Tag: spooky

Netflix’s Blood Red Sky

by natewatchescoolmovies, posted in Film Review

You’ve heard of Snakes On A Plane now get ready for Vampires on a plane! Real talk though the new Netflix horror hybrid Blood Red Sky is a lot better, more vicious and effectively made than most gimmicky, chimera-like efforts of its kind. A sort of German American Scottish coproduction that seamlessly blends actors/accents from all three countries, it tells of a young German mother (Peri Baumeister, a dead ringer for Noomi Rapace) who finds herself and her son on a transatlantic flight that has been hijacked by multinational terrorists hellbent on crashing the plane in London and killing everyone onboard. There’s just one slight variable these assholes didn’t figure on: this girl is in fact a vampire, and not a slow, dramatic Dracula vampire either, she’s one of those sleek, terrifying, hyper-vigilant, high strung 30 Days Of Night Vampires, which when you consider the finite, constrained area of a plane interior, is just a nightmare waiting to happen. The big cheese terrorist is a sociopathic mercenary played excellently by Dominic Purcell but the real villain is a German maniac (Alexander Scheer) from his ranks that goes rogue, starts maliciously murdering hostages and is just downright nasty, if there was a German production of Batman he would land the Joker role for sure. The fights, chases, gore and intensity here are so well staged you barely get a moment to breathe and there’s genuine high-level suspense that had me on edge. What helps achieve that is that even amidst all the snarling, throat ripping, bloodletting and pandemonium and even under all that slick vampire makeup, actress Baumeister manages to give her performance a genuine maternal instinct and palpable pathos in caring for her son and protecting him from danger, she basically gives a multilayered, deeply effective performance as both a human being and a pissed off vampire. The film is built around a totally ridiculous premise and they could have made this just the cheesiest thing, but instead they’ve played the situation dead straight and approached this script with the very serious notion of “what IF a vampire found herself on a plane at the same time as a gang of evil terrorists,” and the result is something immersive, beautifully made, spectacularly violent and, in some scenes, surprisingly poignant. Highly recommended, streaming on Netflix now.

-Nate Hill

Rituals

by natewatchescoolmovies, posted in Film Review

I’ve had some gnarly camping trips into the Canadian wilderness myself, but none so brutal, backbreaking and harrowing as the Ontario expedition that five bickering middle aged doctors embark on in Rituals, a punishingly intense, staggeringly effective thriller that despite a low budget, is about as high impact as possible. The cast is headed up by the late great Hal Holbrook and Lawrence Dane, two pack leaders in a team of five career medical professionals who are so far from the white coats and fluorescent lit hallways they usually no doubt inhabit, on a ruthless trek through the harshest terrain made all the more strenuous by the fact that they are being tracked, hunted and terrorized by an unseen individual who knows the region, and the psychological complexity of predator vs prey, far better than these fellows. This obviously has a Deliverance vibe on paper but not only is it a far stronger film than that (Boorman’s piece is a tad over-celebrated in my book), it isn’t just that tired old ‘big city blowhards tormented by inbred backwood yahoos’, there’s an actual believable reason why this person has targeted them, revealed bit by bit as their heinous ordeal unfolds. What also makes this so effective is the writing and performances; every character is fully fleshed out and feels like a real human being instead of a token archetype of your classic group dynamic, thanks to a script that has both compassion and condemnation for its characters in the same complex stroke. These are genuine human beings and the actors, Holbrook and Dane in particular, play them uncannily well in perhaps the performances of their careers. Not to mention the lush, lake speckled Northern Ontario scenery that abruptly turns stark, threatening and very Mordor-esque later on in the third act to mirror the increasingly hopeless plight of the men wandering through this desolate and unforgiving realm. This is an exceptional film, with a few damaged reels (VHS lines and cigarette burns lovingly dot the celluloid landscape) and Shudder has done a great job restoring what it could into Blu Ray quality while retaining a frayed, Grindhouse visual aesthetic at the same time. Highly, highly recommended.

