research and film readings, Shaun of the Dead has dipped its toes into many analytical waters. A popular take is how the film joins the barrage of apocalypse-themed releases from the mid-2000s in response to world events that were becoming frequent in the home with the increasing access to media and news. 

Others suggest that the film is a poetic example of transnational cinema which is commonly found within the UK. The leading players of zombie cinema primarily originated from across the pond, with the likes of George A. Romero’s Night of the Living Dead (1968) dictating the direction that zombie media followed for years. On the flip side, in Britain, there has been a constant ode to men in comedy who can’t help but make a fool of themselves as they go about gallivanting and making a ruddy nuance of situations – think the likes of Monty Python, Dad’s Army, Only Fools and Horses etc. The combination of Americanised scares and dramatic monstrous ghouls with two-bit but still chucklesome characters makes Shaun of the Dead attract an admiration that many budding filmmakers admire to achieve one day. 

Stepping away from the formalities, Shaun of the Dead thrives in its thematics and ideologies. Shaun of the Dead has a monotonous, gritty quality that takes a slice-of-life approach to an apocalyptic situation, reminiscent of the ‘Keep Calm and Carry on’ motto burned through the British mindset. It was through this niche characteristic that the film’s lampoon-like comedy was able to shine through. As a case in point, whilst writing the script, Wright took inspiration from his own sardonic attitude at times; after having his own late-night gaming session being immersed in the world of horror video games, he took to going for an early morning walk where it could be imagined that half of the public was either coming home dazed from a late night out, or exhaustively treading along, gearing up for the morning shift at work. It’s a scene of mundanity at its finest. With Wright’s brilliant, dry humour at hand, he couldn’t help but think how on Earth Britain would, with all of its chaos and caustic disposition, react if their early morning shenanigans were interrupted by a plague of flesh-hungry undead creatures. 

Discussing Shaun of the Dead without mentioning a certain dessert-named cinematic series would be criminal. This zom-com is the first entry into the acclaimed and fantastically named ‘The Three Flavours Cornetto Trilogy’, followed by the ‘great er good’ Hot Fuzz (2007) and the sci-fi-esque The World’s End (2013). Ironically, the coining of the Cornetto only came to fruition long after Shaun of the Dead’s release; It was during the promotional stages of Hot Fuzz, where Cornetto’s were given as an aperitif, that led to Pegg and Wright wanting to include the beloved ice cream treat into further films. It may seem akin to a superficial, silly joke, yet the rambunctious nature of developing inside jokes led to the trilogy, particularly Shaun of the Dead, retrospectively developing an intriguing interpretation. The films are all comprised of out of their depth individuals tackling a massive issue at hand and growing as people, but not necessarily (and comedically deliberate) maturing in their adolescent-like ways.  

The development of Shaun of the Dead includes a comic strip titled ‘There’s Something About Mary’ for 2000 AD, the applauded comic magazine. Following this was IDW Publishing’s several-issue adaptation of the horror, with drawings from Zack Howard and writings by Chris Ryall. That’s not to mention the various special edition physical media releases and collectable action figures. Alongside this was Clark Collis’ book ‘You’ve Got Red on You: How Shaun of the Dead Was Brought to Life’ (2021), which details interviews with cast and crew, storyboards and behind-the-scenes insights.

Even just a few years back, the humble humour of Shaun of the Dead shone once again during the lockdown periods in the UK, with Shaun’s iconic ‘plan’ becoming somewhat of a motto for folks at home. For reminder’s sake, Shaun comes up with a simple action plan to tackle the ole zombie issue: “Take car. Go to Mum’s. Kill Phil-“Sorry”-grab Liz, go to the Winchester, have a nice cold pint, and wait for all of this to blow over”. The short, snappy and quintessentially British dialogue resurfaced via Pegg and Frost themselves as they put a modern spin on the plan by putting emphasis on staying home (avoiding the Winchester this time).

Shaun of the Dead’s legacy speaks for itself, with nearly every ‘best of horror’ list devoting a spot to this must-see film. This immeasurably hilarious take on a monster movie still garners a laugh-a-minute reaction from viewers, no matter how many times they’ve pressed play on this unmissable, culturally significant, and pivotal piece of cinema.

