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2021 Festival Review- Red Snow

Red Snow

Sean Nichols Lynch brings us Red Snow, a genre bending vampire film that crumples the conventions of the genre through purposeful deception and dismantling everything you thought you knew about vampires.

Red Snow (2021) - IMDb

Taking us on the journey is Olivia Romo (Dennice Cisneros), a struggling vampire romance novelist who is all alone on Christmas at her family’s cozy cabin by Lake Tahoe. Her loneliness at the supposed ‘happiest time of the year’ takes a hopeful turn as she finds herself in the company of Luke (Nico Bellamy), a real life vampire. Although her dreams have come true she must now battle with mistrust and the looming consequences…

Although it would be easy for Red Snow to develop into another archetypal holiday romance, accompanied by immortals, Lynch disavows any soppiness in favour of pushing a rich and introspective narrative that only furthers the incredibly dimensional characters. Olivia and Luke are rounded, their bond as ostracised people is inexplicably computed as their chemistry burns bright throughout. The pair’s kinship is warming without overshadowing their own individual personalities as their sole personas propel a certain air of charm that forces the viewer into a sympathetic position. 

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That’s not to say that sentiment dominates, as Luke and the rest of the vampire coven are undeniably capable of creating unease. The vampires that exist within the world of Red Snow are vicious, unnerving, and spine-tingling, but what truly furthers their ruthlessness is an apt humanness that Lynch bravely anchors onto. 

A key plot motivation is how Olivia’s failing book relies too much on vampire tropes, and with Luke’s assistance she uncovers that these creatures can identify with the excitements and trials just as much as mundane humans can. And it’s this relatability where the film’s horror stems from- they know that their savageness is wrong but they persist in continuing their frightening lifestyle. It’s this precise reason as to why Red Snow lingers with me, the budding bond between Luke and Olivia is admirable, but Lynch toys with what we know and expect to see in a vampire film, diminishing any predictability. 

Ensuring that Red Snow evokes an emotive response are the performances by both Bellamy and Cisneros who beyond a shadow of doubt create an immersive experience. Olivia isn’t drawn as a vampire-fangirl dreaming of someone sweeping her off her feet, instead she’s not unfamiliar to insecurities and is grounded in reality. Similarly to Luke, although he is presented with that classic bad boy charm, his sensitivity gradually comes to light. Lynch boldly bares the heart of the film whilst not slumping the threat. 

Red Snow challenges what we know as the distinctive vampire chronicle, however, it still uses some genre highlights but in a more innovative form. Fairly on we are introduced to Julius King (Vernon Wells), an infamous vampire hunter part of a much larger group known as The Severon Group. Wells has already cemented his reputation within cinema through his roles in Mad Max 2: The Road Warrior (1981) and Weird Science (1985), which highlights his dramatic knack for eccentricity, with Red Snow being no exception to his flair as the role of Julius King is what drops the tension in the first place and makes us second guess Luke’s true intentions.  

The fleshed out story is not the only factor worthy of praise as the marriage between the setting and the overall aesthetic harmonises together to form a visual banquet. Olivia’s fondness for the macabre at Christmas time did make me chuckle, joining the shining baubles on the tree is vampire fang decorations and instead of wearing snowman holiday jumpers she dons Nosferatu T-shirts, a girl after my own heart. Red Snow completely took me by surprise every step of the way, cementing itself as a solid entry into both vampire and holiday horror.

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

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2021 Festival Review – Followers

Social media brazenly bites back in this upcoming found footage horror film, Followers. Directed by Marcus Harben and starring Harry Jarvis (The Knight Before Christmas) and Loreece Harrison (Black Mirror), we follow the arrogant influencer, Jonty (Jarvis) as he and his university flatmates awaken a dark force that brings them online attention, but at what cost? 

It’s best to abandon preconceptions regarding found footage films as this buzz-worthy horror fluently toys with audience expectations leaving us unsure of what to expect and untrusting of every individual. Taking the stance of using contemporary trends such as ‘social influencers’ alongside an age-old ghost tale creates a unique film that both scares and amuses the viewer.

As with many independent horrors Followers was made on a lower budget, but any amateur effects are hastily avoided. The film quite guilefully uses the indie cinema stance to its advantage; excessive gore and a realistic setting provide a sturdy backbone that immerses us in the situation. Built alongside these technicalities is a witty commentary on the ridiculousness that can come with social media fame. However, unlike other recent films that tackle online status whilst wrongly mock this profession, Followers focuses upon how easily this modern career can morally alter an individual’s judgment. 