-Nate Hill

David Cronenberg’s Videodrome

by natewatchescoolmovies, posted in Film Review

David Cronenberg’s Videodrome is a film I had slept on since I was a teenager and saw it it ominously leering off the shelf of Blockbuster with stark, gooey VHS cover art that promised a nearly sentient looking narrative and atmospheric horror experience that perhaps I wasn’t ready for, because I always passed it by. I’m kind of glad I waited until now to see it because I was fully able to appreciate what a rich, textured, detailed and seemingly impenetrable but inexplicably profound piece of art it is, not to mention just a gorgeously gonzo exercise in some of the absolute fucking BEST practical effects I’ve ever seen in cinema. James Woods is Max Renn, a freewheeling television producer whose time slot is dedicated to violence and scum because, as he cavalierly rationalizes it, that’s what people want to see. One day he discovers a mysterious scrambled signal broadcasting a show just about violence, murder and torture, a show that seems to be a bit too close to the real thing. His search for the origin and producer of this bizarre output takes him on a horrifying cosmic journey of mind-melding, body mutilating chaos as the signal begins to change both his external anatomy and internal mindscape. He hooks up with fellow TV host Nicki Brand (the great Debbie Harry) whose own dark impulses for boundary pushing S&M only further add to his unsettling environment. The plot is a dense, surreal and difficult spiral of reality shattering techno-horror, spectacularly splattery special effects and an editing process that aims to disorient while also keeping the viewer mesmerically rapt to the screen to see how it all plays out. There’s an undercurrent of warning regarding the psychological implications of technology and pornography that feels eerily ahead of its time, a commentary on the hypnotic and dangerous application of VR (WAY ahead of its time) and all sorts of elements woven together for a totally immersive, beautifully retro-futuristic experience. It also just knows how to have a blast at the simple level of being a visually effective horror film and believe me when I tell you that these FX are for the ages and might never be topped; from torso invading genitalia chasms to glistening prosthetic weaponry crudely fashioned onto human limbs to a TV set that lives, breathes and gives birth to roiling deformities behind the screen that serves to remind us of the worrying self awareness and startling agency we project onto and bestow unto technology. One of the finest horror films I’ve ever seen.

-Nate Hill

Anthony Scott Burns’s Come True

by natewatchescoolmovies, posted in Film Review

Sometimes a film just effortlessly and uncannily combines several elements that just resonates with me and lands as an all time favourite on the first time watch. In the case of Anthony Scott Burns’s Come True it’s the gorgeous mix of SciFi/horror, analog/VHS inspired aesthetic, dream and REM sleep centred storytelling, surreal artistic visuals and the synth dripping, supersonic original score by Electric Youth that just makes this film something so special I don’t even have the words. The story concerns a runaway teenager (Julia Sarah Stone) who sleeps on playground slides (theres a metaphor in there somewhere), lives a restless nomad life and suffers from paralyzing nightmares. She agrees to participate in a sleep study for cash by a shady group that has patented technology that maps and visualizes people’s dreams onto video screens, but this only seems to exacerbate her nightmares and literally give them the power to cross over into waking life. That’s just the diving board from which we plunge into a roiling subconscious abyss of daring, unapologetically strange narrative and atmospheric substance and it soon becomes clear that director Burns, although meticulously in control of his craft and vision, wishes to let this story run completely wild and go off the edge of the map, which is a great fit considering this is a film about dreams. Some folks will undoubtably dismiss this as confusing and inaccessible but for me it pierced a frequency in my psyche that few films are able to tune into and is just the perfect soul food for my warped perception and taste in film that always hungers for the different, the weird, the boundary pushing. Actress Stone has an ethereal, pixie-like aura to her that lends itself nicely to the overall vibe. We are treated to numerous extended dream sequences which are all shot through this sort of of perpetual POV forward propulsion movement, a technique that tricks us into thinking we are ourselves moving directly into both our TV screens and the dreams themselves, then we are presented in horrific inevitable fashion with the powerful antagonistic forces on display in dreamland and it feels just about as terrifyingly tactile and immersive as being in our own dream worlds, a genius filmmaking choice really, not to mention all of the dazzlingly surreal, stark monochrome imagery and artistic flourishes along the way. Electric Youth kind of got screwed in their first original score which was for a film called ‘Breathing’ that for whatever reason was never finished or released, but their wonderful work on it can still be heard on Spotify. Here they get another shot and go absolutely synthwave ballistic for an original composition that is so beautiful your ears will bleed neon and you’ll hear it in your own dreams. It brings the story to life in ways that transcend traditional narrative at times and lures you into its world until you are transfixed right up until the ballsy twist ending that will have some people rolling their eyes and some people’s minds blown, I thought it capped the story perfectly. I don’t often use the M word but to me, and my sensibilities of what I look for in film, this is a flat out masterpiece.

