Clintborari Reviews

The Ice Road (2021)

"The only way up there is crossing the Ice Roads"

[6/10 · 22 May 2024]

I need to start moving away from the horror landscape and open myself up more to these modern action films as it was a pleasant and refreshing change of pace and chilling surroundings.

While there isn't a lot special or memorable about this film, the emotional attachment is tenfold what I have been seeing recently in the low budget horror category.

What does help is a notable cast, and Liam Neeson as Mike is enough to carry a film on his own. There was a brief appearance from Laurence Fishburne, and Amber Midthunder as Tantoo was my pick for the most rewarding and likable personality. Marcus Thomas as Gurty McCann plays Mike's brother, a disabled war veteran, who gives you a hearty, upbringing performance. Meanwhile, Benjamin Walker as Tom Varnay becomes extremely sinister and truly despicable, capturing the right tone of the corporate villain in the film.

Ice Road screams cash grab but surprisingly never feels that way. Sure, the story is very linear, and the added drama wasn't necessarily heightened to extremes but rather timid.

Ice Road gives you enough emotion to keep you invested. The characters are defined and varied enough for you to pick sides, both with the truckers and with the miners trapped in the tunnel fighting for survival.

There are also awesome themes touched upon, mainly large corporations trying to focus on profits rather than safety and risk, which has been a prominent issue among many organizations for countless years.

Ice Road doesn't have vivid and imaginative scenery, nor does it fill you with wonder and awe. Its strengths lie in the struggle of the protagonists and what inspires their dreams and goals are as they prepare to go on this dangerous mission.

I feel this is a film that will be easily forgotten, and while it should be, it also had some moments of impactful storytelling. It was far better than a lot of recent films, which puts it in a good place for me, while I wouldn't rush out to see a sequel, it hits the right mark for light-hearted entertainment.

6/10.

Zombie Town (2023)

"You just roll the film, and it turns the actors into the living dead"

[3/10 · 21 May 2024]

I had hoped Zombie Town by R. L. Stine would take me back to the true nostalgia of my childhood in the 1990s Goosebumps days, filling me with giddy excitement and carefree pleasure.

At first, I wanted to believe that the cheesiness and corny lines were suitable for the target audience, but the more it went on, the more dissatisfied I was at the sheer averageness of the writing, acting, and nearly everything else that was wrong with this film.

It's been a while since I yawned my way through half a film, but there were many things that this film really let down making it tedious and it comes down to being just downright boring.

Let's start with the acting. Madi Monroe as Amy Maxwell looked about mid-thirties playing a teenager, and if that doesn't irk you, her performance made your eyes twitch like watching a cringy TikTok video. Marlon Kazadi as Mike Broadstreet deserves props; there aren't many times you hope the main character meets his demise, but I truly despised both of the leads in this film. They were self-indulgent and pretentious, making it a real battle to watch. Don't even get me started on their chemistry, or lack thereof. It never felt like these two were close whatsoever, and their pranks or insults at each other were extremely bad.

Chevy Chase as Mezmerian plays a whole five minutes in the film, and I assume he was probably paid the most out of the cast. Dan Aykroyd as Len Carver was slightly more involved, but I have to agree with other critics: this film screams "paycheck." Finally, Henry Czerny as Richard Landro was the most notable, and even he had his embarrassing moments. At least his facial expressions were passable, and he gave the only real hints of genuine comedy that Zombie Town has to offer.

Another major problem with Zombie Town was that from the set pieces-the cinema, the mausoleum, and even the town-it all felt generic and reeked of dullness and cliché moments. Even worse, it didn't give off that true nostalgic feel, but rather a film that lacks heart and substance.

I would love to comment on the good parts in this film, but there really isn't much to say. The storytelling was wayward, the zombies were just downright dumb with lacklustre cheesy moments that were just downright cringy, and there was never any risk or reward within the story as a whole, it plodded along as a very guessable and carefree pace.

Overall, I won't waste a lot of time on this film. I may be old (mid-30s), and this entertainment might go over my head to suit modern pre-teens. But this is nothing like I remember from the good old days. It's hard when the zombie genre has been bashed from ideas over the last twenty-plus years, leaving nothing unique. "Disappointment" is the closest word to describe this film as a whole. Perhaps your primary school kids might get a chuckle, but at the end of the day, you watch films for enjoyment and the emotional journey, and Zombie Town was no more than a time-filler than anything remotely expressive.