Tiptoeing in is one of the film’s most unparalleled charms, the lack of animosity. A bloating amount of found footage films take advantage of the personalisation that naturally ties in with the sub-genre. In Followers we see the narrative play out entirely with nothing ‘hidden’. On screen we see the disputes, falseness of paranormal activity, and the troubling aftermath. We do not receive a title card warning us that the filmmakers are still lost or how they don’t know how or why their fates met terrible ends. It’s this lack of discretion and ambiguity that yields its magnetism. 


Followers hit’s the ground fast, with quick pacing that bravely dives into the antics rather soon. Leading a film with an intense narrative concentration during the first act can be difficult to maintain, but Followers does just this, all the whilst reaching an even higher level of tension during climactic scenes, yet Followers is in it for the long run. From beginning to end an unpredictable and haunting storyline is thoroughly played out, making this film definitely one to add to the watchlist.       

   

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

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2021 Festival Review – Zomblogalypse

Back in 2008 three friends Hannah Bungard, Miles Watts, and Tony Hipwell took up the ingenious idea of mashing the upcoming blog craze with good ole’ zombies to create the hit web series Zomblogalypse. Across the years the hype for this ultra-violent, yet hilariously amusing web series only grew, so why not make it into a movie? 

Zomblogalypse follows a group of three ineffective survivors of a zombie outbreak, however instead of wallowing in despair over the world being ripped to shreds Hannah, Miles, and Tony find alternative ways to pass the time, including blogging their adventures in this wild and quaint lifestyle they have found themselves in post-apocalypse.

Comedy and zombies are two peas in a pod, but this subgenre has had its edginess worn down over the years as hundreds of quick-buck’ horror’s have saturated the market, but do not be fooled, Zomblogalypse is fresh, exciting, and beyond a doubt ludicrously entertaining. Boasting about great fun and silly events is all well and good, but you also need a strong backbone that supports the film amongst all the buffoonery. Zomblogalypse is certainly not without its wits as the ultra gory and ghastly zombie practical effects shine a light on the immense craft that has clearly gone into creating the film. 

When it comes to a zombie film, the undead is typically just one piece that brings the whole puzzle together, though that certainly doesn’t mean that their importance goes undetected. Throughout the film the SFX team does not hold back, expect to see plenty of rotting, decaying flesh, accompanied by stringy tendons and flailing limbs! The entire ‘look’ of the zombies breaks any micro-budget conventions as they really are a horrendous sight to look at, even a bit too frightful, seriously their horrific appearance will definitely linger with you…

This visual bravado undoubtedly excels. But Zomblogalypse would not be the same without the spirited characters of Hannah, Miles, and Tom who put on a great performance. Throughout the film, I couldn’t fail to notice an unequivocal sense of Britishness that leads to many laughs. Instead of focusing too much on the hurrah of the end of the world, we are treated to plenty of everyday household squabbles and general bickering. And that’s why Zomblogalypse totally works, it knows not to take itself too seriously, thus perfecting a noble level of comedic timing.

The film makes the brave decision of using found footage to drive the film. Found footage has somewhat of a ‘marmite’ reputation amongst horror fans, you either love it or you hate it. Nevertheless, the effectiveness is all the same. The intimate method takes you on the journey with the gang, making sure that we get to see every little tidbit, particularly the haphazardous ways in which they battle the zombies. 

Zomblogalypse deserves to be raved about. I have been put off once or twice by zombie comedies in the past, but I can admit that this web series turned future movie hit has definitely changed my mind for the better. Adding to this unmatched gem is the homegrown essence. Bungard, Hipwell, and Watts created the original series with no financial backing whatsoever, and across the years they have formed a movie that has already received great buzz. The heart that has gone into the film is obvious and I cannot wait to see what they come up with next. 

You can check out Zomblogalypse on Sunday 26th September 2021 at this years fest, tickets and details here.

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Review: Fear Street Part Two 1978

fear street 1978


Fear Street Part Two: 1978 presents itself as a throwback to 1970s summer camp slaughters, swarmed with cold-blooded kills, a jukebox-worthy soundtrack, and self-aware imitations. Luckily enough this ambition sequel is a worthy component to its predecessor, unlike many slasher sequels… What could have been a muddled backstory is instead a richly original yet bombastically brave referential take on sunshine-filled woodsy horror. 

