Tag: horror

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Wrong Turn (2021)

There have been countless horror reboots, prequels and sequels released this year that have been taking the industry by storm with some proving to be successful (Candyman) and others not as much (Spiral). Regardless, revisiting classic horror franchises seems to be a way to bring that nostalgia for horror fans. However, whereas some of these films have wanted to go down a different path while still remaining similar to audiences, this year’s Wrong Turn reboot goes in the completely opposite direction. The 2003 original film sees a group of friends hunted down in the West Virginian wilderness by a small group of savage cannibals, this 2021 reboot tells a different story entirely. Boasting a similar initial synopsis, we see a group of young explorers hiking along the Appalachian Trail but this is where the similarities end as Wrong Turn changes up the culprits to incorporate social commentary and bring a new twist to the classic tale. This makes the film completely unpredictable, even to those who have watched the original, as it doesn’t follow the same plot points at all.

The film is directed by Mike P. Nelson and written by original Wrong Turn writer Alan B. McElroy. McElroy completely deconstructs his original story and changes it to something new and timely while Nelson’s direction is raw and unflinching. The result of which is a film that follows the trend of incorporating political discussion while also subverting many clichés often synonymous with this kind of film.

Charlotte Vega is cast as the film’s protagonist Jen, a woman who is unsure what she wants to get out of life. As she makes her way visiting various parts of the Appalachian Trail with her friends, Jen clearly has a desire for adventure but doesn’t know how to translate this into her professional life. Despite being surrounded by her accomplished friends, the film follows Jen as in finding a way out of the horrors, she is able to reclaim her own identity and her sense of self. Vega does a fantastic job of balancing Jen’s sense of dread with her instinctual resilience which is the driving force of the film. An important part of any horror film is making sure you have characters that can push the film along and although Jen’s character isn’t completely fleshed out as well as it could be, it’s enough to show the contrasts between the life that Jen has versus the life that she eventually leads.

Wrong Turn has an incredible support cast that really create an immersive experience and draw you into the community that has formed within the woods. In particular, Bill Sage as The Foundation’s leader Veneble is one of the film’s major highlights. Hellbent on preserving power over the community, Veneble is a great character and Sage clearly has fun with the role. His unpredictability and fearlessness means that he is a character that should be feared.

Another great supporting turn was Matthew Modine as Jen’s father, Scott and as expected, he is great. We are introduced into the film’s narrative through Scott’s perspective so it lies on Modine to draw the audience in. As we see Scott visit the small town and the tensions that arise among the locals, Modine does a great job of portraying a flawed father who is willing to anything for his missing daughter.

Overall, Wrong Turn follows the trends of using horror as a means to explore larger discussions on racial, gender and sexual identity. It is because of this that the film results in an unpredictable and unflinching look into how the setting of the film serves as a microcosm of America as we see the cultural melting pot and the subsequent clashes which often have extra gory results. For those who are unfamiliar with the Wrong Turn franchise, you don’t need to have seen any of the previous instalments as this film does a brilliant job of introducing the viewer into this world. It will be great to see if there are any sequels that follow this particular film’s narrative in the future.

What did you think of Wrong Turn? Let me know in the comments below!

Wrong Turn is available to watch on Netflix now!

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Censor (2021)

One of the most anticipated British films of the year is finally here. Censor has been the subject of much discussion since its world premiere at this year’s Sundance Film Festival and it’s easy to see why. The film takes place in the early 1970s during the height of the Video Nasties craze and follows Enid Baines, an employee at the British Board of Film Classification (BBFC), who is put under public scrutiny after it is alleged that a film she allowed for release may have inspired a real life murder. Paired with an incident that sees her watch a film that looks like her missing sister, Enid’s sanity and knowledge between fact and fiction begin to merge together into a horrorshow that will see you falling down the rabbit hole with Enid.

The film has been directed by Prano Bailey-Bond who also cowrote the script with Anthony Fletcher. What is fantastic about Bailey-Bond’s approach is how authentic and well-researched every aspect of the film feels from the time period setting to the quality of the film and the methods that they would be shown to the censors. What separates a good horror from an excellent horror, especially in modern times, are their ability to merge the genre with social commentary and despite its early 1970s period stamp, Censor feels as timely as ever. Bailey-Bond’s fearless depiction of mental health deterioration as well as questioning the relationship between entertainment and media takes you on a journey that is unpredictable and highly rewarding to watch.

