Tag: Horror Movies

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2021 Festival Review – Burnt Portraits

burnt portraits

Leo X. Robertson has a keen eye for the obscure, with his focus dwelling on the oddities of society, particularly seen in his book Unfortunates (2021) which chronicles eight short and sadistic stories. Robertson’s second feature film Burnt Portraits captures his most exciting project to date as we are thrown into a dark and twisted world permeated with disguises, suspicions, and horrid truths.

Burnt Portraits follows a popular singer (Sam Crichton), whose naivety lands him in deep trouble as he finds himself in the company of a slightly unusual artist in his dim studio (also played by Robertson). Once ‘Singer’ awakens he quickly hits it off with the artist, forming an unexpected bond despite their differences. However, it’s not long until Singer’s trustiness sneaks up on him as sinister chaos begins to erupt… 

Throughout the film you are left unchaperoned as the ‘who, what, when, and where’ remains principally anonymous, and although it may be second nature to surrender to conventionality Robertson takes the long way round and makes us work for the answers. As aforementioned, Singer ends up forming a brief kinship with the Artist.

As their mutual knowledge of one another grows we too get comfortable in their presence, meaning that when the film does a 180 it hits us as quite a shock. Although Robertson takes time in unveiling the film’s catalyst the slowburn route is certainly worthwhile. What facilitates Burnt Portraits lingering disentanglement is the stylistic rejection of coloured film in favour of using black and white. Through foregoing the modern tradition of colour imagery the environment becomes stark and casted in dark shadows, ensuring that the film leaves a visual mark upon its viewer. 

Backing Burnt Portraits melancholic undertone is the isolating narrative that jolts a sense of unease throughout the 99 minute run time. The story takes place in one setting (albeit a large setting), an art studio. But despite the presence of the pair it still feels entirely abandoned and neglected. When we are introduced to Singer the room is somewhat lonely and dark, but the Artist soon turns on the lights. Rather than relaxing in the brightness I found the illumination unwelcoming, as if whatever is ‘out there’ can see even easier, an idle trap. But that’s the beauty of Burnt Portraits, besides the detailed character depth and the progression of the intensity, one of the most harrowing moments relies upon the unknowingness of the situation. 

Burnt Portraits is even more noble when you take into account its small crew and budget, even the set itself was offered up by Crichton’s mother who thought that the basement to her art studio set the perfect scene for a horror film (she was definitely right!). The film is a clear labour of love and its independent background is a great entry into indie-horror. 

Whilst Roberston is just one of the many exciting up-and-coming creators in the field, his unique portrayal of harrowing horror is hauntingly impressive, and I for one hope to see more of his horrific visions make it onto the screen. 

You can check out the world premiere of Burnt Portraits on Friday 24th September 2021 at this years fest, tickets and details here.

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2021 Festival Review – Censor

censor review

Transcending into a cathartic chaos is Prano Bailey-Bond’s Censor, a tragically stunning yet deceitful enigma that allures as much as it challenges and repels. Birthing Censor’s righteous battle of truth and fiction is a closely confined trip of what grief can manifest and how our own senses and thoughts can be a source of both protection and betrayal. 

Censor is positioned at a dreadfully treacherous era for cinema during the ‘video nasty’ epidemic which saw a nationwide moral panic erupt when home video was introduced. Headlines boasting about moral corruption and the translation of violence on screen would commonly feature on every news outlet, brainwashing the public into a state of malleability, forcing the government to create the Video Recordings Act (1984).

With the film bans, fines, and prosecutions also came an entitlement that meant that the BBFC had a ‘duty of care’, allowing film censors near ultimate control.

Censor uses this history as a walkway for the true narrative to run. We witness Enid (Niamh Algar), a tightly wound film classifier slowly slip into a state of hysterical paranoia after becoming entranced by a film directed by the absent Frederick North (Adrian Schiller) titled ‘Don’t Go in the Church’. Enid immediately links the disturbing film to the mysterious disappearance of her sister, sending her into an entwined matrix of instability, obsession, and turmoil. 

Enid’s demeanour is strong as she continuously likens her profession to the job of a “protector”, guarding the innocent from the obscene. Her unyielding attitude sits authortainly with her, despite the fact that there is a hinted notion that her co-workers idly embroider her as an over disciplined conformist as they happily ask her to type up their notes and have no trouble in a bit of break-room gossip regarding her conduct. Forming from this is an awareness of her isolation. 

It is made clear that since her sister’s disappearance she has been a lone rider whose evening routine is a solo walk home followed by a crossword. Enid may specialise in watching absurd material, but her personal life is blank.

For me this is what was one of the most brewing & unnerving aspects of Censor. The preconception of Enid being the ‘odd-one-out’ at work accompanied by her lonely habitat made her descent into this rabbit hole entirely chilling. It’s this drastic shift from a dull existence to a frenzied nightmare that took me by surprise as there is no comfort, even before the terror starts. During her solarity I kept waiting for something to jump out from behind the couch or for a ghostly shadow to walk past startling the silence, but Bailey-Bond refuses to give us that relief. Instead she forces you to feel alone like Enid, and sit and steam in the unknown. 

