Tag: horror reviews

Fan favourites from Dead Northern’s 2021 Film Festival

Post author By Film Overload
Post date July 3, 2022
No Comments on Fan favourites from Dead Northern’s 2021 Film Festival

Dead Northern Film Festival 2022

With the 2022 fest just around the corner – Dead Northern’s editor in chief reflects on the of the favourites from the 2021 festival!

Wyvern Hill (Directed by Johnathan Zaurin, 2021)

Beth (Pat Garrett), begins showing signs of early Alzheimer’s, leading to her daughter and son in law taking her in. Little do they know, something much darker lurks beneath the surface.

Wyvern Hill illustrates the bold, wickedly deceptive, and shocking tales that can come from a narrative surrounding a small knit of characters, with director Jonathan Zaurin proving that independent cinema can go above and beyond in every single way. Throughout the film, a plethora of juxtaposing themes are featured including loss of the self and the psyche of disjointed minds, however, rather than Wyvern Hill biting off more than it can chew, the wildly ambitious result is sublime, ensuring that the viewer is both alarmed and intrigued the entire time. Adding even more richness to the film is the valiant imagery that can flip from quaint mute tones to daring neon lighting, again infusing an almost psychedelic aspect into the traditional ‘ghost’ story.

Among the Living (Directed by Rob Worsey, 2021)

After a deadly mutating virus demolishes nearly all of the population, a struggling older brother along with his little sister has to travel across a ruined England to find safety with their father.

Tarnished landscapes due to zombie infestations and ruined connections with the human world, only finding comfort in the small moments between battles is a combination that was destined for the zombie movie. Throughout Rob Worsey’s independent feature, Among the Living, an entire world is created where hardships and sibling relationships are thoroughly explored with an emotive and an all-consuming outcome. As we explore the frightful landscape alongside the pair, it is difficult to not form a heartfelt connection, leading to every risky situation or harmful circumstance to be more heightened than ever.

Red Snow (Directed by Sean Nichols Lynch, 2021)

During Christmas, a vampire novelist (Dennice Cisneros) gets caught up in a battle against bloodsucking vampires.

Red Snow masterfully toys with audience expectations through playing the viewer by delving into entirely original territory through the overarching premise of whether the titular protagonist Olivia (Dennice Cisneros) can actually trust her new house guest Luke (Nico Bellamy). When it comes to vampire films, the standard outlook focuses on gothic architecture, velvet capes, and lusciously lined caskets, however, in keeping with the modernisation of the vampire tale, director Sean Nichols Lynch sets the film at a cozy cabin during the festive period, with tinsel covered christmas trees and plenty of fluffy snow. And whilst Red Snow does make light of the contrasting narrative aspects, the film isn’t afraid of dipping into darker territory and delivering a frightful scare.

The August Club (Directed by Daniel Richardson, 2020)

Jack (Lucas Byrne) and Noah (James Grainger) finish school for the summer, and with nothing better to do they head to the park, only to be dared by local bullies to venture into a creepy house occupied with an ancient secret.

The August Club combines horror nostalgia with creative effects and a keen urge to bring back fun and exciting horror to the market. Many genre fans will look to Goosebumps, Scooby Doo, Tales from the Crypt, and Doctor Who for provoking their initial interest in the weird world of horror; filmmaker Daniel Richardson reintroduces these vibes back to indie cinema to both create an exciting adventure with plenty of twists and turns throughout, as well as showcasing how British horror excels in using a unique blend of dark humour and naturally eerie settings to create a memorable venture.

Zomblogalypse (Directed by Hannah Bungard, Tony Hipwell, & Miles Watts, 2021)

Three survivors from the zombie apocalypse keep a video blog of their day to day life and decide to create a thrilling action feature to keep themselves entertained.

Zomblogalypse began as a web series in 2008 detailing the zombie apocalypse in a lighthearted, but equally gruesome way. Over the years, the success of the series not only conjured a wide fan following, but also a full feature length picture filled with irreverent undead antics and some serious laugh out loud escapades in this surreal, entertaining, and captivating zombie found footage hybrid. The exciting peaks that Zomblogalypse hones in on is of course extremely entertaining, but the film does not stray away from the gory aesthetics that zombie films are known for. The effects are more than brutal and generous, with tons of putrefying flesh, bloody wounds, and flailing limbs appearing in the spotlight more than once.

The House That Bleeds (Directed by Ben Ellis-Nicholson, 2021)

Alex (James McFadyen) and Lucy (Stephanie McNeil), an expecting couple move into an old ‘fixer-upper’ to start their new life as a family. However, the house holds a terrifying secret.

The House That Bleeds is an incredibly unexpected fright that delves into completely eccentric territory, whilst also remaining truly artistic and inventive. From the get-go, the basic idea of a possessed house is a true classic, creating a cushty environment for director Ben Ellis-Nicholson to display true terror, however, in keeping with the film’s noteworthy dexterity, Ellis-Nicholson swaps live-action actors for puppets! In this Muppets-meets-Amityville Horror epic, there are plenty of surprises all encased in a dreamlike and unearthly manner.

Eject (Directed by David Yorke, 2019)

Kate (Elena Saurel), discovers a USB port lodged within her wrist that uncovers a whole new world where she is offered the chance to change her fate. But, the dark cost of such drastics alterations might not be worth it.

When it comes to sci-fi laden stories there isn’t much that hasn’t been repeatedly covered, however, David Yorke’s Eject manages to be entirely unique, plunging a level of pure originality into the genre. As the short progresses Yorke tackles the current societal panic of technology taking over and the loss of human interaction. The narrative motive alone is truly terrifying and personable, which is made even more pronounced due to the labyrinth-like setting and exceptional cinematography that transports the viewer to an unknown world.

Burn the Bitch (Directed by Kieran O’ Toole, 2021)

Rob (Joshua Diffley) is dragged from his comfort zone to a loud concert filled with people, whilst there he meets his dream woman Daria (Carlotta Morelli), however, their blossoming connection is not exactly what it seems.

Having solid groundwork with a thriving story is certainly an aspect that Kieran O’ Toole’s Burn the Bitch completely nails. And whilst the narrative is a key component to any short, O’ Toole refuses to stop just there as this short is beyond a visual rollercoaster that relishes in enigmatic imagery lit with giallo-like tones, where every aspect of horror is exemplary and made extremely memorable. Coupling up with the film’s vivid exposition in the detailed characters who are so balanced and elaborate that a full length film could easily come from this renowned short.

Hold Your Breath (Directed by Kameron Gates & Tommy Weber, 2017)

During Molly’s (Emily Sweet) midnight swim, the unexpected happens, leading to a fight of the fittest between herself and a masked assailant.

Hold Your Breath is a spellbinding take on the psychological horror sub genre. Joining the deep and dark explorative story of the human psyche is the film’s exceptional cinematography that has such a high level of quality attached to it the entire time. The rich landscapes, along with the attention commanding narrative allow Hold Your Breath to be both cinematically affluent and hauntingly arresting.

Koreatown Ghost Story (Directed by Minsun Park & Teddy Tenenbaum, 2021)

A young woman (Lyrica Okano) is offered the opportunity to pursue her every want and need, but at a damning cost.

Koreatown Ghost Story truly shows that short films can be as bountiful, explorative, and effective as any full length feature. Throughout, both a mystery plot and a supernatural story are followed, with the viewer deliberately being unsure of what exactly is happening until the very end; in turn creating a sense of discombobulation and eeriness. Amidst all the unpredictability is the cinematic expressiveness, from the slightly sporadic characters to the detailed set that mimics the setting of a large blockbuster film on an independent budget.

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Reviews

Review – The Black Phone (2022)

Post author By Film Overload
Post date June 25, 2022
No Comments on Review – The Black Phone (2022)

Audiences have become rather accustomed to quick-buck, bright and bloody horrors that come about every couple of months from large studios, where nearly every moment of tension is ruined by a falsely acquainted jumpscare, and a lack of believable performances. Honestly, this is exactly how I believed The Black Phone would turn out. Never have I ever been more wrong!

The Black Phone follows Finney (Mason Thames), a middle schooler who along with his sister Gwen (Madeleine McGraw) have become a form of careers to their widowed alcoholic father, Terrence (Jeremy Davies), making sure that he doesn’t cause too much harm once he begins bingeing. Together they fight through the hardships, especially as Terrence has a penchant for berating Gwen over her psychic dreams. Amidst their other daily struggles of school bullies and playground antics Finney is captured by The Grabber (Ethan Hawke), a local masked kidnapper. All alone with no help in sight, it seems that Finney is destined for death, however, a mysterious black phone and Gwen’s visions may hold the key to his survival.

Adapted from Joe Hill’s (son of genre proficianado Stephen King) short story of the same (2004) is Scott Derrickson’s latest feature that calls back to one of his previous horror’s Sinister (2012), in being a shockingly gut wrenching delight that will have you peeking through the gaps of your fingers as you sit on the edge of your seat. The boxes are ticked in all categories, whether it’s the creepy performance from Hawke playing the bloodthirsty local kid-snatcher, or the illustrious whodunit mystery that goes on in the background as the cops race against time to get to the bottom of the killings before it’s too late.

As with most classic auteurs in the making, Derrickson uses his common collaborators Hawke and writer C. Robert Cargill to plunge The Black Phone into a refreshing territory that holds up for the entire film. The film transports us back in time to Colorado circa 1978, where kids would play out on the streets unequipped with no phones in sight, feeling safe amidst the presence of strangers, however, it is this exact uniformed trust that The Black Phone uses as a backbone for terror to ensue, constatnly toying with our knowledge that times are no longer as simple and Finney should definitely not be walking home alone with an unknown boogeyman lurking about. And although we sit waiting for the ‘big surprise’ of The Grabber’s appearance, what we are not prepared for is how petrifyingly wicked the prowler truly is.