Niamh Algar is definitely one of this year’s stellar breakouts. Her turn as Enid Baines is a masterclass of characterisation as we see the character’s downward spiral into chaos and madness until the lines between reality and fiction become blurred. Filling the character with plenty of mannerisms such as her fidgeting as well as the detachment from the films she has to watch every day. The horror genre has brought us a slew of iconic characters in recent years, especially strong female characters and Enid Baines can sit confidently among them. The audience’s attention is captured from the beginning all the way through to the end and with horror acting as a groundbreaking genres for rising filmmakers to delve into, Censor works fantastically as a character study while subverting the horror genre and ripping the rule book.

The supporting cast do a great job of backing Algar and adding to the suspense and tension. In particular, Michael Smiley does a brilliant job as Doug Smart, a controversial producer whose films have garnered a negative reputation with the general public. Smart immediately takes a shine to Enid and insists that she reviews his latest project which sets the film in motion, Smiley brings a subtle and subdued quality that makes every movement and line unpredictable. Making the most of every second he is on screen, Smiley can always be relied upon to bring an unexpected performance.

One of the many highlights in this film is the score that has been composed by Emilie Levienaise-Farrouch. Much like the script, cinematography and editing, the score merges a modern horror score with music that feels reminiscent of the 1970s horror music to create something that feels unique and distinctive. There are many scenes where it feels as though the music is its own character such as the scenes where Enid ventures through the train station and sees a woman who looks like her sister. The score in these moments feel as though it is Enid’s past creeping up on her and haunting her every move.

What makes Censor such an appealing film to watch is how brilliabtly crafted the cinematography and editing is. Edited by Mark Towns and cinematography by Annika Summerson, the film flits between a 1970s aesthetic and how a video nasty would appear on VHS. With the video nasty VHS quality becoming more prominent later on, it seems that the film itself is reflective of Enid’s state of mind and actually questions whether the film is a video nasty in itself as it blends between the fact and fiction. The dark colour palettes of the film add a disarming effect and blur those lines between sanity and madness.

If there is one horror that you plan on seeing this year then make sure it is Censor. Wickedly original with a script and direction that is filled to the brim with creativity and ambition. From beginning to end, you are transported into this world and the mind games that it plays with you mean that it’s merging of genres works so well. Bolstered by an amazing cast and with every aspect of the film so well thought out, Censor is by far one of the best films of the year and it’s exciting to see where Bailey-Bond’s career goes following this incredible feature debut.

What did you think of Censor? Let me know in the comments below!

Censor is out in cinemas now!

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The Forever Purge (2021)

Another film that was postponed thanks to the pandemic was The Forever Purge. Written by series creator James DeMonaco and directed by Everado Gout, The Forever Purge has been released as the latest in The Purge series. The film follows the events of the third film, The Purge: Election Year and sees the NFFA back in power and the purge reinstated. However, things don’t go to plan and a large uprising across the US decide to implement the “forever purge” and do not stop purging after the sirens have sounded. The Purge franchise is one with a large fan base and has done well financially because of how entertaining and imaginative they are while still bringing in real issues. The Forever Purge in particular feels especially appropriate for the times we live in. If you haven’t caught up on the franchise, I have done a review and ranking of the previous films which you can read here.

What The Purge series does so well is how it incorporates real social issues into the context of the films and The Forever Purge is no exception. Showing the purge from the point of view of Mexican illegal immigrants, we see the casual racism and cruel treatment that they are subjected to as people of colour and immigrants are tracked down and killed for their background. Gout’s direction is unflinching and fantastic by clearly highlighting the differences between the affluent Tucker residence owned by a rich white family and the livelihood of their employees which includes Juan and T.T, immigrants who had to escape Mexico due to rising Cartel violence and how their security differs when the purge commences. DeMonaco’s script helps to accommodate this as he asks questions on whether the American Dream really exists. Where we see Juan and Adela flee their native Mexico and illegally enter the US as they believe they can achieve their American Dream, they are forced to try and reenter Mexico with the Tuckers when Mexico’s borders are opened for a limited time for those seeking to escape the violence. These topics of identity, social and class status are often major issues explored in The Purge films but the geographical shift sees how the event has started to grow beyond its native country.

Mexican actor Tenoch Huerta is great in the leading role as Juan. Having to deal with racism on a smaller scale in his job, he soon learns that there is a larger problem as there is systemic killings across the US with people of colour and immigrants targeted specifically. Like other main characters in The Purge films, we don’t delve deeply into Juan’s background beyond the fact that he escaped from Mexico and is trying to make an honest living in Texas but it doesn’t really matter in a film like this and it allows for a lot of surprises and freedom in the script. There are some scenes where Huerta really shines including the sudden death of a friend in which we see that dramatic range come into play. Ana de la Reguera is also great as Juan’s wife, Adela, who isn’t afraid to confront and battle alongside Juan to protect the group. The performances from both Huerta and Reguera are among the best that the whole franchise have to offer and contribute to this being one of the strongest instalments that The Purge has to offer.