-Nate Hill

The SuperDeep

by natewatchescoolmovies, posted in Film Review

The SuperDeep is a Russian SciFi horror flick that lives up to its title in the most literal of ways, considering it’s about a research term that descends down a borehole wayyyyy below the earth to investigate something that’s so far down there it’s closer to the core than it is to the surface. We meet microbiologist Anya (Milena Radulovic), who has a guilt ridden past but agrees to lead the group, which consists mostly of Russian military, on the condition that whatever they find down there, she gets academic credit for the discovery. What could go wrong? A lot, it seems, and when you’re in one of the most remote, unfamiliar frontiers in our realm, it’s tough to get help, find your footing in an otherworldly environment and simply survive. There seems to be some horrific microorganism that lives in the permafrost and has now thawed and gotten loose, a life form that uses fungal spores to spread into the air kind of like seed dispersal and as soon as a human breathes them in… well, it ain’t a pretty sight and the special effects team take FULL advantage of the opportunity for ooze, slime, goo and body horror of every orifice invading fashion. I had one complaint; the version I watched on Shudder only had dubs available, no subs, and baby I’m just not a fan of dubs, I wanna hear the actors talking in their real voices, I don’t care how exotic and impenetrable the language is. That aside, this is a wonderfully atmospheric piece with some truly standout moments of filmmaking and a beautifully eerie score that sets up atmospheric tension and world building terrifically. There’s a hair raising sequence where they free fall down into the earth for hundreds of miles in a few minutes time for a kind of prolonged ‘Hellavator’ experience that would have been a showstopper on the big screen. An almost black and white colour timed scene sees Anya fall through a fissure in the earth into utterly unknown territory in this kind of languid, near zero gravity airspace accompanied by a particularly surreal score cue for an almost indescribably artistic visual and auditory effect. The climax is haunting and disquieting where it could have been loud, gory and cacophonous, choosing awe and wonder over grisly spectacle. It’s a slower burn, a more relaxed take on classic stuff and obviously comparisons to John Carpenter’s The Thing will be drawn but this is its own beast, a neat infusion of mood piece, body horror, artistic expression and classic B movie aesthetics for quite the experience. Streaming now on Shudder.

-Nate Hill

B Movie Glory: Larva

by natewatchescoolmovies, posted in Film Review

I love a good, simple, blessedly cheesy SyFy creature feature flick, back when cable tv was around you could tune in any night of the week, settle in for the midnight hours and watch all kinds of monsters, ghouls, aliens and cryptid nightmares terrorize small towns. Whenever I get the chance these days I grab them on DVD where I can find them for sheer nostalgic value and Larva is a great example of that. Set in blessed small town Americana, we meet a farmer (the great William Forsythe) who is having trouble with his cows getting sick and dying of some mysterious and very deadly parasite. He contacts the environmental board who sends a representative (Vincent Ventresca) who discovers that the animals are falling prey to a brand new subspecies that is aggressive and altogether catastrophic to the region, especially when it starts infecting humans and we are treated to an impressive array of gut busting, chest bursting, skull exploding gore as these beasties grow from their larval state and bust loose from human hosts into these weird leathery winged, tooth ‘n fang adorned monsters that fly, crawl through tight spaces and kill with speed and ferocity. There’s a neat subplot about the dangers of outsourcing agricultural and livestock resources to big experimental corporations that don’t follow the rules until nature bites back which is a nice touch too. Forsythe is terrific as the stoic, capable farmer who keeps an arsenal of ‘just in case’ weaponry in his barn for occasions such as these and gets to blast many a monster to smithereens. The effects are terrific in the close quarters gore department and perfectly serviceable as far as visuals of the full grown creatures go and overall this is exactly the kind of good, splattery, brainless fun you’d expect from stuff like this. Good times.