Hawke’s career spans across a plethora of films including Dead Poets Society (1989), Reality Bites (1994), and Boyhood (2014); Whilst these works portray his outstanding capabilities, his recital of a maniacal deranged serial killer in The Black Phone is a career-distinguishing extravaganza, exhibiting Hawke’s duality of being a deeply disturbed individual whose depravity also oozes a sense of childlike giddiness. Convoluting the story even further is the dark land that the film doesn’t neescarly assert, but is suggested throughout. Finney’s ghostly conversations with his captive chums allude to The Grabber’s motives as somewhat being connected to a regressive state of adolescence, where he doesn’t see himself as a grown man abducting little boys, but instead a fellow child. Here, Derrickson very much leaves further analogy and the dissection of what The Grabber is ‘capable’ of doing to the viewer’s imagination. Hawke’s performance is more than commendable, but it’s important not to forget all of the other characters that make the film what it is. Spiritually joining Finney in the basement is the titular gang of fellow victims who include a small town bully, a local baseball player, and most importantly Finney’s own friend Robin (Miguel Cazarez Mora), who over the course of the film becomes Finney’s ghostly sidekick, keeping him motivated to escape the cell and tackle his inner fears.

The surveyance of suggestion is another feature that is pushed constantly throughout the film. Gory imagery does not always equate to an overused gimmick to get a visceral reaction, instead it can be used as a rather quintessential and necessary plot device for cinema, especially in the works of zombie features or body-horrors. The Black Phone delicately works with heavy material without becoming too infatuated with the sensory elements. Yes, you will feel a shiver as you come to terms with how The Grabber has anihilated his victims, but the reaction isn’t thanks to a harsh show-and-tell, instead, Derrickson takes his time in unravelling the backstory and fleshing out the grounds to conjure a narrative that employs your own imagination, forcing the misdeeds to stay in your own psyche for long after watching. Through The Black Phone continuously telling not showing, we mould the story around our own fears and worries, making the film memorable and beyond personable.

In keeping in touch with Derrickson’s pathos of personalness is the setting and time that the film uses to force a further level of despair into Finney’s chances of escaping. During the 1970s and early 1980s there was an influx in abductions, raising the now too familiar saying of ‘Stranger Danger’ into public domain. During this time, milk cartons were plastered with missing posters, meaning that the threat and knowledge of alarming events were in the family home, not just a distanced and avoidable event on the news.

As with any major event, cinema took ahold of these panics and manifested the terror into works of media, with recent entries including Prisoners (2013), The Captive (2014), and I See You (2019). Films akin to these mystery dramas with heavy doses of horror have had a slight rehaul over the years, with studios opting to position the ‘missing kids’ narrative during one of the more notable heights of worry– during the 1970s/1980s. Rather than Derrickson using nostalgia and retro framings as an easy trick to hone in on the trend, the vintage aesthetic is used appropriately and to the film’s utmost advantage. In honour of the throwback vibes Finney becomes entirely hopeless, with zero social media to track his location, nor any savvy list to keep track of neighbourhood creeps.

Everything, whether it’s the dim layer where Finney is held, the retro style complete with grainy intercuts of 8mm footage enlightening viewers of Gwen’s visions, or even the foreboding score that knows exactly when to quieten before erupting into a thunderous peak- The Black Phone has it all, making it not only one of 2022’s most standout films so far, but also a strong contender for being one of Blumhouse Productions best releases yet.

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Tags Dead Northern, ethan hawke, Horror, horror film festival, horror films, Horror Movies, Horror news, horror reviews, jeremy davies, joe hill, madeleine mcgraw, mason thames, scott derrickson, the black phone, the black phone review

Top Horror

Sun, Sea, and Slaughter: Top Ten Horror’s to Watch This Summer

Post author By Film Overload
Post date June 18, 2022
No Comments on Sun, Sea, and Slaughter: Top Ten Horror’s to Watch This Summer

**1- Midsommar (Directed by Ari Aster, 2019)**

Dani (Florence Pugh) travels to Sweden with her anthropology boyfriend (Jack Reynor) and his friends to celebrate the town’s annual Midsummer Festival.

Ari Aster may have begun drawing heaps of attention thanks to his incredibly dark short film The Strange Thing About the Johnsons (2011), but it would be nearly a decade until he reached pivotal success with Hereditary (2018), and then the infamous Midsommar, which received praising reviews from both tough to please critics and cinema goers. The film takes its time to unravel, where the horror is delayed to focus the attention of Dani’s inner psyche and what it means to feel lost and lonely even though she is surrounded by people. Like its folk predecessors The Wicker Man (1973), and Penda’s Fen (1974), Midsommar is rooted both physically and metaphorically within nature and the allure of innocence that secretly hides ancient secrets. The anonymity that Midsommar possesses is one of the many reasons behind its success, with the harmonious town of Hälsingland creating a sense of safety. Akin to the earthy aesthetics that Aster creates, the film takes inspiration from the dark nature that lies within humanity, especially conflicting emotions of grief, desperation, and guilt.

**2- The Fear Street Trilogy (Directed by Leigh Janiak, 2021)**

The town of Shadyside is terrorised by an infamous evil that has been plaguing the town for centuries.

R. L. Stine’s Goosebumps series just may be the igniter that started many horror fan’s love of the morbid and macabre. However, Goosebumps wasn’t Stine’s only creepy venture as his Fear Street novels also garnered plenty of success. And rightly so! In 2021, Netflix dropped the news that Leigh Janiak would be writing and directing an entire trilogy based on the Fear Street books, with every film being released one week after the after. The first entry acts as a solid introductory point where nostalgia is the keen focus all thanks to the slasher-like vibes that run throughout. The sequel goes back in time and utilises the cabin in the woods vibe that dominated 1980s horror, and last but not least the finale acts as an overarching binder that moulds together everything that Fear Street has been working towards, nestling the trilogies place as an absolute must-watch that has a bit of something for everyone.

**3- The Lost Boys (Directed by Joel Schumacher, 1987)**

The lively, sunny town of Santa Carla may seem like a haven for the sweet life, but a gang of cruel vampires take over and cause utter mayhem.

The Lost Boys is not an unfamiliar entry on this list for any horror fan, some might even say that Joel Schumacher’s vampire flick is one of the most notorious blood-sucking films to come from the 1980s. This praise may seem far fetched from a glance, but The Lost Boys is an unmissable thrilling descent into gory antics and wicked effects. The Santa Carla beach setting lays the path for a tale rife with coming-of-age bonding, beachside parties, and beyond entertaining vampire escapades.

**4- Summer of 84 (Directed by François Simard, Anouk Whissell and Yoann-Karl Whissell, 2018)**

Set in the summer of 1984, a group of teens suspect that their local police officer may be a serial killer.

Summer of 84 perfectly wraps together what modern audiences loves about 1980s horror; it’s the whole aspect of adventure, and a sense of freedom that allows the characters to explore the land of the films narrative, almost akin to beloved throwback films such as The Goonies (1985) and Stand By Me (1986). Keeping up with this theme is Summer of 84’s heartfelt basis that lies at the bottom of the grisly horror, just like 2017’s IT remake, the film puts friendship at the heart of the journey, meaning that the threat of this murderer on the loose becomes so much more real and menacing, forcing the audience to actually care about what happens to the group.

**5- Jaws (Directed by Steven Spielberg, 1975)**

In a bid to stop a killer shark from ruining the tourist buzz in Amity Island, a group head out into the ocean to capture the deadly beast

Summer and horror may seem like a world apart, with gruesome fates and sunny skies contrasting against one another. However, this clash wouldnt last for long thanks to Academy Award winning director Steven Spielberg combining slow burning terror with the creature feature to create one of cinema’s favoruite horrors. Set in the beach town of Amity Island is a story that made audiences scared to go out into the ocean for years, fearing that a great white will come along and snap them up. Besides the hysteria that Jaws caused (including the supposed reaction of neurosis in one audience member…), the film offers a tidal wave of good old fashioned fun to be had amidst all the jumpscares and impressive effects, making it one of the most quintessential summer films.

**6- Aquaslash (Directed by Renaud Gauthier, 2019)**

Wet Valley Water Park becomes the centre for the graduation class of Valley Hills High to celebrate their upcoming futures. However, it’s not long until their gratuitous debaucheries are interrupted as a mad killer sets their sights on killing as many of the students as possible.

Keeping in theme with the water-based frights is possibly one of horror’s most under-recognised entries in recent years– Aquaslash. Fresh from Fantasia’s Film Festival in 2019 is this Canadian gem that unearths a new-found fear for waterparks, with the film’s daring third act being grossly horrifying enough to even make professional fright-seekers wince and cover their eyes. In order to ensure audiences’ shocked reactions as the film’s conclusion hits, we’ll keep it brief, however, just know that this irreverent, outrageous film is sure to be a surprise.

**7- The Ruins (Directed by Carter Smith, 2008)**

Two couples go on a romantic vacation to Mexico, where they are invited on a trip to a Mayan temple where they find themselves entangled within the hungry vines of the Mayan jungle.

The 2000s harboured a reputation as being rather contentious for a while, and whilst over the years this era has received plenty of praise for its slasher-inspired, teen-based, overly cheesy movies, many films from this period still remain fairly undetected by the masses. One of these entries include The Ruins, a sun-soaked, fable-filled, earthy horror that explores the vengeance of the elements. The nature of the film itself allows for brave levels of hysteria and uncertainty of actions to thrive, but what makes the film become really elevated is the surprisingly graphic body horror, whose visuals remain etched in the viewer’s mind for long after watching.

**8- The Town That Dreaded Sundown (Directed by Charles B. Pierce, 1976)**

A fictitious retelling of the 1946 Moonlight Murders, whose perpetrator stalks their prey at night killing them in the most horrific ways possible.

The Town That Dreaded Sundown has remained somewhat timeless, which is a bold statement considering it has been forty-six years since its release. Yet, those decades have not been without controversy for Charles B. Pierce, in fact the film came across as so raw to the true story that a lawsuit was filed against the film’s marketing team, as well as Pierce being involved in a court trial after someone involved in the true case tried to sue him for privacy infringements. This highly heated hit has a foreboding atmosphere that fails to quit, as well as crafting such a terror stricken aura that any form of security the viewer may have found is completely jolted, alarming the senses and creating a memorably horrific film.

**9- The Burning (Directed by Tom Maylam, 1981)**

In upstate New York, Camp Blackfoot becomes the playground for a vengeful serial killer who is hellbent on creating a world of hell for the unlucky campers.