Joining this impending dread found in loneliness is the implication of harm from your surroundings. The video nasty panic surged like wildfire amongst the British public, in essence the ludicrousness overshadowed the genuinity of the threat. What resulted from this was a generalised phobia over videos. Bailey-Bond imitates this supposed ‘hazard’ in a joviant yet serious manner through associating the mechanics of a video itself with horror. Multiple shots are shown of a blank tv screen illuminated by that familiar fuzz, accompanying these visuals is a starkly dark sound of muted terror, alongside a fearful expression coming from Enid. Continuing this mimicry is the various tones of blue and red and static overlays which are commonly featured throughout the film’s most harrowing scenes. 

Censor bravely stares back at you, valiantly questioning the audience’s morals. We side with Enid, but should we? And like a blistering volcano waiting to burst, Censor tiptoes around our expectations to create a threat level where we are more frightened about what is not shown than what is. 

You can check out Censor on Friday 24th September 2021 at this years fest, tickets and details here.

Also check our article on ‘Video Nasties‘ from earlier in the year here.

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2021 Festival Review – The August Club

the august club



The August Club is everything you could want in a comedy horror all wrapped up with innovative character designs, excellent theming, and a creative design. Taking us on this Goosebumps-esque journey is the timid Noah (James Grainger), and the boisterous Jack (Lucas Byrne) who have no other choice but to form an unlikely friendship after a detention at the beginning of summer ends up with them being bullied into visiting a creepy old house that is rumoured to be haunted by a ghastly vampire known as Count Varias (David Lavery). 

The August Club is the definition of a passion project as creator Daniel Richardson has built this dark imaginative journey from the ground up. The fantastical elements ring to the nostalgic tones of childhood adventures. Within minutes you’ll be transported back in time to the easier days where telling a creepy story at a sleepover would leave shivers down your spine for days; and this is exactly what Richardson brings back to life, a sense of simplicity within horror. You don’t need buckets of blood and guts to be spooked, instead a good old ‘bump in the night’ story is all that is needed. 

Allowing this exciting tale to come to life is the setting, character backstory, mood, and tone. The film is born and bred in the North East of England, with the Yorkshire setting casting a gloomy grey skyline over Count Varias’s grim manor, generating a daunting thematic impression. Continuing this fabrication of horror-filled doom is the ominous vampire lair that is caked in horror iconography, with plenty of cobwebs, chains, skulls, and an intimidatingly large coffin hosting the Count himself.

This ‘haunted setting is a drastic world apart from Jack and Noah’s ordinary surroundings, which is rife with a realist undertone. Richardson isn’t afraid to dive into Jack and Noah’s background. Jack bears a brave personality where nothing scares him, but the thought of him returning home to his reckless family terrifies him. Whereas Noah is over-sheltered to the point that he has no friends and spends his days alone. 

The August Club is a must watch that will have you laughing one minute and then amazed by the horror the next! 

You can check out The August Club on Saturday 25th September 2021 at this years fest, tickets and details here.

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2021 Festival Review- Wyvern Hill


Entwining a rich story of loss, both through the self and otherwise is Wyvern Hill, a haunting analogy of what it means to be astray in a world of uncertainty. Manifesting the film’s harrowing expressions is director Jonathan Zaurin, and writer Keith Temple. Together Temple and Zaurin leave a lingering mark on the traditional haunted house narrative. But, do not be fooled, although Wyvern Hill may invest in the exterior of an archetypal ghost story, what lies beneath the surface is a dispiriting feast of bodily betrayal and a disjointed sense of reality.

We follow Beth (Pat Garett), an older woman who is exhibiting the early signs of Alzheimer’s. Her daughter Jess (Ellie Jeffreys), and son in law Connor (Pete Bird) have a difficult time trying to accept Beth’s fate as she is all one her own. To combat the ‘inevitable’ they purchase an old country house on Wyvern Hill so that they can ensure comfort in her darkest days. However, instead of settling comfortably Beth begins to experience strange visions of an unknown past. 

Wyvern Hill sways in and out of what we can perceive as reality. Cinema (particularly horror) that is brave enough to grip onto mental decay as its catalyst generally uses a sense of familiarity and reality as a contrast; when one suffers with Alzhermers they may experience confusion over time and place as well as a loss of their own past and present memories. On screen this diffusion of the self typically portrays the false memories and confusion as clear cut, there is no doubt that what we see is simply a figment of the individual imagination, however Zaurin refuses to create an easy path for us. Beth’s ‘false’ perceptions are not easily distinguishable, instead we are lost whilst watching. There is nothing that we can trust, creating a vicious sense of agitation and anxiety. 

Furthering this terrifying perplexity is the exploration of the films’ joining’ subplot. Wyvern Hill somehow manages to create an idyllic marriage of a haunting tale of isolating identity and a gory slasher with a tastefully bloody ambience. The film is not emotionally chronological as it relishes in juxtaposing a sanity-exploring narrative with a dishevelled festival of carnage. This revelation is best left as a surprise, so I’ll spare the plot spoilers, but be prepared for a ferocious parade of the abyss, particularly shown in the opening scene.