This singing praise is no exaggeration. I was as hesitant about Fear Street: 1978 just as much as everyone else. When a new flashy horror film lands it can lose that certain spark that many individual independent films grace the screen with, but when Fear Street: 1994 arrived on the scene a certain harmony in streaming originals was restored. However, as solid as Part One was the Fear Street Trilogy director Leigh Janiak hadn’t completely won me over just yet as the trailers and teasers for 1978 promised a heck of a lot. Rest assured my initial hesitation was soon thrown over once the real bite of the film began.

The overtly effective sequel is one that proudly admires the subgenres’ mistakes and baskes in the stereotypical characters and story beats. Particularly the setting. 

FEAR STREET PART 2: 1978 – Cr: Netflix © 2021

Camp Nightwing is everything that sounds like a nightmare to me; bratty teen hierarchies, constant group activities, and overbearing camp counsellors who in no way should be in charge. Fear Street: 1978 could be overbearing with its obvious nods to Friday the 13th, Sleepaway Camp, The Burning, and Madman, the originality aspect is a touchy point here, but what disperses from these inspirational nods is a fresh look at a supposed joyous social environment turning into an isolated hellscape painted with brutal kills and a mad axeman on the loose.

Paving the way for the final film of the trilogy is 1978’s great storytelling journey that takes the series’ unconventional time loop and creates a smoothly flowing adventure back in time. The end of 1994 saw Deena (Kiana Madeira) and Josh (Benjamin Flores Jr.) under threat from the newly possessed Sam (Olivia Scott Welch). The sequel picks up straight away from the ending as they make their way to the recluse C. Berman (Gillian Jacobs), who survived seeing the witch back in the Camp Nightwing Massacre. Christine has become a nervous shell of a person, but she still musters up the courage to tell Deena and Josh the blood-curdling story of how mountains of dead bodies collected over just one night. The simple baseline of the massacre is rich and heavy with subplots and exposition, but Janiak also throws in a revenge tale of an archaic witch, ‘present day’ timelines, and looped character origin stories for good measure. 

The nearly two hour runtime did not bear a grudge and weather over the course, alternatively, I would have gladly sat through another hour to grasp more and more of what the history of Shadyside has to offer. 

What further tickles the intrigue is the mysterious whodunnit nature of the story, except the conundrum is not based on who the killer is, but who the survivor is. The present day Berman does not overtly reveal what her position was in the story, the only information we score is that she is one of the two sisters that the story focuses on. Across the film, we are rooting for both of them, but unfortunately, it is all wishful thinking as ultimately we know that one of them will suffer a brutal death. It is this exact toying that kept me on the edge of my seat, unlike many horror’s there is not much hope and everyone really is at risk. 


Fear Street: 1978 is reminiscent of a campfire tale, one that would be told in a large group in your scariest voice, paired with the classic torch under the chin for optimum scares. It’s the perfect slasher for the new generation of horror watchers or even those who fancy something old in a new fashion.

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

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Review: Fear Street Part One: 1994

The slasher subgenre has done for horror what Shakespeare did for playwriting. It’s that precise allure that accompanies the stalk and kill system, whilst revelling in motive, victim strategies, and exposing the cathartic sense of relief when a fatal conclusion is met, although the joyous reaction could be towards the killer just as much as the victim.

There’s a reason as to why the 1980s and early 1990s were indoctrinated with splatters, slashers, and schlock, it was exhilarating and constant, and now from a retrospective point these frameworks still exist, but it has become even more prevalent on the extension of tributes and commemoration. 

The Fear Street trilogy displays exactly that, a keen sense of nostalgia whilst still maintaining a fresh balance of new tactics and modern archetypes. 

Based on R.L. Stine’s Fear Street novels is Leigh Janiak’s ‘Fear Street Part One: 1994’ which follows an amalgamation of various books from the series to create one giant story that will be historically linked in the next two films. The basic premise follows a group of adolescents who must battle off Sarah Fier (Elizabeth Scopel), a ‘deceased’ witch who has put a damning curse on the town of Shadyside prior to being executed during the witch trials.