Cabin, camps, and creepy caretakers were at the forefront of horror in the 1980s. One of the film’s that started this trend included Friday the 13th (1980), leading to many filmmakers drawing inspiration from the success of Sean S. Cunningham’s work, with movies such as Madman (1982), Sleepaway Camp (1983), Cheerleader Camp (1988), and later hits such as Cabin Fever (2002) all becoming staples in the summer horror realm. But one horror that didn’t just copy and paste the teen-summer-slasher was Tom Maylam’s The Burning. The general concept of a crazed killer targeting a group of unsuspecting victims is a classic method that is destined to provide a fun ride for the viewer, however, where The Burning really shines is within the special effects orchestrated by none other than the legend himself Tom Savini. Throughout, super gnarly gushing wounds and smashed heads feature, leaving no stone unturned when it comes to the gore factor.

**10- Turistas (Directed by John Stockwell, 2006)**

A group of vacationers travel to the Brazilian Coast where the bright nightlife and climate makes the trip seem like a dream, that is until they are unknowingly drugged and find themselves stranded in the middle of nowhere with no belongings left. They eventually travel to a supposed safe haven where imminent rescue is promised, however, they soon realise that it is all a deadly trap.

Holidays are a chance to kick back and relax, leaving inhibitions at the door. But, at the back of everyone’s minds there is a lingering worry that being in an unfamiliar land where there are language and cultural barriers can lead to nightmarish consequences. Turistas is aware of exactly that, as it preys on very real worries, leading the viewer anxious to let their guard down abroad ever again. All of this paranoia would not be as effective if it wasn’t for the genuinely powerful performances from Melissa Geroge, Olivia Wilde, Josh Duhamel, and Beau Garrett, who all nail that paranicked fear, making Turistas so much more than a cheap thrill.

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Reviews

A24’S Men is 2022’s most controversial film yet – Review (Spoilers)

Post author By Film Overload
Post date June 11, 2022
No Comments on A24’S Men is 2022’s most controversial film yet – Review (Spoilers)

The newly widowed Harper (Jessie Buckley) embarks on a solo trip to the countryside to escape from her worries. However, once she arrives a string of bizzare events unravel a world of horror…

Folk horror justifies the human body to be connected to an ethereal being that is one with nature, as if the soil beneath a character’s feet is a reasoning, an aid in their emotive flow. Men, Alex Garland’s latest feat, is an earthy experience that assaults the viewer’s senses through compartmentalising what they may or may not have believed about gender politics, and how the very source of a threat runs deeper than anyone may have previously understood.

Beware spoilers ahead…

Known for Ex-Machina (2014) and Annihilation (2018), Garland’s filmography thrives in the communication between humanity and otherness. That otherness in his previous work has been primarily communicated through science and creatures, and these sci-fi-like stories all have one thing in common- each piece resonates with something higher that can not always be understood in the everyday, where tales of grief, despair, sorrow, and self-condemnation thrives.

Men elicits its own message in a convoluted but mesmerising way. The impactful gut punch swung at the audience within the first scene acts as a warning shot to the entirety of Men’s harsh reflection about the cycles of abuse. With the rest of this narrative portion told in flashbacks, it is slowly revealed that Harper’s escape to the countryside was a means of therapy, a place of solitude to heal from the loss of her abusive husband. A tumultuous debate ensued when Harper informed her partner James (Paapa Essiedu) that she wanted a divorce, with the presumption being lumped on his controlling behaviour. James reacts in a callous manner that far too many people have experienced, touching on the deep wounds from the more ‘quieted abuse’.

He begins with carefully telling Harper that her absence will result in his suicide, coinciding her to being his emotive murderer. Their argument continues after he catches her texting a friend that she is scared of his behaviour, resulting in the discussion becoming heated when he knocks Harper straight across the face, blasting her into the kitchen cupboards and leaving her with a bloody nose. Rightfully so, Harper kicks James out of the marital home before he makes his way to the upstairs balcony and falls (or as it’s suggested) ‘lets himself go’ from the railings, plummeting to his death right in front of Harper.

The suffering experienced in a domestic situation is not always as obvious as soap operas make it out to be. Slowly persuading social exclusion, demanding to see someone’s phone, controlling what attire is and isn’t suitable, and hanging a warning of ominous events over an individual’s head is what can go on behind closed doors without anyone else ever knowing. Men implicates this subtlety that harm can harbour. Harper’s past with James is just the tip of the thunderous iceberg that Men touches upon.

As Harper enters the grounds of her idyllic home for the next two weeks, Geoffrey (Rory Kinnear), the keeper of the manor is introduced. His tweed layered outfit, buckled front yellowed teeth, and upper-class clipped tones all scream true to the country-gentlemen stereotype. Here, as it will become clearer later on, Garland has not fallen trap to easy labelling of a character out of sheer ignorance, Geoffrey’s precise aesthetic and tone is very much deliberate, lathering up the scene for the unbearably gruesome horror to ensue as the film progresses. At first Geoffrey seems harmless, almost awkward, and very eager to make Harper feel comfortable and safe all on her own. Whilst a woman shouldn’t have to wear a metaphorical coat of armour to feel safe when solo travelling, it seems that Geoffrey is concerned that Harper, or Mrs. Marlowe (emphasis on the Mrs.) as he calls her, has not brought ‘hubby’ along for the trip.

After Garland has denoted adequate time to develop the background of Harper’s disposition, the viewer is welcomed into Men’s true motives. Lush emerald fields and abundantly leafed trees frame Harper as she ventures out on a walk through the forest. The land swallows her stature and becomes all-encompassing to the frame, illustrating the sheer vastness of Harper’s seclusion and tethering her to nature, encasing her with the trees as if she is part of the shrubbery. It suggested that Harper has been disconnected from herself ever since her widowing, becoming stricken with the grief and guilt that was forced upon her.

As her journey into the forest deepens, her demeanour becomes lighter and more at ease, finding comfort in the breeze of the cool wind amidst the evergreen architecture. This happiness continues after she makes her way down a muddied trail to the abandoned railway track. The outside of the tunnel is bleak and dauntly lit, highly juxtapositioned against the previous scenes of open brightness. However, her boost of merriment from the walk encourages her to walk into the disused channel where she discovers the echo effect that the tunnel makes. Since she’s finally feeling spirited again, glee takes over and she creates a quaint melody, singing little calls down the tunnel. All is finally well. That is until her vocal sessions receive a reply…A loud screechy reply at that.

The cathartic bliss is interrupted within this one single moment. And from this point forward all hell is unleashed. As the film unravels it turns out that the reply Harper heard was from a naked, gaunt man who stalked her back to the cottage. However, as Garland slowly reveals, this stalking event does not take up the entire film, instead this horrific incident is barely a drop in the ocean compared to the following events. This brief climax in the first act opens the door for a string of chilling encounters to occur. The male police officers assisting Harper in dealing with the assailant are easy to shift the blame, the priest who she bumps into whilst exploring the village is quick to judge, a rude schoolboy who she unfortunately meets is rude and threatening, and the male townspeople she witness at the local pub are all majorly eerie, enacting a silent dread that has become increasingly familiar to many over the years.

Despite the rise in awareness and rights, there has been an insurgence of violence towards women, with the primary assailant being men. These antagonists are not always overt boogeymen lurking around corners. No…They could be (as Garland rather unabashedly exposes) a friendly neighbour, a religious vicar, it can be a young boy, a stranger who you may have simply crossed paths with, they could even be a respected police officer-a figure of the law.

Harper’s relationship and the reasons as to why she ends up in the countryside in the first place is just a means to an end, shielding the true meaning that Men possesses. Many have argued that Harper’s damsel-in-distress status is a receding factor in the cinematic representation of women. Her panicking, paranoia, and trepidation is largely seen as steps put in place to make her weak. And of course with Garland being a man himself, Men has become the target point for heavy scrutiny. Yet, one could argue that by constantly pushing on-screen women to be powerhouses, devoid of emotion (especially considering Harper’s circumstances), and completely fearless, then a similar pressure is once again placed upon the female viewer. Audiences want women to be absent of trauma, but at the same time, the true pathology of a person (female or male) depicts a variety of emotions all at one time. The comments degrading Garland’s work, and more importantly Buckley’s performance, as being ‘too-sentimental’ is in itself the sort of criticism that Men actively wants to disavow. Harper feels how she wants to feel, reacts as she sees fit, and is determined to do whatever she wants, no matter who it may displease. In the horror genre fear and anxiety are the driving forces behind the film, so why would Harper not be a bundle of nerves in this situation? I know I would!

Whilst Men can stir passionate debates about representation and the censorship of feelings (as seen above), what also needs thorough examination is the ‘why’s’ behind the film’s message. Rory Kinnear, known for his roles in Black Mirror (“The National Anthem”) and the Daniel Craig saga of James Bond films, plays the role of all the men in the village. Through all of these numerous character performances being synched together by Kinnear’s presence, it’s hinted that no matter the age, career, or appearance the danger is always there. Thus, inflicting an additional layer of context into Men. Its as if Garland is playing on the current social climate’s phrasing of the political standpoint- “Not All Men ”. Of course, these matters deserve more than a mere nod here, but to keep matters simple, in summary it can be argued that Garland decides to target the prolonged toxic masculinity trope.

Moving on, Kinnear is not the only shining star that graces the screen with the presence of pure talent. Jessie Buckley tears the barriers between screen and viewer, persuading us that this film is not a veil or a sheer piece of entertainment, but an important step in modern horror. Buckley willingly goes through such stern emotions of melancholia and utter desolation, and in doing so she drags the viewer directly into the horrid events, heightening the already nervous sense of fear and granting Men with an ubiquitous power.

Men builds a tower of fear through alerting us of the dangers out there, whether that be the everyday threat from the residential creeper, or the seedy underbelly that lurks within the least suspecting character. The entire pretext Men grounds itself within is both human nature and the outdoors itself, with the phallic tree stalks, the dominating masculine presence, and the constant symbolism of ‘father nature’ stalking Harper wherever she goes. In a bold, but refreshing sense these undeniable mankind-like features are purposefully juxtaposed with feminine touches from the rounded ripe fruit that falls from the trees, the red painted innards of the cottage, and the film’s unforgettable conclusion.

Arguably, the mixed reviews reading Garland’s stance towards misogyny as detrimental to any progress made can be sympathised with. However, I would argue that Garland did not set out to make a propaganda piece confirming his stance, instead Men screens a small portion of gender politics as a discussion piece, not a tale that aims to immigrate his own ethos into the mix. We are invited to sit back and witness, and make up our own minds about what we think is going on- making Men more of an experience as well as a film.