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Reviews

Review – Immaculate (2024)

(Deadline, 2024)

Spring’s new psychological horror feature ‘Immaculate’ sees Sydney Sweeney star as Sister Cecelia, a devout nun who finds herself trapped in a secluded convent in the Italian countryside. Fighting for her life, Sister Cecelia finds herself subjected to experiments orchestrated by the church in an attempt to bring about the second coming.

‘Immaculate’ explores themes of isolation, misplaced faith, and the duplicitous nature of the seemingly beautiful. Sweeney provides an electric performance that encapsulates the tipping point between sheer terror and blind rage, carrying the audience with her through a dark and at times gruesome journey of Sister Cecelia’s self discovery and relationship with her faith.

Sister Cecelia, a young, fresh faced religious girl, embarks on a new chapter of her life as she travels to Italy to work as a carer providing end of life care for old, sick nuns. She found her faith after a near death experience in her childhood; she now follows God as she believes that he saved her that day to serve a purpose, but she is yet to discover what that purpose may be. Upon arrival in Italy, Sister Cecelia detects an unsettling atmosphere which shrouds the convent.

After blacking out on her first night she soon discovers that she has become pregnant through a seemingly Immaculate conception. Sister Cecelia was guided to the convent by her faith in God and was consequently expected to put her trust into his representatives on earth. However, after it is discovered that she is the subject of a cruel and inhumane experiment, it is clear that Sister Cecelia’s faith was misplaced, not with God, but with those who follow him and twist their beliefs to justify their own heinous agendas.

(Variety 2024)

We learn early on that Father Tedeschi – the Priest who summoned Cecelia to the convent in the first place – devoted two decades of his life to the field of biology before he found his own place amongst the church. It isn’t until later that we discover Father Tedeschi was shunned from the profession due to conducting unethical experiments.

Once we learn the truth behind Sister Cecelia’s pregnancy it is clear that the purpose which Father Tedeschi and the rest of the convent serve is not in fact God’s but their own. They attempt, in the name of God, to engineer a biologically perfect replication of Christ and believe that he will be their saviour and wash away their sins. The convent firmly believes what they’re doing is for the greater good because, as stated by the Cardinal, “If this is not the will of God, why does he not stop us?”.

Yet, the fact that Father Tedeschi uses eugenics to force the creation of a Messiah opposes the Christian belief that Christ will rise again at the right time. We can also then see how the title, ‘Immaculate’ serves two meanings: firstly, it denotes the idea of an immaculate conception and secondly, it represents the attempt to design a genetically perfect foetus carried by the perfect vessel – Sister Cecelia – destined to become a faultless religious figure.

(Screenrant, 2024)

The setting of ‘Immaculate’ is another important element of the film as it embodies one of the main motifs – darkness masked by beauty. We are provided with a plethora of shots both inside and outside of the convent, depicting both the architectural and natural beauty of the Italian scenery. These shots however are lengthy and linger in certain rooms and corridors. This gives us the foreboding impression that there is something lurking in the convent, a malevolent force or motive hiding amongst the picturesque dressing of this religious building.

Similarly, when Sister Cecelia first arrives at the convent she is sweet, innocent and devout. However, once under threat she is capable of embracing the darkness emanated by the convent and doing whatever it takes in order to survive. Finally, a bible quote hidden on the wall of Sister Cecelia’s bedroom – “And no wonder, for Satan himself masquerades as an angel of light” – foreshadows the duplicitous nature of Sister Cecelia’s baby suggesting that it has the potential to be a force of evil, disguised as a miracle.

(Discussing Film, 2024)

‘Immaculate’ provides a thrilling cinematic experience bringing audiences along for a ride full of gut wrenching twists and abhorrent revelations. The film emphasises the idea that a person’s faith is uniquely their own; a relationship with God should be an individual experience, not dictated by anyone or by an alternative motive. Sydney Sweeney perfectly captures Sister Cecelia’s journey in discovering that God’s purpose for her is to choose her own path. ‘Immaculate’ is a must-see new horror flick and a perfect combination of a harrowing conspiracy and the prevail of a person’s faith in themself.

Hope Lelliott-Stevens

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