Although the collective outline relies upon an ancient curse placed in the 1660s, Fear Street: 1994 is very much alive and thriving. Beginning the film is a sequence that can describe the film as a whole. The opening shot sets up the atmosphere nicely, as we see book store employee Heather (Maya Hawke), working late one night in an eerily empty mall, with the only sense of life coming from beaming neon lights strewn across the food court (immediately reminding me of Stranger Things). In typical fashion, her loneliness is soon met with an alarmingly loud phone ringing, a fake jumpscare, shadows lurking, and then finally a masked killer wearing a Ghostface-esque gown appears and murders who we believed was going to be our final girl. If you thought that this sounded overly familiar to Casey Becker’s (Drew Barrymore) fatal opening scene in Scream (1996) then you’d be correct! 

FEAR STREET PART 1: 1994 – (L-R) JULIA REHWALD as KATE, FRED HECHINGER as SIMON and KIANA MADEIRA as DEENA . Cr: Netflix © 2021

Feeding off of horror’s most tactful tropes is Janiak’s somehow unique crafting of frankly overdone clichés, allowing for optimal attention-grabbing moments. Combine this rose-tinted nostalgia with exhilarating characters then we really have a go-getter of a film. It’s with this that I’ll move onto my next point, the cracking twists and turns. Without spoiling any sordid details I do have to admit that I was seriously impressed with the relationships amongst the characters, with Janiak not becoming too complacent in saving who the audience is naturally drawn to, nothing is sacred and no one is off-limits.

Our motley crew of teens consists of Deena (Kiana Madeira), and her brother Josh (Benjamin Flores Jr.), alongside her two friends Kate (Julia Rehwald) and Simon (Fred Hechinger) who must battle Sarah Fier and her army of killers to save Deena’s estranged girlfriend Sam (Olivia Scott Welch) from a dreadful fate. Together they make a mishmash group where none of them fall into the place of the jock, the blonde, the smart one, the skeptic, or the final girl. Yes, the tween Josh does have more criminal knowledge than the normal boy, and Deena does have some inner ruthlessness that embodies ‘the last one left alive’ emblem, but all in all, there is a clear and successful attempt at rustling up the unexpected and allowing everyone to shine, not just the ‘lead’. 

Fear Street: 1994 understands it’s alterations to the classic slasher, but it also comprehends what makes the film stand out from current ‘blockbusters’, which consequently originates in the harsh gore exposed throughout. I for one have a neutral outlook on the graphicness in a horror film, there are a plethora of tense films that only sparsely rely on bloodshed to affect the viewer, and then there are outstanding films that secrete slaughter from start to finish. However, Fear Street: 1994 definitely took the visually mature path, with Janiak dismissing any prior beliefs that this would be tame in any shape or form. 

The killers presented in this first entry are the Skull Mask Killer, The Camp Nightwing Killer, and Ruby Lane, all of who deliver noteworthy scares throughout. The cult-like culmination of very different antagonists could be messy if in the wrong hands, yet there’s that slight animosity that accompanies their very brief backstory that allows for their quick-paced appearances to be short and snappy, with the focus constantly remaining on the Deena and the gang.

As much as I’ve discussed this slasher aspect, especially in terms of the film’s inextricable character-based narrative, an unorthodox element that pushes Fear Street to feed off of the flexibility of horror is the inclusion of the occult. Shadyside has been jinxed by Fier’s wickedness and with that comes an interesting backstory that is nicely touched upon, but not fully delved into. However, instead of being irate over the briefness, we only end up more excited for the following two films. 

Fear Street Part Two: 1978 and Fear Street Part Three: 1666 will both be released one week after another, promising much more carnage, curveballs, and adrenaline-pumping scares.

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

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Review- Army of the Dead

armyofthedead

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

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

Spoilers ahead…

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

 

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

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

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

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

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

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

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

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

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

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Review- Psycho Goreman

Psycho Goreman

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

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

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

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

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

Psycho Goreman Review - HeyUGuys

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

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

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

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

10 Reasons Why You Should Watch Psycho Goreman Right Now

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

Psycho Goreman is available now exclusively on Shudder.

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

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Review- Spiral: From the Book of Saw

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

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

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

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

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

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

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

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

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

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

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

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

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

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Review- Relic

relic film

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

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

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

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

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

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

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


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

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

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

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Reviews

Review- Fried Barry

Warning: a few spoilers ahead…

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

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

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

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

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

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

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

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

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

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

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