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Tags a24, a24 films, alex garland, Dead Northern, folk horror, horror film festival, horror films, Horror Movies, horror reviews, jessie buckley, men 2022, men a24, men film review, rory kinnear

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Top Ten Must-See Troma Movies

Post author By Film Overload
Post date June 4, 2022
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1- The Toxic Avenger (Directed by Michael Herz & Lloyd Kaufman, 1984)

A measly nerd (Mark Torgl) residing in New Jersey finds himself transforming into a ginormous monster after falling into a barrel of toxic waste.

If there was one singular film totally synonymous with the entire Troma legacy, then the film at hand would be The Toxic Avenger, the key to the company’s legacy and long-lasting success. The basis of the film’s existence came about in quite a typical fashion for Troma; Kaufman got wind that horror movies were apparently ‘no longer popular’ after reading an article at the Cannes Film Festival. So, with a boost of gumption and an upcoming production company backing him up, Kaufman and Herz concocted the idea of a swampish monster who would take on a hero persona to tackle those up to no good. The 1980s mainstream media would constantly belittle the horror genre, but Kaufman and Herz’s efforts were still met with solid reviews, leading to flocking audiences desperate to see this weird and absurd creation. Over time, The Toxic Avenger has built an entire franchise running behind it, with comic books, sequels, tv-series, a range of merchandise, and an upcoming reboot directed by Macon Blair and starring Peter Dinklage, which is due to be released later next year.

2- Combat Shock (Directed by Buddy Giovinazzo, 1986)

Frankie Dunlan (Rick Giovinazzo), a war veteran who fought in Vietnam is living in despair with his argumentative wife and deformed baby. The gritty poverty that he lives in, along with his less-than-perfect home life forces him to lose touch with reality and descend into insanity.

During the golden age of Troma came Combat Shock, a wild, wacky, and enthusiastic exploitation flick directed by Buddy Giovinazzo. Even those completely unfamiliar with Troma will probably have heard of Combat Shock being thrown into filmic conversations every now and then, primarily thanks to its nihilistic, drastic take on wartime history, particularly the Vietnam War. Whilst, Giovinazzo is certainly not the first filmmaker to tackle this important world event, he is however one of the only creators who have depicted such events in a radically chaotic and torturous way.

3- Cannibal! The Musical (Directed by Trey Parker, 1993)

A man on trial for cannibalism tells his story of how his deeds all went down through songs, performances, and dramatic flashbacks.

This cannibalistic, flesh-frenzied, meat-eating musical is nothing short of completely trippy. It was slightly based on the true story surrounding the self-confessed ‘Colorado Cannibal’ Alfred Packer, the film boards gruesome, grizzly visuals, epic settings, and surprisingly uplifting songs to create a film, unlike anything anyone would ever expect. Director and writer duo Trey Parker and Matt Stone (Now known for creating South Park) originally came up with the film’s premise for a project for a film class where they had to compose a trailer. The short garnered a lot of attention, encouraging the pair to raise a tidy budget of $125,000 to shoot a full-length movie. After the project wrapped and editing was complete, Cannibal! The Musical did not get a general release. However, in 1996 Troma saw the grave potential in the darkly spirited musical and picked it up. Over the years, Troma considered the film to be one of its best releases, even including it in the 2008 launch of the ‘Tromasterpiece Collection’.

4- Father’s Day (Directed by Astron-6, 2011)

Ahab (Adam Brooks) becomes hellbent on seeking revenge on the man who murdered his father.

Although Troma has its ties with the 1980s slasher hit Mother’s Day, 2011’s aptly named Father’s Day holds no relation to the classic; instead, this extravaganza is much more obscure, depraved, and downright hilarious. Father’s Day is directed by the team known as Astron-6, composed of Adam Brooks, Jeremy Gillespie, Matthew Kennedy, Steven Kostanski, and Conor Sweeney. The collective is responsible for must-sees such as The Void (2016) and Psycho Goreman (2020). Similar to Cannibal! The Musical, the film was conceived as a short film, but demand would take over, with the eventual full-length feature premiering at the Toronto After Dark Film Festival where it would receive a whopping total of 8 awards, including Best Film, Best Director, and nearly every Fan’s Choice award going. It’s difficult to pinpoint just one of the many reasons why the film is both one of Troma’s best features and a standout Grindhouse-like film, but a starting point is how far Father’s Day is willing to go whilst still remaining quick-witted and comedic. Throughout the violent journey expect plenty of mutilation, decapitations, and incest.

5- Terror Firmer (Directed by Lloyd Kaufman, 1999)

A maniac killer is out on the prowl at the same time as a film crew is shooting a low-budget feature in New York. To stop the madman on his path of destruction the crew bands together, resulting in tons of bloodshed and chaotic mania.

Grimy b-movies including Peter Jackson’s Braindead (1992) and Michael Muro’s Street Trash (1987) are distinct setups for that niche subgenre of horror that often gets overlooked and downgraded as total schlock. Terror Firmer understands this critical reception and uses it as a blueprint to create the most gnarly and gross-out b-movie to ever grace Troma’s books. The film was birthed by Douglas Buck, Patrick Cassidy, Kaufman, and James Gunn, and was based on the autobiography book written by Kaufman and Gunn titled ‘All I Need to Know About Filmmaking I Learned from The Toxic Avenger’ (1998). This gory voyage utilises the meta trend that soared through cinema during the late 1990s, setting the perfect scene for gruesome kills and humorous quips throughout.

6- Tromeo and Juliet (Directed by Lloyd Kaufman, 1997)

Filmmaker Tromeo (Will Keenan), falls head over heels for Juliet (Jane Jensen), the daughter of his rival.

William Shakespeare’s tragedy, Romeo & Juliet is an embracing tale of forbidden love, battling families, and the tortured fate of life without romance. Troma’s Tromeo and Juliet is an ‘interesting’ adaptation of the said play, except it follows a much more alternative route, depicting violent bodily vandalization and explicit phallic fantasies. Across the board, Kaufman’s vision may not be to every individual’s taste, but it is certainly a feast for Troma fans, with James Gunn’s script steeping the film in nightmarish scenes that dare the viewer to keep watching throughout all of the madness.

7- Class of Nuke ‘Em High (Directed by Richard W. Haines, Michael Herz, Lloyd Kaufman, 1986)

A group of students from Tromaville High mutates into hideous freaks after toxic waste finds its way into their water supply.

In the same lines as The Toxic Avenger, Class of Nuke ‘Em High is one of Troma’s most defining hits, with four sequels following (one [Return to Return to Nuke ‘Em High AKA Volume 2– 2017] even premiering at Cannes Film Festival). And just like The Toxic Avenger, this film acts as a loose sequel, also being based in Tromaville and being soaked in visceral, green sludge that makes every violent act even more audacious. Adding to the genre-defying theme are the electric-like sci-fi elements including the threat of nuclear plants, radiation fears, bodily mutations, and dominating creatures–all commanding the screen, creating a lingering fandom that refuses to stop.

8- Citizen Toxie: The Toxic Avenger IV (Directed by Lloyd Kaufman, 2000)

The Toxic Avenger (David Mattey) arises once again to save Tromaville from his evil counterpart The Noxious Offender.

Troma is rife with sequels, prequels, trilogies, and entire franchises. And out of all of these continued films, one of the best has to be Citizen Toxie. Just like the original–The Toxic Avenger–Citizen Toxie has plenty of bold gravitas and a keen sense of what Troma fans adore, tons and tons of madness. Quite impressively, the fourth installment features some stellar cameos from the likes of Eli Roth, Stan Lee, Corey Feldman, and Lemmy from Motörhead. Similar to nearly every Toxic Avenger film, the lack of societal correctness is a deliberate strategy to both provoke the comfort that resides in mainstream cinema and to create a film that soars past what anyone could possibly expect.

9- Blood Sucking Freaks (Directed by Joel M. Reed, 1976)

Magician, Sardu (Seamus O’Brien), kidnaps a string of people to use for his magic show. Little does the audience know that the torturous tricks are actually real.

Blood Sucking Freaks is possibly one of Troma’s most controversial films, and that’s saying a lot considering some of their other titles include Chopper Chicks in Zombietown (1989) and Surf Nazis Must Die (1987). Joel M. Reed’s nightmarish extravaganza was picked up by Troma in 1981, where they would make certain cuts to the film to receive an R rating, however, the version they ended up releasing depicted extremely graphic content, leaving no stone unturned through every scene, even including visuals of botch amputations, head crushing, teeth-pulling, and healthy doses of general torture. Of course, the censor board was not happy with the release of such content, but like with any cult classic, this made Blood Sucking Freaks all the more fun.

10- Poultrygeist: Night of the Chicken Dead (Directed by LLyold Kaufman, 2006)

A fast-food restaurant is taken over by zombie chickens after the building was constructed over an ancient burial ground.
If the name of Kaufman’s 2006 feature doesn’t give you enough information already, Poultrygeist: Night of the Chicken Dead is a demented, unreal, and shockingly absurd descent into mayhem. In the essence of true independent filmmaking, the film was made possible by the pure devotion to the cinema, with Kaufman and Herz partially self-funding the film just to get it made. Along with this, most of the crew were volunteers who were fortunate enough to see the adverts on Craigslist and other messaging boards looking for a pair of extra hands to help out on a film set for a legendary production company. However, this hard work wasn’t in vain as the film was a rip-roaring success, with its reception making it a firm favorite for Troma fans.

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Troma – Over 45 years of independent cinema

Post author By Film Overload
Post date May 28, 2022
No Comments on Troma – Over 45 years of independent cinema

Conducting strange experiments that fuse together sci-fi and horror with a dash of absurd comedy is Troma Entertainment’s specialty. Troma is a production and distribution company that literally gives you as much bang for your buck as possible thanks to their sporadically glorious films that truly stand out amongst the rest.