In support, Josh Lucas plays the affluent Dylan Tucker who runs the family ranch and his character is given a bit more background than we’re used to from supporting characters. It’s clear from his first few scenes that Dylan has racist opinions and treats his Mexican workers differently from others as well as dismissing the idea that his daughter should learn Spanish. However, The Forever Purge shows the progression in Dylan’s character as he begins to rely on the whole group and his judgements begin to fade. What the script does well is ensure that it is done naturally and not clumsily exposed in a way that feels inauthentic.

The Forever Purge was supposed to be the last in the franchise but producer Jason Blum plans to explore the stories of other characters we’ve come across in previous films. We have seen The Purge look into issues of race and class before but this film brings it to a post-Trump era. In a world where the gap between poor and rich grows more and extremism becomes more integrated into the media and mainstream society, films like The Forever Purge are important as they hold that mirror to society and present the consequences of a fractured society and aren’t afraid to ask questions.

What did you think of The Forever Purge? Let me know in the comments below!

The Forever Purge is available to see in cinemas now!

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Freaky (2020)

One film that saw a delayed international release was Christopher Landon’s horror comedy, Freaky. Combining plot points from Freaky Friday and Friday the 13th, the film follows a small town that is plagued by a sadistic serial killer, the Blissfield Butcher (Vince Vaughn) who ends up swapping bodies with Millie, a shy teenage girl (Kathryn Newton). The result is a hilarious film that sees the lead actors having to double up on their performances as they act as the other character when the body swap has occurred. It sounds absolutely ridiculously on paper and it is but it works thanks to the perfect blend of horror and comedy and despite being inspired by other films, it feels refreshing and unpredictable, making it hugely enjoyable to watch.

Directed by Christopher Landon and cowritten by Landon and Michael Kennedy, Freaky is much like his previous directorial effort Happy Death Day in the way that it incorporates plots from iconic films and brings it to the modern day in a new and original way. Not holding back on the gore while remaining hilarious and biting in its comedy, Freaky achieves what a lot of teenage horrors try to do and fail. The star turns by the leads and the strong characterisation of the support characters make it a film that is strong in foundation and gripping to watch.

Vince Vaughn is absolutely fantastic as the Blissfield Butcher, the urban legend serial killer who has been haunting the town for decades. As the Blissfield Butcher, Vaughn is silent and sleek in movement whereas the moment he performs as Millie, we see a complete 180 turn as he really gets into the mind of a teenage girl. Although we have seen Vaughn do comedies and horrors in the past, this feels like something entirely different than anything he has done before. In recent years, Vaughn has clearly been challenging himself and taken on roles that avoid any typecasting such as his supporting turn in Hacksaw Ridge (2016) and a great performance in the second series of True Detective. What makes his performance in Freaky so fantastic is how committed he is to the role where you actually forget that he isn’t a teenage girl at certain points. His character is written brilliantly for development and choosing to have him stay silent until after the body swap was a genius choice so we really can invest in the character.

Kathryn Newton has made a name for herself in horror having previously starred in Paranormal Activity 4 but has also shown her range in a variety of other genres. Where Paranormal Activity 4 saw her as the victim being traumatised, Freaky flips this on its head and allows Newton to play the villain for its majority. Starting the film as regular teenage girl, Millie, Newton is shy and reserved, allowing the troubles of her private life to take over and stop her from planning her future. Knowing the plot while watching the film, it’s difficult to think about Millie being a serial killer and Newton’s killer performance really comes to life after the body swap. At such a young age, Newton has proven herself to be an exciting star on the rise and her performance in Freaky is fearless and fun.

Overall, Freaky may take its inspiration from films of the past but the way it rechannels it for the modern era feels highly original. The great characters and tight writing will have you on the end of your seat thanks to its unpredictability and great fight sequences and imaginative death scenes. If you are looking for a horror film that is entertaining and a lot of fun to watch then you can’t go wrong with Freaky.

What did you think of Freaky? Let me know in the comments below!

Freaky is out in cinemas now!

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A Quiet Place Part II (2020)

One of the biggest horrors to be released this year is A Quiet Place Part II which has been deemed a precursor to the state of cinema following the reopening of cinemas around the globe. Like its predecessor, A Quiet Place Part II is written and directed by John Krasinski. Following the remaining members of the Abbott who aim to reach a fellow survivor’s hideout. With Emily Blunt, Millicent Simmonds and Noah Jupe returning as the Abbott family and Cillian Murphy and Djimon Hounsou joining the franchise as survivors. A Quiet Place Part II sees a more expanded world where the creatures have taken hold and follows on directly from where the last film left off whilst also giving insight into how the apocalypse began.