3/10.

Deliver Us (2023)

"And that she knows one of them is good and one is evil"

[3/10 · 22 April 2024]

I really tried to appreciate Deliver Us, but numerous gaping plot holes and an unsatisfactory ending made it impossible for me to give this film a positive review.

The film intriguingly incorporates a wintery Russian backdrop and language, adding an authentic and mysterious touch with devout overtones, which initially seemed promising. Deliver Us delves deeply into religious themes, exploring aspects of Christianity and Catholicism, including the dichotomy of good vs. Evil, sacrifices, and the roles of both priests and lesser nuns.

The positives include nightmarish and grotesque scenes, notably in the opening sequences where a priest cuts off layers of skin from believers, revealing prophetic words and images. This gnarly introduction suggested that the film might push the boundaries into something horrific and startling.

The acting is generally solid, with Thomas Kretschmann as Father Saul, Maria Vera Ratti as Sister Yulia, and Boris Lee Krutonog as a Russian Bishop, all delivering culturally resonant and convincing performances. However, Lee Roy Kunz as Father Fox lacked chemistry with Maria, making their interactions awkward rather than charged with longing or temptation.

I would have appreciated more exploration of the convent's background, some rich history, or even some solid foundation to make the story feel more intimate and grounded.

On the negative side, the plot's religious elements, like a woman birthing both the Messiah and the Antichrist, were surprisingly bland. Additionally, the devil's voice and the high-pitched screeches from the baby failed to convey a supernatural or truly disturbing vibe and felt underwhelming and cliché.

There were also some outright illogical and confusing moments. For example, Sister Sniger (played by Barbara Luhse) puts herself in a vulnerable situation for no discernible reason other than her growing up "these people," which leads to her demise. Furthermore, the brutal police deaths at the end seem more for shock value than impact, as Father Fox's inexplicable murderous rage and subsequent epiphany upon holding the baby in the climactic moment to getting shot by Maria, and then awakening as reborn felt confusing and abrupt-a real "wtf" moment. Also, I'm sure I heard throughout that Maria can be corrupted by sex with a man brining the downfall of humanity but then that seems to occur at the end and those remarks never revisited again.

Overall, Deliver Us is a mix of failed storytelling and confusing plotlines that lead nowhere. Despite having elements reminiscent of films similar to "The Omen," it fails to ever take off, leaving the viewer feeling like they've wasted hours on something that doesn't quite hit the mark and leaves you feeling disjoined and let down.

3/10.

The Invitation (II) (2022)

"I'm curious though, what has he told you about us?"

[4/10 · 19 April 2024]

The Invitation started off strong with its gothic interior blended in with modern times, city landscapes and clever nods to Bram Stoker's novel, such as the references to 'Mina Harker' and the vampire's scaling walls like lizards. The film initially captivated me with its stunning manor, exquisite gardens, and surroundings, with its alluring grand production scale.

Unfortunately, like so many films in the modern era, The Invitation quickly becomes tiresome and starts to drill into your head with the feminist movement that completely takes away all the films integrity to make it feel like nothing more that nonsense dribble, as it continues to use politics and the director's personal agenda by ramming it hard down your throat while you gag and struggle to breathe.

I'm quite frankly sick and tired of films the seem to instead of embracing a female view turn it into a weird power dominance or 'patriarchy'. It is not only unpleasant to sit through, but it is also worse than listening to a political babble on for hours on a topic he knows nothing about.

The Banquet scene was one of the highlights of the film, truly gorgeous chandelier of immersive food, masks worn like an 1800's fairytale while the fine gowns and attractive dresses puncture the screen with identity, and this is the true embracement of femininity and beauty.

Dracula's brides and the families performing rituals and deftly touched on, but I would have loved greater depth and pivotal storytelling, the two ladies' origins and upbringing to how many generations have these rituals taken place, and in what places?