During his time at Yale University, Lloyd Kaufman first dipped into the world of film when he produced his friend Robert Edelstein’s micro budget feature Rappaccini before going onto direct his first film titled The Girl Who Returned (1969), a black and white exploratory feature. Kaufman’s debut toured the film societies across the likes of Harvard, Yale, and a variety of other universities on the east coast, sparking a keen passion for cinema deep within Kaufman. During his postgraduate years, Kaufman would begin to work for Canon Films, a production company who would later produce hits such as The Hills Have Eyes Part II (1985) and The Texas Chainsaw Massacre 2 (1986). Here, Kaufman would meet John G. Avildsen (Rocky (1976) The Karate Kid (1984)) leading to their collaboration on the 1970 thriller Joe, which would be nominated for Best Original Screenplay at the Academy Awards.

A short while after his introduction to film, Kaufman would direct his second feature Battle of Love’s Return (1971), receiving high praise across the board. Whilst Kaufman was setting up a budding future as a filmographer, fellow Yale student Michael Herz would begin to feel his own interest in movies emerging. Although Herz pursued a career in Law, the connection between the two sparked a growing urge to turn their passion into a much bigger venture. Leading them to work together on Sugar Cookies (1973) where Kaufman would co-write and produce, with Herz also serving on the production crew.

This collaboration was certainly a success, but no one could have known that this pairing would lead to one of America’s most notorious independent production and distribution companies.

Troma’s baby steps on their journey to triumph started off with producing racy comedies including Squeeze Play! (1979), Waitress! (1981), Stuck on You! (1982), and The First Turn-On! (1983), all of which cemented their still solidified b-movie reputation. As the years progressed so did Troma’s manifesto. To nobody’s surprise the 1980s and horror have a convoluted, but loving connection with one another, thanks to the rise in censorship, home video, and cult cinema. More importantly, the 1980s saw Troma Entertainment reach new bounds with The Toxic Avenger (1984). The film pushed Troma into the forefront with its camp tone, quick witted humour, gross-out gore, and cartoonish horror vibes that were unlike anything else at the time. From this moment on, Troma navigated away from the raunchy specials and led the way for b-movie horror to excel and become a fully fledged subgenre in its own right.

Overtime, The Toxic Avenger has spun an entire mixed media franchise including video games, multiple sequels, a stage production that premiered on Broadway as well as theatres across the globe, various action figures and merchandise, a TV series, and most recently a brand new adaption coming some time next year starring Peter Dinklage, Jacob Tremblay, Kevin Bacon, Elijah Wood, Taylour Paige, and Julia Davis.

With The Toxic Avenger under their belt, Troma was set! But, their 1984 smash hit was just the beginning in a long line of farce splatterfests. With The Toxic Avenger still fresh on the scene, Troma used the lingering spotlight to crack on with a string of similarly wacky sci-fi’s with Class of Nuke ‘Em High (1986) being their next feature to reach great heights. This time round the film was centred around the students of Tromaville High after their water supply is infected with toxic waste, causing them to mutate into freakish humanoids.

Within the next couple of years Troma released a string of other films including the obscure Surf Nazis Must Die (1997), Troma’s War (1988), Rabid Grannies (1988), and Chopper Chicks in Zombietown (1989). From the titles alone, it’s clear to see that Troma had nudged themselves nicely in a niche market of cinema that may get critically blasted as being ‘trash’, but is undeniably entertaining, devilishly memorable, and a barrel of laughs. With this impossible to categorise cinema comes a level of cult-style appreciation that may not appeal to the masses, but rather those with a taste for defiant works of colloquially misunderstood art.

As time moved on so did Troma, and with this came a quiet period for Troma’s production, but all of this changed with the release of the fan favourite Tromeo and Juliet (1975), which unsurprisingly is a very unleashed retelling of the Shakespeare tragedy that thrives less on the endearing battle of romance, hardship, and family values, and more on the ‘love’ side of the story, as well as causal doses of dismemberment, decapitation, and mutilation for good measure. And just like that, Troma was back with a vengeance. Even major media outlets notoriously difficult to please such as The New York Times and Variety saw the magic that Troma cinema withholds, granting the film with pleasant reviews and a burgeoning reputation. To make matters even more gratuitous, Tromeo and Juliet was screened at the prestigious Cannes Film Festival, the Mar del Plata Film Festival (where it won an award for best film of 1997), and the Fantasporto festival. As the 2000s hit, Troma released another string of outrageous and courageous films including the ever so graciously named Poultrygeist: Night of the Chicken Dead (2006) that followed a batch of zombie chickens unleashing a wrath of hell.

Within the last couple of years, Troma has seen a resurgence in popularity with the remake influx booming a new generation’s interest into cinema’s most unconventional production company. Going back in time to 1980, Lloyd Kaufman’s brother Charles directed and co-wrote Mother’s Day, with Lloyd producing. Although during its initial release, the film was banned by the BBFC in the UK as part of the video nasty crusade, a remake was ordered in 2010 starring Rebecca De Mornay, Jaime King, Briana Evigan, Deborah Ann Wolf, Shawn Ashmore, and the Kaufman brothers who made a cameo in homage to the source material. The remake performed well upon its release, even slotting itself in the UK’s top ten box office chart.

In Troma’s indisputable distinct style, they launched the TromaDance Film Festival that has very, very strict rules- there must be no V.I.P’s (everyone is treated equal), there is no entry cost, nor is there an admission fee; it’s all about the celebration of filmmaking. The event originally coincided with the esteemed Sundance Festival to even further boast their unique braveness of shedding away from the mainstream time and time again. The festival is open for submissions around the world, with the most creditable entries being released on DVD by Troma. Alongside the event, Kaufman offers workshop-esque lessons to budding filmmakers, providing teaching classes and cameos for those interested in pursuing the dark art of indie cinema.

Troma has become so infiltrated in all things cinema that many do not realise how influential the company really is, or how much of a significant part they play in kick-starting fan favourite performer’s and director’s careers. Many of their releases aided in the journey for stars such as Samuel L. Jackson in Def By Temptation (1990), James Gunn (Tromeo and Juliet), Marisa Tomei (The Toxic Avenger), and South Park (1997-) creators Trey Parker and Matt Stone via Cannibal! The Musical (1993).

As it stands Troma still thrives in the home video market, encouraging the in-person viewing experience of picking up a tape or a DVD from time to time. But, for the ‘tech-heads’, Troma has a streaming site service titled Troma Now that provides keen movie-goers with many of the greats from their company. To this day, Troma’s influence can be felt amongst the likes of current parody-based theatrics such as the Sharknado and Birdemic franchises that use immensely surreal visuals edging on the comedic side with entirely implausible narratives that will have even the most wondrously minded of viewer’s bewildered.

Even though it has been decades since their first feature, Troma shows no signs of stopping their madness just yet, with their latest feature Shakespeare’s Shitstorm (2020), a hilariously crude parody of Shakespeare’s The Tempest currently making the round at film festivals and conventions. Their ability to still churn out hit after hit just goes to show that Troma is still relishing in its ability to traumatise its viewers, ensuring a memorable experience with every filthy film watched.

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Reviews

Review- Firestarter (2022)

Post author By Film Overload
Post date May 21, 2022
No Comments on Review- Firestarter (2022)

Stephen King needs no introduction. The man himself parades his legendary status in horror with pride, authorising nearly one hundred of his stories to be made into on-screen adaptations, many of which excel, including horror classics such as Carrie (1976), The Shining (1980), and Pet Semetary (1989). One of his lesser known adaptations when compared to others is Firestarter (1984) directed by Mark L. Lester and starring a young Drew Barrymore. The film achieved a decent amount of success, but it has become somewhat forgotten over the last 38 years. Therefore, when it was announced that this fiery flick was receiving the remake treatment from Blumhouse Productions, King fans were praying for a breath of fresh air to be breathed into the Firestarter legacy.

With higher budgets, graphic special effects, and a decent cast the remake was deemed a recipe for success, however, Keith Thomas’s retelling is unfortunately lacklustre, cold, and completely devoid of passion.

The film opens with a promising beginning, setting up a cushty environment for horror and chaos to thrive as we see the fire-raiser herself Charlie McGee (Ryan Kiera Armstrong) spontaneously igniting the room around her into flames thanks to her nifty gift of pyrokinesis– the ability to conjure a fire simply using the mind. Although the introduction radiated a sense of originality and the promise for exhilarating territory to be explored, the film slowly travels downwards from this point on.

As the film progresses, the audience learn that Charlie’s powers derive from a clinical experiment that her mother Vicky (Sydney Lemmon) and her father Andy (Zac Efron) participated in. The focus of Firestarter surrounds the battle between the same secret government agency (known as the DSI) chasing after Charlie to kill her before her abilities get too strong for their own good. Coupled with the endless fleeing from this clinical clan, the film at heart follows Charlie and Andy’s struggle with grief and the internalised acceptance of being capable of pure destruction.

However, the seemingly limitless amounts of assasination attempts, daily tragedies, and the struggle of maintaining family values after loss is simply way too much to unravel in a 94 minute timeframe. Andy and Charlie’s X-Men-like capabilities is unique enough on its own without all of the jargon. And desperately, Firestarter seems to abandon fleshing out the true horror of Charlie’s powers in favour of pointless scenes filled with over simplified exposition and unimaginative effects that lack any essence of believability of life.

Whilst the constant thrills and chases may slightly get the adrenaline pumping, the excitement is truly kept at a minimum, entirely avoidant of maintaining an ounce of tension thanks to the paint by numbers antics. The potential for success was there, with Thomas being responsible for one of 2019’s most unique and exhilarating horrors The Vigil, but Firestarter’s aesthetic seemed to have taken precedence over the actual substance.

These hyper stylized visuals are at least appealing to the eye on account of the vivid fire steeped frames and the grand settings that go from the average suburban home to the experimental compound where the McGee’s powers originated. Despite the eye-candy, it’s not far fetched to view Firestarter as a cleverly timed profiter whose release coincides with the plethora of recently released darker Marvel films that tackle alternative superhero tactics such as Doctor Strange in the Multiverse of Madness (2022) and Morbius (2022). Additionally, the entire premise of Andy nursing Charlie’s uncontrollable powers whilst re-patching a father-daughter bond rather aptly mimics the relationship between Hopper (David Harbour) and Eleven (Milly Bobby Brown) in Stranger Things (2016-), which is ‘coincidentally’ released later this month.