Directed and written by John Krasinski, A Quiet Place Part II seeks to give a wider view of this universe than its predecessor and opens with a flashback that takes place on the day of invasion before shooting back to the moment where the events of the first film ended. Due to the death of Krasinski’s character in the first film, he is only onscreen during the flashback sequence but then is able to commit fully to direction for the remainder of the film. This helps enormously, especially as we are introduced to new characters whilst also seeing the development of returning characters. Like the first installment, this film is highly impressive in its script and has the perfect balance of horror and drama as it gives the leading characters a fully rounded arc, especially Regan (Millicent Simmonds) who aims to be more active and independent in her search for a solution.

As expected, Emily Blunt is fantastic as Evelyn and proves that she can lead this film with ease. An actress who has acted flawlessly across many genres and with A Quiet Place bringing her a SAG Award, Blunt ups the ante in this sequel. Bearing the weight of familial responsibility solely on her shoulders following the death of her husband, Evelyn tries to find safety through any means possible for her children. However, just as it seems that Evelyn is the only one capable of taking care of her family, daughter Regan shows that she is more than capable of fighting off the creatures as well. Millicent Simmonds proved herself as a fantastic newcomer in the first film and only grows more as an actress in this film. Captivating and gripping, Simmonds’ performance is impeccable and hopefully is the sign of a long lasting career in film beyond the franchise.

In support, we have Cillian Murphy as Emmett who is the survivor that the Abbott family have been searching for. Initially reluctant to let them stay for fear of being found and killed, Emmett begins to open up and finds himself helping the Abbott family find supplies for Evelyn’s son, Marcus, who is injured on the journey. Whilst the characterisation of Emmett isn’t as organic as it could be, Murphy brings a great performance and having already had experience in horror films like 28 Days Later, he makes a great onscreen pairing with Simmonds. Another great supporting turn comes from Djimon Hounsou who makes a welcome appearance later on in the film. As we can expect from Hounsou, his performance is controlled as he leads a survivors’ colony that has found a solution.

In a film where the characters are forced to live in silence, the score is the only sound we have to convey the emotion and intensity of the scene. Marco Beltrami returns to compose the score for this sequel and it feels like an extension of the previous installment’s sound. With the score starting out extremely quiet and gradually building in intensity and volume as the film begins to unfold, the music becomes as much of a character without being onscreen. The score alone could play alongside the film and still bring that horror and characterisation that the script provides.

Overall, A Quiet Place Part II is just as good as its predecessor and shows Krasinski’s strength as a writer and director. Allowing the world to gradually expand and introducing new characters while allowing existing characters to develop in their own right makes A Quiet Place Part II a rather packed film but its impeccable pacing and gripping direction grabs your attention and allows you to become immersed in the world and invested in the characters. The only thing left is waiting for a third film to round up this trilogy.

What did you think of A Quiet Place Part II? Let me know in the comments below!

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Army of the Dead (2021)

One of the biggest releases this weekend was Zack Snyder’s zombie blockbuster, Army of the Dead which made it’s way to Netflix on Friday. After his success with his Dawn of the Dead remake in 2004 (the original of which is arguably the best zombie film of all time), it was great to hear that Snyder was returning to the apocalypse on an even bigger scale. Boasting an all star cast and a unique concept, Army of the Dead sees Las Vegas overrun by zombies who are swiftly contained within the area. The survivors who managed to escape the containment are approached by a casino owner who gives them the task of getting back into Vegas to his casino and getting $200 million that has been stored in its underground vault before Vegas is nuked by the government. The survivors, led by Scott (Dave Bautista) have to face zombies that have super speed and strength while also facing an intense countdown.

Army of the Dead was greenlit in 2007 but faced a series of problems in pre-production before Netflix bought the rights in 2019. Unfortunately, a lot films that experience development hell for long periods of time like Army of the Dead suffer due to constant rewrites and differing directorial visions. This seems to be the case with the film. While the concept and basic idea has a lot of promise, the actual execution seems to clash in a lot of ways which causes the pacing of the script and characterisation to suffer. We see the initial outbreak take place over a ten minute montage at the beginning followed by forty minutes of set up before we even revisit the site. While setting up a plot isn’t a bad thing by any means, it feels as though the introductions for each character are too brief and not characterised enough, especially Scott.