In the last twenty minutes of the film however, the momentum changes direction quickly and instead goes for the blatantly obvious all female power plot with buffy the vampire slayer, rainbows, unicorns, and whatever other crap they decided appeals to the imbecilic and halfwits of our current generation.

The Invitation should have been noteworthy, and while it fell down in some areas, it embraced others and had depth, scope, and diversity. Then it come crumbling down and yet another female director cast her eye on identify preference and completely destroyed the foundations of the film leaving it in a tattered mess unable to be salvaged into even a semblance of a positively memorable story.

I don't have a problem with the female perspective but I weary and become sick and tired of nonsense filmmaking where agenda destroys good storytelling, either trying not of offend the majority and trying to appease the minority, The Invitation will be lost as something that probably should have captured the aura of the feminine spirit and propelled it into a memorable story that defines the horror landscape for women to inspire to.

4/10.

Them (2006)

We just want to play! Why won't you let us? Let us! Will you let us?

[7/10 · 17 April 2024]

Them or 'Ils' is a disturbing and suspenseful thriller that keeps you teetering on the edge of your seat from start to finish and sets a formidable tone on how frighteningly effective simplistic horror elements, can be.

I was immensely impressed with yet another eerie French horror film that sets a trend of how it portrays disturbing and realistic terror. Unlike many English-language Hollywood productions, Them doesn't rely on over-the-top scenes or gratuitous gore for shock value. Instead, it draws you in from the opening sequence with a frightening yet mundane conversation between a mother and daughter, which takes a sudden turn for the worse. The isolation of the woods, coupled with a disturbing clicking sound, creates genuine anxiety and suspense, immersing you in the characters' terrifying situation.

At its core, Them explores deeper themes of invasion and violation, tapping into our primal fear of having our personal sanctuary-our home-violated by outside forces. Olivia Bonamy as Clémentine and Michaël Cohen as Lucas deliver truly compelling performances, portraying a couple thrust into a nightmarish ordeal where they are physically and mentally pushed to their limits.

The power dynamic within the film is particularly engrossing, as it evolves throughout the story. Initially depicted as a young playful couple in love, Clémentine and Lucas are abruptly forced into a fight for survival when their home is invaded by seemingly professional assailants. This shift from terror to the shocking reveal of the assailants is evident, which heightens the sense of dread and confusion.

A big aspect sets Them apart is its artistic feel of French and Romanian culturally backdrops, which highlights a chilling realism in every scene. Every moment feels unnervingly authentic, pulling you deeper into the characters' nightmarish reality as if you are the one walking in their shoes.

Them evokes a sense of placid unease reminiscent of "Lake Eden," but with a more potent focus on storytelling rather than sheer brutality. The film's wrenching ending may leave you feeling hopeless, but despite this, I wholeheartedly recommend "Them" for its powerful depiction of a frightening, and powerful home invasion.

7/10.

Pet Sematary: Bloodlines (2023)

"Let's just enjoy every second of getting the heck out of Ludlow"

[6/10 · 11 April 2024]

Pet Sematary: Bloodlines managed to impress me, despite its lacklustre reception among the general public and its direct-to-tv or streaming release.

Make no mistake however, Pet Sematary: Bloodlines maintains an honest Stephen King vibe reminiscent of 80s-90s classics like "Stand by Me," "IT," or even a slight ambiance of the original Pet Sematary.

Adapting a story with established foundations is always a challenge, requiring a delicate balance of relevance, novelty, and faithfulness to the source material. In this regard, Pet Sematary: Bloodlines hits the mark rather admirably.

While not a masterpiece, the film deserves recognition for several reasons. The cinematography feels both vintage and fresh. Additionally, the cast includes well-known but somewhat forgotten actors like David Duchovny (X-Files, Californication) and Henry Thomas, (E. T, Legends of the Fall) evoking a sense of nostalgia reminiscent of films from that era.

The acting is solid overall, with Natalie Alyn Lind impressing me immensely and Jackson White delivering commendable performances. Although White's portrayal didn't captivate me as much, he still stood out as unique and likable character.

However, Pet Sematary: Bloodlines does fall short in some key areas. The kills are relatively tame, the suspense feels subdued, and the characters, while possessing personality, lack significant depth. Additionally, the ending feels rushed and somewhat cheap, detracting some chemistry and memorability from the overall viewing experience.