The neverending criticism Firestarter seems to be receiving reflects the poor box office figures as it has only grossed $6.5 million so far (coming in at half of the film’s budget). However, amongst all of the negativity a light at the end of the tunnel is still found. Efron has been in the limelight for a fair amount of time now, with his acting abilities continuously going from strength to strength, from raunchy comedies such as Mike and Dave Need Wedding Dates (2016) to portraying the devil himself Ted Bundy in Extremely Wicked, Shockingly Evil and Vile (2019), Efron does seem to pick them well. And Firestarter is no exception as his talents truly save the film.

The script may not withhold the most riveting experience to date, but Efron’s portrayal of a father fighting to save his daughter with an unimaginable amount of pressure is what amps up the stakes and allows for a level of depth to be explored in an otherwise shallow experience. To add to this is the attempt at switching the Firestarter origin story up. The 1984 adaption tells its tale through flashbacks, very much controlling the audience as we are only spoon-fed one bit of backstory at a time. However, the remake dives right into the background, allowing for a full, open understanding to be achieved right away.

Overall, Firestarter is certainly not the most opinion dividing horror in recent years, I think James Wan’s Malignant (2021) takes the crown for that! Nor is Thomas’s efforts entirely in vain, it may not be exciting or bountiful, but at least a chuckle or two is ensured. The true burden that Firestarter holds relies upon its own misfortune. As aforementioned, Thomas’s The Vigil was an astonishingly amazing piece of work that managed to properly explore a contextualised terrain surrounding religion and loss of faith through grief, whilst additionally keeping the fright factor burning throughout. In this case, it seems that something must have slipped.

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Tags Blumhouse, Dead Northern, drew barrymore, firestarter, firestarter 2022, horror film festival, Horror Movies, horror reviews, keith thomas, mark l lester, ryan kiera armstrong, Stephen king, sydney lemmon, zac efron

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Top ten must-see slasher movies from the 1980s

Post author By Film Overload
Post date May 13, 2022
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Slasher - Design detail

1- Halloween II (Directed by Rick Rosenthal, 1981)

On All Hallows Eve babysitter Laurie Strode (Jamie Lee Curtis) has to fend off Michael Myers, a masked crazed killer. Since the events, Laurie has been taken to hospital to recover from the dreaded attack, but Myers refuses to go down without his revenge.

Time and time again it has been stated that John Carpenter’s Halloween (1978) was the kick-starter for the beloved slasher subgenre. Carpenter’s spooky fright fest turned heads across the world of horror, cementing a change from the normalised ghost or sci-fi story and creating the premise of the ‘slasher icon’. Michael may have made his first appearance in the late 1970s, however Halloween II is just as unforgettable, legendary, and necessarily terrifying as the one that started it all. With Rick Rosenthal in the director’s chair and Carpenter as writer, Halloween II is a rip-roaring jubilee of thrills, both featuring some truly epic kills, including the striking death by scalding scene, and the introduction of what would end up being the Halloween franchises defining story arc- Michael Myers was Laurie Strode’s brother this whole time!

2- Friday the 13th (Directed by Sean S. Cunningham, 1980)

Camp Crystal Lake has long been plagued by the wrongful death of a young boy, Jason Voorhees. Years have passed since the incident and the camp is set to reopen for the summer, however, when the counsellors show up to prep the site, they begin dropping off one by one.

Friday the 13th is entirely synonymous with the early days of the slasher era. The template founded within this film pushed horror into a bloody, camp, and above all an entertaining spectrum rife with scandalous teens being punished for their misdeeds in the most gnarliest of fashions. The entire premise of Friday the 13th thrives in a careful balance of exploitation and humour, both pleasing avid gore hounds and average movie-goers thirsty for something out of their comfort zone. Over the years, what started out as a profit seeker from Wes Craven’s OG collaborator Sean S. Cunningham has now become a multi-dimensional cinematic universe, with countless sequels, merchandise galore, and even a very successful video game. Whilst some of the franchise’s later ventures (particularly Part III [1982] and Final Chapter [1984]) go above and beyond in fleshing out Jason’s legacy, this iconic series would be nothing without this timeless original.

3- Sleepaway Camp (Directed by Robert Hiltzik, 1983)

Camp Arawak is a safe haven for parents to send their kids off to for the summer season, however, not much joy is to be found as a mysterious killer begins to slay their way through the camp.

Thanks to Friday the 13th, summer campgrounds became a chief factor for eighties slashers, in fact it’s difficult to narrow down all of the great campsite horrors from the decade, with The Burning (1981) and Madman (1982) being strong classics within the genre, but Sleepaway Camp continuously rises to the top. The performances are certainly off-kilter thanks to the dramatic yet purposefully hilarious character of Sleepaway Camp’s archetypal mean-girl Judy (Karen Fields), whose bratty brashness has been the blueprint for many on-screen rascals to come. Joining the string of amusements is the film’s burning secret that is the reasoning behind Sleepaway Camp’s successful reputation that remains upheld to this day, nearly forty years later. The ending comes as a total shock, straight out of the blue, in fact the director’s twist reveal has been continuously compared to the classic Hitchcockian shocker that features in the one and only Psycho (1960).

4- The Slumber Party Massacre (Directed by Amy Holden Jones, 1982)

An unsuspecting slumber party turns deadly when a recently escaped serial killer goes on the run with his power drill.

Verging on the cusp of satire, but still rooted within genuine horror is Amy Holden Jones The Slumber Party Massacre. Writer, Rita Mae Brown originally conceived the film as a spoof, mimicking the influx of low budget splatter’s that quintessentially took over the 1980s home video market. During production the tongue-n-cheek writing evolved into something more concerned with profitability, essentially becoming another run of the mill thriller equipped with plenty of nudity and brutal gore. However, allowing the film to stand out amongst the rest is Mae Brown’s and Holden Jones obvious authenticity devout to creating elaborate characters that are more than just meat for the phallocentric drill-wielding maniac stalking the teens.

5- April Fool’s Day (Directed by Fred Walton, 1986)

A group of college students take a trip to a friend’s isolated island manor. Little do they know someone is on a deadly mission to wreak havoc on the gang.

Over the years a barrage of holiday themed horrors has taken the stage, with the best of the bunch being Black Christmas (1974), My Bloody Valentine (1981), and finally April Fool’s Day. Stylishly executed and brimming with that 80s Charm, Fred Walton delivers one of his most innovative and unexpected pieces of works that stands right up there with his other hits including When A Stranger Calls (1979). Rather intentionally April Fool’s Day, like a prank experienced on the 1st, constantly toys with the audience’s assumptions, making sure to pack a hefty punch when the film’s marvellously unforgettable ending is revealed.

6- A Nightmare on Elm Street (Directed by Wes Craven, 1984)

Years after a vengeful death, Freddy Kruger (Robert Englund) begins to haunt the residents of Springwood in their dreams.

Michael Myers, Jason Voorhees, and Freddy Kruger have become somewhat of the unholy trinity of slasher villains. Each pack member harbours a frightful exterior, murderous habits, and most importantly a vicious taste for blood. However, no one else has a nasty personality like the one and only Fred Krueger. A Nightmare on Elm Street is literally your worst nightmare; the premise of a serial killer hellbent on killing you in your most vulnerable state is terrifying, especially when this blurring between dreams and reality is combined with the brutal deaths that Freddy enacts on each one of his victims. Aiding the film to remain in the spotlight is the incredibly effective practical effects, such as the iconic bed of death scene where a baby-faced Johnny Depp is sucked into a mattress that gushes out gallons of blood.

7- Prom Night (Directed by Paul Lynch 1980)

During a high school prom an unidentifiable killer hunts down a group of teens who were responsible for an accidental death years prior.

Like a typical sleeper hit, Prom Night did not receive glowing reviews upon its release from nearly every major critic and media outlet, but it was Canada’s highest grossing film of the year. Overtime Prom Night’s reputation has soared, with Paul Lynch’s slasher epic now being considered a bonafide cult classic. Amongst the early stages of the film a more generic approach to the setting and timing was in plan, but the script was imminently changed to focus around a universal event to attract more audiences, thus resulting in the now iconic school dance setting. With the unique setting, immersive soundtrack, and detailed narrative comes a factor that can be rare in slashers, fully fleshed out characters. Jamie Lee Curtis will always hold the crown of being one of horror’s most glorified Scream Queens, and whilst Halloween is primarily responsible, Curtis’s performances of a distressed but fearless final girl/prom queen accelerates the film into a whole other level of legendary.

8- Pieces (Directed by Juan Piquer Simón, 1982)

The students from a college campus are being killed off by a mysterious killer whose aim is to create a human jigsaw using the body parts as puzzle pieces.

Upon its initial release Pieces was met with rather a lot of contention. Of course, the notion of an unhinged serial murderer stalking and violently killing people in order to compose a sick puzzle is certainly disturbing when composed as such, however, as any slasher fan knows, it always sounds worse than it is. Pieces may not have been on the most serious section leading to prosecution on the video nasties list, but the film was still seized and subsequently confiscated in the UK. With its historical reputation, Pieces may seem like another dose of schlock, yet Juan Piquer Simón masterfully crafts a giallo-slasher hybrid rich with dramatic stylisation, a cathartic ending, and such a high level of absurdity that slightly infuses the film with an air of deadpan humour.

9- The House on Sorority Row (Directed by Mark Rosman, 1982)

A seemingly harmless prank thrown by a group of sorority sisters leads to deadly consequences.

Sororities and frats have garnered quite the reputation in horror movies over the years, with films such as Sorority Row (2009), Sorority House Massacre (1986), Pledge (2018), and The Initiation (1984) all tackling the inner dynamics that naturally occur within sorority environments. In line with this notion, The House on Sorority Row relies upon a whodunit basis to build up dread and tension, forcing the viewer to be unsure of everyone’s actions, making the film a fright to remember. At the time, when slashers were released to the public it was not uncommon for the masses to view them as degrading or unimportant to cinema as a whole, however Mark Rosman’s juggling of heavy gore and suspenseful kills made the film hit the top spot with audiences and critics alike.

10- The Mutilator (Directed by Buddy Cooper & John S. Douglass, 1984)

A grief stricken man goes on a campaign of vengeance at a beachfront condo.