In the leading role of Scott, Dave Bautista does a great job bringing that action star quality to the film. He does the best with the material written and his chemistry with the other survivors, especially his friend, Maria Cruz (Ana de la Reguera). Where the film fails Bautista’s character is the way they try to push his relationship with his estranged daughter, Kate (Ella Purnell). Sadly, it feels like the dialogue between them is artificially forced whereas there is a much more natural chemistry between Scott and Maria so having more scenes between them would have enhanced their characterisation and made the film that much stronger

With a huge cast, it’s inevitable that not everyone is going to get the same amount of attention or screentime which can affect the characterisation. The most controversial being Tig Notaro’s character, Marianne, who has her main bulk of screentime in the final act of the film as the character had to be recast during filming which meant that they only had limited time with Notaro. Considering Marianne is the pilot who is tasked with getting the group in and out of Vegas, she definitely would have been in it more was Notaro cast in the role from the very beginning. What we do see from Notaro is great and she brings her signature deadpan delivery which makes the final scenes of the film really enjoyable to watch. Another great supporting turn is from Matthias Schweighöfer who plays locksmith expert, Dieter, whose job is to break into the safe. As one of the smaller characters in the ensemble, it wasn’t expected that he would be given a lot of characterisation beyond the basics or screentime but what we do see is great. Schweighöfer’s performance is charismatic and funny, bringing a lighter touch to the film.

When watching a zombie film, the most important aspect is the design and special effects involved. This is definitely a plus for the film as the zombies are a similar design from Snyder’s remake Dawn of the Dead making it believable that it could be within the same universe. At the same time, there are more unique inclusions such as a zombie tiger as well as some comical touches such as a zombie Elvis who is featured in the montage at the beginning. It feels as though there is a lighthearted approach to some of the ideas while still maintaining the gore level expected from such a film.

Overall, Army of the Dead is a film that is full of interesting ideas and if you are a fan of zombie flicks, it’s definitely worth a watch. However, it seems that there is tightness missing from the story as the pacing suffers badly while the two and a half hour running time could have easily been cut down to create a better viewing experience. It would be great to see if this film receives a sequel that furthers the story and hopefully brings a sharper focus to the characters and the writing. In the meantime, there is a prequel and an anime series in the works that will look into the characters before and during the events of Army of the Dead so hopefully, we’ll get to know the characters a lot better.

What did you think of Army of the Dead? Let me know in the comments below!

Army of the Dead is available to watch on Netflix now!

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Spiral (2021)

The latest film in the Saw franchise is not your regular run-off-the-mill sequel. Spiral, otherwise known as Spiral: From the Book of Saw, is the first film in the franchise not to feature Tobin Bell as the iconic killer, Jigsaw, beyond a photograph. Whereas Jigsaw gave people a chance to renew themselves through ways of torture, a new copycat killer makes their way through a local police department to exploit the corruption within the system in the hopes it will shake the department to their core and create change. Starring big names such as Chris Rock and Samuel L. Jackson with a great supporting turn from Max Minghella, Spiral breathes new life into the Saw franchise. The films follows Detective Zeke Banks (Chris Rock) who has to figure out the identity of a mysterious killer who appears to be a Jigsaw copycat alongside his new partner, Detective William Schenk (Max Minghella). Zeke also has to deal with the fractured relationship with his father, Marcus (Samuel L. Jackson) who is a retired chief and whose achievements have cast a long shadow over Zeke’s.

Directed by Darren Lynn Bousman who has previously directed Saw II, Saw III and Saw IV and based on a script written by Josh Stolberg and Peter Goldfinger, Spiral has received reviews ranging from the best Saw sequel to the worst sequel. One of the major factors of any Saw film is the traps and the traps in this film are very impressive incorporating some of the most gruesome horror in any Saw film. The opening trap in particularly will have you at the edge of the seat and gives the film an incredibly strong start. There is also a strong foundation story that Spiral brings as well as strong characterisation for the main character with the option to develop the story further. Past Saw films have explored various systems in the past such as Saw VI which follows an insurance executive who is forced to make a series of judgements using the methods applied in his work. What Spiral does is point the finger at the police department specifically as the officers are picked off one by one.

Chris Rock may seem an odd choice for a horror film since he mainly acts in comedies but he shows his dramatic range in this film while also bringing in his signature charisma. His character Zeke is torn between doing the right thing morally or following the corruption and cover ups applied by his colleagues. It seems that this conflict is apparent in his personal life too as he is undergoing a divorce while also being refused visitation to his child. The job clearly has taken over his life and it’s interesting that we don’t see any solution to this. Zeke has an incredibly strong moral compass but he is willing to do anything in order to break the case, even if that means covering up for Marcus when he is suspected of being the killer because he has a hunch that that’s not true.