-Nate Hill

House 3: The Horror Show

by natewatchescoolmovies, posted in Film Review

After checking out the first House flick and digging it I skipped right ahead to the third one, given the subheading ‘The Horror Show.’ I did this because it was more readily available to me than than the second and because they’re anthology anyways but mainly because it stars Lance Henriksen, who I’m a huge fan of. This one has a super bad reputation for some reason and I see from some reviews (Ebert, notably) that they had no idea this was even connected to the House franchise and thought it was an attempt at a standalone horror flick. This is understandable as it has almost zero connective tissue to at least the first film, which is odd they’ve used the House name but no matter, it’s still a perfectly entertaining, impressively gruesome cop versus slasher outing. Henriksen is Detective Lucas McCarthy, a tough cop and gentle family man who has successfully tracked and apprehended ‘Meat Cleaver’ Max (the great Brion James), a profoundly vicious mass murderer whose weapon of choice is, you guessed it, a giant meat cleaver. When they try to fry the fucker in the electric chair it literally goes haywire and somehow Max’s ghost is able to escape via electric currents and continue to kill as well as make life hard for Lucas and his family as he lurks about their home turning inanimate objects very animate. What to do? Lucas must think outside the box of his usual cop skill set towards more metaphysical methods before Max literally kills everyone. Henriksen is terrific and gives the role a genuinely haunted aura and PTSD afflicted frenzy that is very effective and believable. James is a mad dog monster as Max, imbuing him with a devilish trademark laugh and chewing scenery like there’s no tomorrow. There’s some very unnerving prosthetic effects, a standout moment sees a turkey dinner some nauseatingly to life in front of Lucas, provoking a hilariously deadpan reaction from the man. While I don’t see quite what this has to do with the House franchise in essence and could have easily just been it’s own unrelated thing, I really enjoyed it for it’s energy, the brutal cat and mouse game between Henriksen and James who are both at the top of their acting game here and the inspired, deranged special effects. Good times.

-Nate Hill

Steve Miner’s House

by natewatchescoolmovies, posted in Film Review

There’s a lot going on here for a film with the simple and straightforward title ‘House,’ and not all of adds up for a coherent or clear minded horror flick but it’s still a lot of warped, gooey fun with some great 80’s practical effects, a decidedly anthology vibe despite, well, not being anthology at all really and the same kind of mischievous, rambunctious, irreverent tone to the horror that one might find in Sam Raimi’s Evil Dead films. It’s also directed by Steve Miner who has deep horror roots, having helmed the very first Friday The 13th long ago so the force is solidly strong with this one, in terms of horror speak. William Katt plays a writer who moves into a creaky old house with his family and before they even have a chance to unpack their shit his kid goes missing, like literally before you even get properly introduced to the characters, it’s wild and hilarious. As the ominous yet silly tone is set we also meet all kinds of other ghosts and ghoulies including some spectacularly gruesome monsters that live in the closet, a fat bottomed zombie girl who keeps showing up to torment him (this is where the film feels most like Evil Dead), some pesky sentient gardening tools that follow him around, George Wendt as his sorta friendly sorta nosy neighbour who keeps bringing him beer in offers that he rudely snubs and the mummified remains of an old Nam war buddy (Richard Moll) who come back to haunt and remind him of some psychological incident regarding the war that can’t be put to rest. There is a LOT going on and unfortunately the film can’t make proper sense of it or make it all feel like it’s coherently connected beyond a kind of scattered episodic feel, hence my references to anthology films above. However, what it lacks in clear vision it makes up for in cheer lunatic energy and boisterous charm, each oozy new set piece and special effect clearly showing a level of artistry, creation and off the wall deadpan humour that is impressive and fun, the acting from everyone, Wendt in particular, is very good and it all feels like everyone was having a good time.