On the outskirts, The Mutilator may seem like an ordinary slasher, filled with middle-of-the-road theatrics, unrealistic gore, and frivolous chase scenes. Whilst, The Mutilator does revel in the typical formula of stalk and kill antics, Buddy Cooper and John S. Douglass have created a memorable and more than efficient slasher that manages to be lighthearted and ghastly at the same time. The college coeds featured in the film are considerably developed, with their presence acting as a major contributing factor to the story, rather than just acting as slasher bait. Alongside this is The Mutilator’s brutally violent effect’s that still put up a tough fight against today’s SFX.

Looking for more top horror lists and reviews? Check out our blog here..

Tags 1980s horror, a nightmare on elm street, april fools day, best 1980s horror, best slashers, Dead Northern, Friday the 13th, halloween 2, horror film festival, Horror Movies, horror reviews, pieces, prom night, sleepaway camp, the house on sorority row, the mutilator, the slumber party massacre, top 1980s horror, top slashers

Reviews Top Horror

Cyber Horror – 6 must see films

Post author By Film Overload
Post date April 30, 2022
No Comments on Cyber Horror – 6 must see films

**1- Spree (Directed by Eugene Kotlyarenko, 2020)**

@kurtsworld96 (Joe Kerry), a fame-hungry blogger is over the exhausted trends on social media, from unboxing hauls, reviews, day in the life tags, and tutorials- Kurt has tried them all, but to no avail, his shot at internet fame falls flat. However, he concocts a fatal plan using a Livestream to finally go viral.

Cinema, particularly horror thrives in commentary upon the current cultural climate. Since the rise of social media, content creators and influencers have become the ultimate career goal for many. Kurt’s raveling attempts at pushing the limits are both sad and oddly comedic, to put it simply his actions are nothing short of psychopathic. And this innocence regarding Kurt’s lack of right and wrong unwillingly places the viewer in a sympathetic position. Kurt’s twisted motions begin with what he calls ‘The Lesson’; using his new job as a rideshare driver for the fictional Uber-Esque company ‘Spree’, he lures unknowing riders into his car just to kill them off in front of his live audience.

Over the course of The Lesson, things do not go to plan, in fact, what was already a maniacal descent into madness becomes a complete unravelment of Kurt’s psyche with deadly consequences for everyone. The intrinsic quality that adheres to the life of an influencer is rich with commentary surrounding people losing touch with reality, becoming a greedy shadow of a person. Whilst Spree takes no time in forcing the ruthlessness of social media down the viewer’s throat, what actually makes Spree more than a cheap trick is the bizarre and wacky world presented through the eye of live streams, vlogs, reel-style videos, and candid footage. The online take is a familiar view for audiences, hitting close to our sense of reality, or more aptly- the loss of of it.

**2- Cam (Directed by Daniel Goldhaber, 2018)**

Cam girl Alice (Madeline Brewer) has been rising up on the charts of FreeGirlsLive, soon to become the number 1 actress on the site. However, her imminent success is jeopardized when a look-alike steals her account, locking her out of it forever. In a race against time, Alice must track down her doppelganger before it’s too late.

Director Daniel Goldhaber is joined by screenwriter Isa Mazzei to create a wild film tackling stereotypes and taboos not typically openly explored within mainstream cinema. Whilst Mazzei was previously working as a cam girl her videos became pirated and reposted across various sites with no credit given to her. When she approached the police with the plagiarism she was brushed off and laughed at. Cam focuses on the judgment experienced by sex workers through Alice’s family finding out about her career, as well as the site itself and legal representatives not taking her issues seriously. Amidst the societal critique is Cam’s bold colour palette consisting of lavish pinks and blues, creating a lush environment suited to Alice’s work. However, although Alice has thousands of devoted fans, she is really just alone. Whilst her fabulous studio is filled with life, her reality paints an isolated picture, placing her in a desolate dream-like landscape that reflects her inner turmoil. Cam illustrates how a bustling online life is a guise hiding a mirage of flaws.

**3- Unsane (Directed by Steven Soderbergh, 2018)**

Still reeling from a stalking indicent, Sawyer (Claire Foy) attends a therapy session to vent her frustrations. However, she unknowingly signs a form committing her to a 24-hour stay at a behavioural centre. Now lost and abandoned, she must fight her way out of the psychiatric hospital before she meets a terrible fate.

Found footage, desktop horror, and cyber cinema has a weighty relationship with the low-budget indie market, hence when Academy Award winner Steven Soderbergh announced that he would be directing a feature film solely filmed on an iPhone many were surprised. Soderbergh has previously used visual dynamics to portray a story, in the case of Unsane the unusual phone ratio of 1.56:1 not only distorts the viewers perception of media’s normal screen, the frame additionally traps Sawyer in small box, akin to her emotive state by being held captive under her will. The gaze from the phone acts like a fly on the wall in the hospital, cementing our place in the unit alongside Sawyer, going through the same traumatic experiences. Besides the filming semantics, Unsane flourishes in the riveting performances from Joshua Leonard portraying a sinister orderly, Jay Pharoah playing one of Sawyer’s only companions, and lastly Claire Foy herself. Foy perfectly melds together a level of sincerity with subtle hints of hysteria to make her history with the stalker seem questionable. And it’s not until the very end when the shocking truth about the entire situation comes to light.

**4- Kairo (Directed by Kiyoshi Kurosawa, 2011)**

A sudden suicide leaves a group of young adults in Tokyo witnessing strange apparations that become easily transferred online.

Kairo forms a convoluted story rife with terrifying images, intense highs, and fleshed out characters to dissect the early 2000s fear about the rise of the internet. Told across two fairly unconnected stories, Kiyoshi Kurosawa slowly fills the setting with utter dread where every scene (no matter how mundane) has an eerie tone, eventually leading to a traumatic conclusion. The film places the computer in a villainous position, haunting whoever uses it through creating a dull pit inside of them that allows nothing but loneliness and depression to set in. At the time of the film’s release a mild moral panic was spiralling thanks to the internet booming, especially amongst the younger generations. This new and scary machine was fabricated to be a portal to morbid material, whereas the most scandalous aspect of the whole situation was society’s reaction not the world wide web itself. Kurosawa forgoes gore and disregards bloody horror iconography in favour of developing a unique story commenting upon the rise and fear of the ‘unknown’.

**5- Searching (Directed by Aneesh Chaganty, 2018)**

Widowed father David Kim (John Cho) turns to deperate measures to find his missing teenage daughter Margot (Michelle La).

Set entirely across a desktop is Searching, one of 2018’s most profitable films. The structure alone is to be admired, with Aneesh Chagnanty’s directorial eye taking on the shape of a laptop lense, showing David’s investigate efforts through Skype calls, iMessaging, and countless scenes of sifting through his daughters personal photos and chats to get to the bottom of her disappearance. Although his actions are innocent and solely done to the benefit of the case, a slight emotional shift is placed upon the viewer. Along with David, we are snooping through Margot’s inner life, acting as a voyeur. And whilst Searching uses the guise of safety to soften the suspicious gaze, the film gruellingly comments upon social media’s natural privacy infringement. With the boom in sharing every aspect of your life online, barely anything is sacred or left to the imagination.

**6- Like Me (Directed by Robert Mockler, 2017)**

Kiya (Addison Timlin), an aimless loner turns to streaming violent escapades that make her go viral.

Like Me follows the blueprint for chaotic, frenzied, surreal nightmares similar to the likes of the South African gem Fried Barry (2020). The film immediately sets the bar high, ramming a kaledsocpic of colours into every scene accompanied by dominating characters and electric settings and not once does this madness stop throughout the rest of the film. Whilst Like Me does not define itself as entirely desktop or found footage based, the premise of Kiya feeling almost an intrinsic itch to upload her endeavours online is key for both the narratives progression and the film’s overall aesthetic.

Kiya’s initial attempt at making a viral hit comes from filming herself robbing a food mart, to then progressing her antics as she ties up a hotel manager (played by indie legend Larry Fessenden) to stream the brutal sadomasochism acts between the two. Before Kiya and the audience know it, gaining these online views and a wealth of followers twists Kiya’s mind into a sick breeding ground of obsession and utter mania. In what could easily be a colourful mess, Like Me transforms the barriers between self and screen; Kiya’s lack of human interaction is compensated by the deranged online world she finds herself in.

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Tags aneesh chaganty, cam daniel goldhaber, cyber horror, Dead Northern, eugene kotlyarenko, horror film festival, Horror Movies, horror reviews, kairo, kiyoshi kurosawa, like me, robert Mockler, searching, spree, steven soderbergh, unsane

Reviews

Ten unmissable found footage horror movies

Post author By Film Overload
Post date April 9, 2022
No Comments on Ten unmissable found footage horror movies

1- As Above, So Below (Directed by John Erick Dowdle, 2014)

Scarlett (Perdita Weeks) is a devoted archaeologist who is desperate to continue her deceased father’s search for the Philosopher’s Stone. After breaking codes to unearth the stone’s location, Scarlett and a group of fellow adventurers head down into the underground of Paris to find the world’s biggest treasure.

Deep in the catacombs lies an ancient but deadly secret, and just as we follow the camera scurrying through the strange corners and enveloping tunnel, we also emotionally accompany the group on their psychological journey to hell. Heaps of the tension rely on the film’s overtly nightmarish setting, it’s certain that no one is immune to the claustrophobic nature that lies underneath. Yet, the immensity of the environment refuses to overshadow As Above, So Below’s soulful arrangement. Without even realising it, something quite sinister happens within the character dynamics, as more and more about their backstories are unearthed. Over time, a sense of cathartic realism is released, as if the catacombs dig out buried secrets, making for a haunting tale surrounding ego, denial, grief, and inner content.

2- Noroi: The Curse (Directed by Kōji Shiraishi, 2005)

Masafumi Kobayashi (Jin Muraki), a notable paranormal researcher, suddenly goes missing after finishing a documentary on supernatural occurrences in Japan.

Noroi is unlike the barrage of found footage films swinging about. A tonne of credit is owed to the subgenre, but a lot of narrative angles have been done and dusted many times before. However, when it comes to Noroi, director Kōji Shiraishi uses the recycled ‘ancient demon’ paradigm and transports the legend into unknown territory. Japanese horror is rooted deep in the psyche, where cinema acts as a probe to provoke your own individualized versions of terror. Noroi meshes in countless themes from ghosts, urban legends, parasites, rituals, and mutilation (to name a few); and in doing so Shiraishi dares the viewer to not be completely immersed in this devilishly macabre story. Purposefully teetering on the side of dullness is the film’s utilization of the ‘found footage’ method. Every scene is bathed in the ordinary and it’s very realistic, with overlapping dialogue, moments of silence and pauses, and a monotonous palette, creating an eerie sense of realism as if these tragedies really did happen. Sometimes it’s the stories that are drenched in the humdrum of everyday life that ignite a surging, dreaded fear.