In support, Max Minghella is great as Detective Schenk who is new to the job. Minghella has long been an underrated actor but he is a great choice for this role as his calm presence opposes Zeke’s frantic nature. The two seem like complete opposites but it turns out that they have a lot in common and the dynamic between them works. It would be great to see a Spiral sequel to see how Minghella’s character is developed even further as he doesn’t get as much screen time as expected. Samuel L. Jackson plays a small part in this film and it’s a great turn that contrasts with what we are used to seeing from him. As Chief Marcus, Jackson is a character who has helped lead a corrupt police department but he doesn’t see it that way. Compared with a lot of recent performances, Jackson’s turn as Banks is a lot more subdued than expected but still packs a punch, especially in the final act of the film.

One of the most iconic aspects when it comes to the Saw franchise is the music. It’s hard to think about Saw and not have the main theme playing in your head. Charlie Clouser returns to score Spiral and it’s a great soundtrack. It’s important to remember that this film is a spin off from the Saw franchise and Clouser does this perfectly in his score. Remixing tracks from the previous Saw films to differentiate the franchises, Clouser’s score feels more modern and up to date in style while also harking back to the nostalgia that comes with the first Saw film.

Overall, Spiral is a great little film that makes its mark in a way where it doesn’t feel tacked on. Not bringing back Tobin Bell was a smart move as it allows the film to make its own rules while showing that this is a completely new era. It would be great to see if they make any more Spiral films and see how they further this story and distinguish the new killer. There may be connections between the new killer and Jigsaw that are revealed in the future but in the meantime, Spiral is a strong start to this new franchise while also bearing some of the trademarks of the Saw franchise.

What did you think of Spiral? Let me know in the comments below!

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Saint Maud (2020)

If there was one film I was looking forward to seeing in 2020, it was Saint Maud. Thanks to the global pandemic, it was one of the many films that was delayed and just under a year later, I finally have been able to see it. Directed and written by Rose Glass in her feature debut, Saint Maud follows palliative care nurse, Maud (Morfydd Clark) who is sent to care for former dancer, Amanda (Jennifer Ehle). Maud is a recent Christian convert and is very influenced by God and will do anything to carry out his will, even if it comes at the cost of her sanity and the lives of those around her. It falls into the psychological horror category and a lot of the tension in the film is carried by the strong direction and Clark’s incredible leading performance.

Rose Glass has entered the film industry with a massive splash. Saint Maud marks her feature debut and she delivers in spades. Her directorial vision is so distinct as it mixes traditional shots of suspense with some tributes to classic religion horrors such as The Exorcist while also bringing in a freshness that feels like a breath of fresh air. Bringing an intense horror to a quiet English coastal town, this film feels ground in a real working class reality in the world around Maud whereas Maud clearly doesn’t fit in. Seen entirely through Maud’s perspective as she is in every scene, it’s clear that Maud doesn’t belong but the reason why is unclear. The script is a beautiful slow burner that is paced fantastically whilst still containing a lot for an 84 minute film. Glass makes the most of every second and it is definitely one of the best horrors I have seen in a whole. It’s fantastic to see how women are regaining control of the horror genre and the pay off is brilliant.

Welsh actress, Morfydd Clark is an absolute revelation as palliative care nurse, Maud. Maud is clearly an extremely tense and troubled individual who is trying to make sense of her purpose in the world. A recent convert to Christianity, she looks to God at every point in her life and rather than just verbal words, she feels God’s presence physical. As expected of “body horror” films like The Exorcist, Clark gives her all physically and emotionally without allowing the energy to die down. We feel the tension rising and rising as Maud has pain inflicted on her as well as bodily harm as she believes she must suffer to be with God. Maud is so invested in her religion that she is not even living her own life anymore. From the first moment she is on the screen, we feel that tension and intensity from her. Clark perfectly embodies Maud and shows her struggles perfectly, holding the film on her shoulders in a superb breakout performance. Rather than play the role as a horror lead, she performs as a dramatic lead instead which works perfectly to build up the conflict and horror that is brewing through the film.