-Nate Hill

Damian McCarthy’s Caveat

by natewatchescoolmovies, posted in Film Review

Trust Ireland to give us what for me now stands as the scariest film I’ve seen since Ari Aster’s Hereditary. I realize that is the boldest of claims and before anyone chimes in with the obligatory “welL HEridiTARy didntT scAre me And wasNT evEn thAT GOoD”, just keep in mind there are many of us who were scared piss-less by it and keep your edginess to yourself. Damian McCarthy’s Caveat is a brand new addition from Shudder, an Irish mood piece with some unique ideas, atmosphere so thick you could choke on it and some of the most skin crawling, sleep with the lights on moments of sheer terror I’ve seen in many a moon. I didn’t say it was a perfect film and the plot, such as it is, is kind of a murky one in areas but best I could surmise it is: a shady English dude (Ben Caplan) hires an also somewhat shady Irish dude (Jonathan French) with amnesia to babysit his adult niece on an isolated island cabin. The girl has some form of schizophrenia of schizo-affective disorder and is out of it most of the time, but one of the conditions of this well paid for agreement is that Irish dude must wear a leather harness attached to a chain that prevents him from entering certain areas of the house, to make the disturbed girl feel safer… I guess? It’s a premise with so many loaded questions attached that you just kind of have to surrender to the atmosphere and experience, and it’s here that the film not only shines but unearths something almost profoundly spooky. There are ghosts in the film, and they are so scary you’ll wish I’d never recommended this to you. You know that special feeling after you’ve watched a film that genuinely, tangibly provoked real fear in you and you have immediate, dread soaked regret that you ever watched it? Yeah I got that from this one, which is rare for me these days and it may not hit for everyone like that but for me it was effective in that elemental, hair raising way. There is an actual plot to the film and although I wasn’t entirely clear on all the ins, outs and beats it did feel like it was trying to impart a discernible narrative while still being a decidedly arthouse mood-board experience. There’s also a creepy little toy rabbit, as you can see by the poster, and he serves as both a mascot of sorts and also a proverbial ‘canary in the coal mine’ device, as he seems to beat his little drums with relative sentience whenever it feels like malevolent forces are near. The eerie score, suffocating abandoned house atmosphere and deliberately spatial camera movements all place you right in the front seat of terror and apprehension as you wander the mildewed halls and decrepit rooms of this broken down house and encounter things you really could have done without seeing at 2am when you’re alone in your own house and the cat is making noise somewhere. It’s a staggeringly well made film for a first time director and I can’t wait to see what he does next. Terrifying, immersive, hypnotically unsettling, a fully realized horror experience that will fuel the darkest of nightmares. Streaming now on Shudder.

-Nate Hill

Steven Kostanski’s Psycho Goreman

by natewatchescoolmovies, posted in Film Review

Psycho Goreman is a hell of a title for a film and anyone one that dares use must ensure their art lives up to it, and this one sure as hell does. It’s one of those deft, near miraculous efforts that dances an impossible yet flawless ballet between genres of horror, SciFi and comedy and almost fuses them all together for something entirely new. The titular Psycho Goreman is a hulking alien warlord with a penchant for violence, torture and all sorts of melodramatic menace, who arrives on earth only to be outwitted by a incredibly feisty ten year old girl (Nita Josee-Hanna) who snags the magic gemstone that controls him and now calls the shots. There is an entire galactic Narmada of silly funny weird creatures who are trying to track and destroy him though and they eventually follow him to earth for all out warfare. The terrific thing about this film is how deftly it balanced extremely graphic, hard-R gore with a genuine childlike sensibility and the kind of dark, deadpan humour that is so funny and so pointed that I just can’t even describe it in a review, you have to see the thing to get it. It’s sweet yet still has a jaggedly nihilistic tonal edge, hilarious yet feels truly gnarly and almost… ‘Troma’ in its levels of schlock and splatter and just the perfect mix of everything fun. Director Steven Kostanski also made the brilliant 2017 cosmic horror The Void, which is in my top ever made in the genre and I always wondered what he’d follow it up with. A true winner that blazes new trails and shows his devotion, invocation and passion for practical effects based horror. The costumes, makeup and gore effects are pure bliss here, with every extraterrestrial creature owning their own distinct, hilarious and lovingly campy anatomical design, the gore is unapologetically ruthless, bathed in buckets of blood n’ body parts and the the script laced with indescribably hysterical wit, comedic inspiration and overall horror nirvana. Wonderful film.

-Nate Hill