3- The Fourth Kind (Directed by Olatunde Osunsanmi, 2009)

Dr. Abigail Tyler (Milla Jovovich), a psychologist in rural Alaska begins to suspect that the recurring haunting scenarios her patients are experiencing surround a string of alien abductions.

Sci-fi cinema has a special bond with horror. They both flourish in the obscure, and they both aim to explore consequences. The Fourth Kind is a gleaming example of what can happen when these two genres marry. In short, the film is an epic report of how losing someone will eventually deteriorate your own conscious self, in emotional form the living also withers away. The Fourth Kind savours the sensitive tribulations surrounding trauma, but the narrative is not necessarily the film’s sole trophy point, instead, the return to meta-horror through the 1990s-esque storytelling holds a great X-factor. At the beginning of the film, a prelude is shown introducing the actors whilst they state their roles, which are “based on true stories”. Whilst, this element could fall into the gimmick category, it unleashes a certain sensibility that makes you ponder over the whole alien debate.

4- The Houses October Built (Directed by Bobby Roe, 2014)

Five friends set out on the road to tour some of America’s most notable haunted house attractions. Along the way, plenty of scares are had and laughed over, yet they can’t shake the feeling that something or someone may have sadistic plans for them.

All Hallows’ Eve is essentially Christmas for horror hounds. Carved pumpkins, spooky decor, and crisp autumn nights introduced in October are perfectly paired with a good old-fashioned horror. Halloween (1978) and Hocus Pocus (1993) may be ideal watches, but sometimes it’s nice to spice it up and add a new film into the mix. This is exactly where The Houses October Built fits in. The film takes aim at the scary truth behind these horror haunts that tour up and down the country during Halloween. These events are always jam-packed with fright-seekers waiting to be taunted and prodded by the ‘haunt’s’ actors. But what if these performers have something more sinister up their sleeves? Director Bobby Roe introduces this underlying fear that you won’t even know you have. Tourist attractions ask for our trust, and quite naively we give it to them. Not only is the premise alone unsettling, but the set design of the attractions and buildup all also contribute to the ominous world Roe implicates. Just like the tourist traps themselves, Roe is determined to put on a rip-roaring show that revels in the gory theatrics and sets up such an immersive ride that you’ll add it to your annual Halloween watchlist.

5- The Medium (Banjong Pisanthanakun, 2021)

A family from the Isan region of Thailand begins to suspect that one of their own has become possessed by a benevolent ancient force.

The Medium is a rattling experience that simultaneously demands attention and threatens the viewer’s disposition for horrific material. Laid out in a mockumentary format is the heartfelt tragedy that expands upon the rulings within Shamanic culture in the contexts of Isan religion. The film is set in Isan, the northeast region of Thailand. Within this setting Shamanism is commonly practiced, with a strong backbone for the religion surrounding the presence of ‘being’ and how everything in nature has a soul, not just humans. As the film progresses, this inherent belief of transcendence through the other is explored, leading the viewer on a complex journey into alternative cultures and how ancestral practices are inherently rooted in modern customs. The Medium packs in the aforementioned heavy content all within the 130 minute time frame. But, not for one second does the film dwell, as themes such as cannibalism, incest, assault, psychological torment, exploitation, and self-mutilation amalgamate to compose a harrowing descent into utter insufferable chaos. The film will test the viewer’s strength for disturbing content and will leave you perplexed over the unsettling third act.

6- What We Do in the Shadows (Directed by Jemaine Clement & Taika Waititi, 2014)

Vampire roommates Viago (Taika Waititi), Vladislav (Jemaine Clement), Deacon (Jonathan Brugh), and Petyr (Ben Fransham) go about their daily routine as a documentary crew films them.

What We Do in the Shadows began as a short film in 2005, which captured the feature film’s iconic immortal-themed banter. After garnering success, Jemaine Clement and Taika Waititi took the adapted short to the next level, with the project now standing as a growing franchise, including two television spin-offs and an upcoming sequel. The nocturnal characters are what pushes the film’s hilarious remarks to the next level, as the deadpan and slightly off-kilter jokes mime other mockumentary projects, especially The Office (UK). But amidst the galore of giggles is the entire reality that is presented. We don’t simply follow the multi-generational bloodsuckers going about their day-to-day routine, Clement and Waititi insist on throwing unexpected hurdles such as werewolf rows, vampire politics, and the turn of new creatures into the mix. In no time, an entire underground world of beastly beings is unearthed, setting the scene for laugh-out-loud gags and some super gnarly moments.

7- Creep (Patrick Brice, 2014)

Aaron (Patrick Brice) works as a freelance videographer who answers an online ad to film Josef (Mark Duplass) for the day as part of a memorial video of himself for his unborn child. His requests are immediately strange, but as the day continues Aaron begins to suspect that something sinister may be round the corner.

Creep does exactly what it says on the tin. Throughout the entire film nothing entirely dramatic happens, nor is there an abundance of jump scares, blood, or even much absurdity. Creep gets under your skin in a much more upsetting manner that works in a menacingly slow way. The threat level glides in so eerily that before the viewer knows it they are overcome with an overarching sense of dread. The film thrives in this ambiguity that shields away from direct answers. Patrick Brice continuously personalizes Josef’s actions, as if his strange (yet seemingly harmless) motives are just exaggerated advances that we all experience at one point or another. Of course, a knife wielding maniac wearing a mask would get anyone’s fight or flight instincts pumping, but we all know the rarity of the situation. Now imagine something much more ordinary. Some strange but slightly friendly man comes up to you for small talk, nothing untoward, but now imagine that you cant shift his lingering gaze as he innocently darkens the conversation. The awkwardness of not being able to escape an unfamiliar character is something that many people have experienced. Nine times out of ten, you’ll eventually manage to slip away, however, Creep reminds us of the alternative. Josef latches on to both Aaron and the viewer, allowing Creep to tap into intrinsic fears and taunt the threat of ‘the other’.

8- Man Bites Dog (Directed by Rémy Belvaux, 1992)

Ben (Benoît Poelvoorde) is a sadistic serial killer with zero remorse. Joining him on his killing rampage is a crew of documentary filmmakers who record his crimes. At first, the crew maintains a backstage role, but they soon find themselves enriched by the opportune violence, eventually turning into ruthless accomplices.

Man Bites Dog premiered at the Cannes Film Festival in 1992, with rave reviews hitting Rémy Belvaux from every angle. Despite the film’s still notorious reputation, an air of controversy still lingers, the film was even banned in Ireland and Sweden. Above every redeeming factor is the film’s sheer braveness. Even well-seasoned genre fans cannot say that the excess of sodomization and family annihilation is not testing. The valiant efforts to corrupt the screen are evident and certainly effective, particularly in regard to the ambitious nature of pov cinema and its relationship with audience participation. Classically, found footage derives from Mondo and Cinéma Vérité where the subject matter is treated with an educative view, akin to an exploration documentary. Through the camera crew falling into the lure of evil and accepting Ben’s action as the norm’, the barrier between screen and reality is blurred. Within this unplanned involvement and blended fiction is an inherent ruling that coerces the viewer into ceasing better judgments, questioning their lowbrow motives for watching some heinous material. Infamous films such as Cannibal Holocaust (1980) is an earlier example of such work, but Man Bites Dog has remained under the radar waiting to be rediscovered.

9- Banshee Chapter (Directed by Blair Erickson, 2013)

Anne (Katia Winter), an investigative journalist uses her skills to look into the puzzling disappearance of her friend who has supposedly ingested a top secret government substance. On her journey to revelation, she is led into the terrifying world of covert operations.

The Banshee Chapter is a true hidden gem. At heart, Blair Erickson’s directorial debut is a meaty Lovecraftian story that uses conspiracy theories in a hyper-stylized manner to create an interwoven web of lies, mistrust, and psychological torment. Within the film’s complicated sci-fi-ish extravaganza is a mysterious whodunit element that acts as both a distraction point and a serious part of the film’s backbone. The sheer ferocity of the film is a consequence of the complex relationship between truly horrifying imagery and a wicked soundscape that perfectly entwines a tense atmosphere with a strangely mythical landscape, mimicking the world of Stranger Things (2016-). One particularly potent image that acts as a recurring visual surrounds the presence of humanoid-like creatures who bear a strong resemblance to their formal living selves, but their hollowed eyes and gaunt skin take after a monster from your worst nightmare. Overall, the Banshee Chapter is entirely possessive, once you start watching you are completely devoted to getting to the bottom of this surreal, freakish mystery.

10- Megan is Missing (Directed by Michael Goi, 2011)

Megan Stewart (Rachel Quinn) is a popular high school student who one day decides to meet up with a ‘dreamy’ boy who she’s interacted with online. After Megan never returns, her best friend Amy Herman (Amber Perkins) makes it her mission to get to the bottom of what’s happened.

Megan is Missing started off as a micro-budget horror, filmed in 2006 with unknown actors, independent budgeting, and essentially supported by a one-man-band as director Michael Goi wrote, directed, co-produced, and edited the film. The film was shelved until 2011 when Anchor Bay Films gave it a limited release. Even then only a proportionally small number of people had viewed it, leaving Megan is Missing hard to source.

However, in 2020 the film blew up on Tik Tok, becoming a viral must-see which was always joined with a caption regarding the film as ‘the scariest movie in the world’ or ‘the most disturbing horror’. And whilst the theatrics aren’t necessarily going to keep you awake at night, the natural dynamic between the characters and the found footage element genuinely gives the impression that the work is entirely real. The film relies on true horror. Goi does not involve ghosts, demons, pagan gods, or even any immortal ghouls to torment the viewer. Instead, we are met with an evil worse than them all- people. It’s clear from the start that Megan will not meet a pleasant end, but what is shown is more depraved than anyone could imagine, leaving a lingering mental scar on the viewer for a long, long while.

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