In support, Jennifer Ehle is incredible as dying creative Amanda. A former dancer who has fallen ill to stage four lymphoma, Amanda is the polar opposite to uptight Maud. Arguably and ironically full of more life than Maud, Amanda aims to live her last days to the fullest, indulging in alcohol, parties and lots of sex. Maud is both intrigued and appalled by Amanda’s actions and strives to save her soul in time before she dies. Ehle is a fantastic who is often wasted or not given enough screentime in most films she stars in but Saint Maud elevates her to a hugely significant supporting character. Amanda’s free nature is unsettling as we struggle to know what she really thinks. Even as Amanda’s health decays, Ehle gives the character that depth and life as Amanda fights her illness. Even as she succumbs to the end, she has that freedom that Maud simply cannot restrain.

The score is phenomenal and immediately brings in the horror aspects of the film. Whereas the performances feel more dramatic, the music dictates the tone and elevates the tension in the film. Composed by Adam Janota Bzowski, the score is atmospheric, beautiful and hugely impactful. The film overall doesn’t have a lot of bells and whistles that many other psychological horrors have but Bzowski’s score is almost an effect in itself. The heavy electronic sounds filled with bass add to the film’s unsettling nature. Even in moments that seem more relaxed, the score refuses to rest and its relentlessness adds so much to the film as a whole. I am extremely excited to see what Bzowski has in store for the future and hope he continues to score films.

Saint Maud is a film that was definitely worth the wait. From the first shot, it is captivating and you can’t draw your attention away. The intricate amount of detail in every movement and props shows the amount of care that has been made in the writing. This marks the fantastic start for Rose Glass and Morfydd Clark as well as providing Jennifer Ehle a chance to really show off her range. For those who claim that horror is a man’s genre, I implore you to check Saint Maud out and guarantee that you will be pleasantly surprised. A film that I already want to watch again and again and again.

What did you think of Saint Maud? Let me know in the comments below!

Saint Maud is released in the UK on Monday 1st February.

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The Love Witch (2016)

Anna Biller’s second feature, The Love Witch is a film I have been eager to watch for a while now. Since its release in 2016, The Love Witch has gained a cult following and become a firm favourite of modern horror thanks to its modern interpretation of 60s horror. The film follows witch, Elaine Parks (Samantha Robinson) who moves to a small town after suffering a breakdown due to the death of her ex-husband. The films acts as an ode to 1960s horror films as well as a technicolour fantasy and is definitely a passion project for Biller who serves as director, writer, producer, editor and composer. If that alone doesn’t impress then the final result is sure to please. Much like the film’s protagonist, The Love Witch is impossible to put into a box. It stands on its own two feet as a brilliant feminist piece that subverts the rules in the filmmaking book to create one of the most original films this century.

Biller’s vision is fully realised thanks to her impeccable direction and writing. The choice to make the actors perform in a presentational style plays in perfectly with the nostalgic side of the film. Also, Biller’s genius use of natural colouring to give the film a technicolour aesthetic is innovative and unique. The dedication Biller put into this film is phenomenal and she is definitely a filmmaker to watch. Her script is among the best original scripts of this century hands down and I am shocked it wasn’t up for some major awards. It’s a shame that this film didn’t receive a wide release because it’s a wonderful representation of women in film. This is very much Biller’s film and its empowering to see a woman take the helm at so many roles in the filmmaking process.

To say Samantha Robinson is hypnotic as Elaine is an understatement. From the first shot when we see Elaine driving to her new home we hear her story in the voice over, it’s clear that the weight of the film lies on Robinson’s shoulders and she carries with ease. Elaine is a tragic character, desperate to find love and will do anything to get it but faces drastic consequences. To write her off as a weak character would be a huge mistake as there is a strength to Elaine that becomes evident as the film unfolds. Unafraid and aware of her sexuality, Elaine tries to find her place in a patriarchal world that has never cared for her. This is a fantastic breakout role for Robinson and proves that she has a promising career as a leading actress. Even when she isn’t onscreen, her presence can be felt because she is so affectice in her role. As Elaine begins to succeed in her quest for love, the mask begins to slip as her self-absorbed nature and lack of empathy leads to her downfall. It soon emerges that maybe Elaine isn’t as naive as we are led to believe. This is thanks to the presentational acting which Robinson pulls off flawlessly.

Biller’s score is inspired by Medieval and Renaissance music injected with synthesised sounds to give it a modern feel. Much like the rest of the film, the score is unpredictable and deeply original. There are so many standout pieces throughout the film but the track playing when Elaine and interior designer, Trish go for tea is a particular highlight. The music numbers really enhance the film and create blur in genres as it flits from horror to musical to comedy in the score alone. There are also pieces that feature childlike singing which I think exemplifies the naivety of the film’s characters and is played at pivotal moments and the transition of naivety to realisation. I really hope that Biller continues to score her films because she perfectly encapsulates the originality of her film.