Within minutes we are shown a masked assailant prodding at a lifeless body and lifting it up like a puppet on a string, whilst slimy maggots squirm around leftover body parts. The imagery is not only a visceral shock, but also a tortuous insight warning us that this is no ordinary film. Before you ponder over the amalgamation of themes, know that this slasher-esque essence fits in with the rural drama elements like a perfect puzzle. 

Zaurin’s purposeful trickery is one of the film’s most creditable elements that I have yet to see in any other film, there is no spoon-feeding, we are on our own. Wyvern Hill is a feast for the senses, cementing its statue as a film to be remembered. 

You can check out the world premiere of Wyvern Hill on Friday 24th September 2021 at this years fest, tickets and details here.

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Review- Army of the Dead

armyofthedead

Does the idea of rabid zombies tucked away in a desolate Las Vegas thrill you? No… Well how about a merciless motley crew of mercenaries battling a zombie tiger? My thoughts exactly! 

Zack Snyder’s return to flesh eating horror is a bountiful resurrection as his new Netflix flick, Army of the Dead brings in a whole horde of viewers ready to tuck in to the zombie action in its first week.

Spoilers ahead…

Snyder stormed through in 2004 with a brave remake of Dawn of the Dead. Which was a regenerated retake on the original 1978 classic directed by the ‘Zombie Godfather’, George A. Romero. It is certainly one of Snyder’s more refined films, with its success fastening a weighty reputation. Snyder’s return to zombie mayhem has done wonders as Netflix is already creating an entire franchise based off of this single film. Yes, you heard that right. Already there is a scheduled prequel, an animated series, a sequel, making-of documentary and finally a behind the scenes book. So let’s discuss why Army of the Dead is here to stay.

 

The film begins with a military convoy transporting a restrained zombie, but when they collide with another vehicle all hell breaks loose as this monstrous creature tears through tendons and leaves the ground stained with blood. A slew of exposition explains that the majority of Las Vegas became infected and now only a small community survives in a quarantine camp.

This setup leads us to the real action, *cue Scott Ward* (played by Dave Bautista), an ex-mercenary who has to gather a crew of military misfits to recover millions of dollars from a casino vault as part of one of the world’s most riskiest heists. However, there are two big obstacles in their way, one being that Sin City is littered with the immortal, and secondly, the government is launching a tactical nuclear bomb to wipe out the undead only hours after they plan to leave. 

An area that I do have to applaud is the film’s energy. Throughout the extensive (and I mean EXTENSIVE) runtime of 148 minutes we do not really get a chance to breathe. The explosions do not stop, the guns are never not blaring and the velocity is amped up by the second. Going full throttle is definitely what Snyder does best. The theatrics certainly live up to his reputation, alongside the exciting setting, eccentric visuals and most importantly its tongue-in-cheek humour.

It’s sharp vibrancy is immediately placed down within the first 20 minutes. We are presented with the above mentioned crash scene which catalyses the zombie attack, but then we get to see what is my favourite scene of the entire film, the opening credits/montage sequence. Half-nude zombie casino girls flail around, shredding anyone they can get their claws on, accompanying this is a cover of Elvis’s “Viva Las Vegas” and a heavy dose of slow-motion shots, playing over the absolute carnage on screen. The glossiness of Vegas is certainly not lost amidst the zombies as I really believe that Army of the Dead would not have the same vibe if it was not set amongst ricocheted casinos, beaming sunsets, and decaying state landmarks. 

Army of the Dead thrives in this over the top attitude. The excess is mostly found within the copious amounts of gore and pure bloodshed, which is entirely understandable in a zombie movie. Paired with the onslaught is plenty of gun-fights and innovative subplots. Although the heist aspect was done better in last year’s Train to Busan: Peninsula, it is definitely a forgiving point, as for me I saw the heist scenario just a means to an end, not an encompassing important narrative device. However, this praise is not without caution…

This is not a perfect film at all, in fact I found it slightly dim in certain areas. Particularly, the lack of character care. To connect and actually care about the fates of the lead characters is quite an important factor. Without compassion, the legacy of the film will fade rapidly. There is a clear level of tackling done to avoid any shallowness, such as making Ward a father with a brief backstory. But that’s where the development stops. 

That is not the film’s only downfall, with the extended action taking sole presence over quality. As I’ve stated above, the 148 minute runtime is noticeable. The exact same film could have been told within a 90-100 minute time frame, but it seems that horde attacks and cool fight scenes were more important than keeping the audience’s attention. I’m not saying that the film is bad in any shape or form, but a sense of ruthless editing is certainly needed. 

Overall, I’d describe Army of the Dead as a mix of World War Z’s fast paced ferociousness, with a fair portion of Zombieland’s humour and quick wit. The combined gorefest is a visual festival of vibrant colour and beaming lights, but just be prepared for a lack of deeper narrative. 

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

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Review- Psycho Goreman

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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This week in horror – 07.05.21

dead northern news

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

dead northern news

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)

silent hill


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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This week in horror 25.04.21

dead northern news

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.