Overall, The Love Witch is one of the most original films I have seen in a while. Its unique take on nostalgia mixed with the strong female gaze makes it a strong win in my book. Biller’s talent as a filmmaker and visionary is evident from the opening shot and it’s clear that she is a force to be reckoned with. This has quickly become a firm favourite of mine and I can see myself rewatching this many times as it’s a film rich in subtext. I am really looking forward to seeing her next film Bluebeard.

What do you think of The Love Witch? Let me know in the comments below!

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“Amok, amok, amok, amok, amok”: Halloween Family Fun

“I’m a master of fright, and a demon of light, and I’ll scare you right out of your pants!” 

– Jack Skellington, The Nightmare Before Christmas

Halloween is a favourite time of year for many. The spooky decorations, costumes and sweets galore, Halloween is the perfect time of year to whip out the horror films and have a marathon. Also, given that we’re in a lockdown situation, it seems like a movie night will be the best way to celebrate the scariest night of the year. However, not everyone can stomach the gore of the Saw films or Midsommar but don’t fret, there are so many films available for younger audiences and the faint of heart. But why do people of all ages love to watch scary films? Filled with creepy costumes, unimaginable monsters and black magic, horror has always been relied on to entertain and stretch the imagination to its limits.

The first name that comes to mind when thinking of family horror is Tim Burton. Combining Halloween with a Christmassy texture in his earlier films such as The Nightmare Before Christmas (1993) which features characters he created. His imagination sparked a new wave of gothic childlike films that have gained millions of fans around the world. From the magical music numbers to the vulnerability of his characters, Tim Burton’s vision is undeniably horror but also mixed a variety of genres such as comedy and musical to make it suitable and accessible for all ages. Even in his later films such as 2005’s Corpse Bride, he adapts this approach and it still remains as popular as ever.

Seeing how successful it was on release, Disney have taken ownership of The Nightmare Before Christmas since and before this appeared to channel their Halloween offerings into their live-action films. It’s rare to find someone who isn’t aware of the 1993 hit Hocus Pocus which follows the evil Sanderson sisters, a trio of witches set on killing the children of Salem to regain their youth once more. Led by Bette Midler in one of her best performances, Hocus Pocus follows the same approach at exploring the scary topics through comedy and music. It’s no surprise that, despite being critically panned, dedicated fans watch the film every Halloween. Between the likeable characters and the fantasy aspects introduced through the eyes of a Californian native who has recently moved to Salem with his family. What transpires is the terrifying resurrection of three witches who are hellbent on killing the town’s children before sunrise on Halloween night or they will vanish again. It’s a fun film with quite a bit of adult humour to appeal to older viewers and lots of creative costumes to captivate children. It’s such a great watch. Besides, who doesn’t love to sing along to Midler’s fantastic rendition of “I Put A Spell On You”?

Despite never having made a feature film for them, Burton did work at Disney in the 80s but was fired as his work was deemed too dark for children. However, it cannot be argued that his influence has had an affect on Disney’s approach to scarier films in the years since. This reasoning is odd considering that 1985 saw Disney release their scariest movie to date with The Black Cauldron bringing the Studio’s first PG rating. However, it may be due to the film’s failure at the box office that supported their decision to fire Burton. Aside from The Black Cauldron, the only horror animated films Disney had released by 1990 was The Tales of Ichabod and Mr. Toad (1945) which, despite its dark ending, was much lighter in tone than The Black Cauldron. Needless to say, Disney is not the only studio producing horror content for a younger audiences.

Another popular way that filmmakers integrate horror into their films is through satire. Even if younger audiences don’t understand all of the punchlines or references, there are still plenty of laughs to be had. Take Aardman’s Wallace & Gromit: The Curse of the Were-Rabbit and Laika’s Paranorman, two stopmotion animations that take the horror genre and change the rules. The former taking the classic monster werewolf and turning it to a vegetable-crazed were-rabbit and the latter making its protagonist the “monster” as he is a young boy who can see dead people. What makes these films so successful in their audience outreach is that the visuals and stories are enough to captivate and scare younger audiences and older audiences will understand the deeper context.

Halloween has always been a popular time for film fans with new horrors being released every year. Not only is it fun to watch new films but revisiting old favourites for nostalgia always makes for a great time and although it is entertaining to watch some the more gory offerings, it’s nice to watch a lighter family Halloween film as well. Just because a film doesn’t contain massive amounts of blood and guts doesn’t mean that a film can’t be scary and entertaining. Films like The Nightmare Before Christmas and Paranorman have become modern classics because of their fearlessness in bringing out vulnerability in potentially scary characters. No one has to miss out on the jumpscares and thrills after all.