Despite these flaws, Pet Sematary: Bloodlines exceeded my expectations. While it may not offer many surprises due to its familiar story and lack of surprises, it still holds up as a solid stand-alone film. Surprisingly, I wouldn't hesitate to re-watch the film, as it provided me with a thoroughly entertaining experience.

6/10.

The Last Thing Mary Saw (2021)

"It's Mary, Our Daughters Ears are deaf to the lords preachings"

[3/10 · 5 April 2024]

The Last Thing Mary Saw can be best described as mediocre. It didn't captivate me with mystery, intrigue, or a deeply compelling story, but it also didn't leave me entirely disappointed, just relatively bored, and disinterested.

This film is difficult to judge for several reasons. While it wasn't a complete waste of time like some dreary, cheap, poorly acted films I've seen such as the "Haunting of Pendle Hill", (shudders) it also failed to engage me or draw me into its story.

It falls into a category I've encountered frequently lately, focusing on older generations and customs that typically highlight the limited rights and subjugation of women. However, to its credit, the film doesn't overly emphasize this aspect at its core, and instead centers on the taboo and religiously illicit relationship between two women who are in love.

What I took out of this movie were how insanely religious folk were back in the 1800's and the way they used to treat people to differed from their own views or beliefs.

Unfortunately, that's nearly all the positivity I could draw out of this film. The acting doesn't stand out, and there's no particular scene in the film that grabs attention or leaves a lasting impression. The film plods along at a steady pace without taking any risks, and the scenery, while intended to evoke a certain time period feels rather bland and uninspired.

The ending lacks impact because there's little connection built with any of the characters, except perhaps Mary, played by Stephanie Scott, who delivers a reasonable, but not a markedly good enough performance for her to be recognized.

At the end of the day, The Last Thing Mary Saw is plain and easily forgettable. It's not something I'll remember, or even want to revisit. I'd recommend giving it a solid pass.

My experience with Shudder, a popular horror streaming service, has been quite disappointing. Most of the films I've watched on it have fallen below a five-star rating for me, and I consider myself generous with my ratings. Often, the makeup and special effects showcased in the shudder introduction, end up becoming the most interesting or best parts of the film, and this is definitely the case with films like" The Power" and now "The Last Thing Mary Saw".

3/10.

The Power (II) (2021)

"We need to move nearly all of the patients out because of the cut tonight"

[3/10 · 3 April 2024]

I wanted to write a glowing review of The Power. At first it seemed to have a brilliantly simple conception, tapping into the primal fear of darkness, and weaving it with historical context.

However, the film veers into what seems like a feminist agenda, portraying men in power as inherently evil. While acknowledging historical injustices against women is important, vilifying all men feels like an overdramatization that detracts from the art of pure hypnotic storytelling.

Setting aside these thematic concerns, The Power does have its merits. Early on, the period piece cinematography and layout of the hospital create an atmosphere that is both creepy and ominous, particularly when cloaked in darkness. The lead actress, Rose Williams, shines both physically and artistically, portraying innocence with absolute perfection. Her representation of a woman establishing her individuality and trying to assert herself as a caring and honest woman trying to make her way in a world where women had limited rights is what is truly empowering.

The Power begins to lose any momentum midway through. While it hints at an intriguing premise with the possession of Val (played by Rose Williams), it fails to capitalize on this effectively. The novelty of possession quickly fades, and the lack of suspense or unease leaves us feeling disconnected.

Part of the issue lies in the lack of chemistry among the characters and the linear, predictable plot. The absence of depth in character backgrounds makes it difficult to form a solid connection with the story. Additionally, the ending, intended to convey a message of women's emancipation, falls flat, and feels confusing and uninspired.

The ending was forgettable in many ways, I took the message of the film as the three wronged women's screams was them finally being heard in a male dominated world, where they took back their power as individuals. The doctor's death was the most confusing and dullest demises where it actually felt cringeworthy.

In summary, while The Power has glimpses of promise, particularly in Rose Williams's performance, it ultimately fails to deliver a compelling story with a deeper meaning. Its overused thematic messages and lacklustre plot make it a forgettable experience, despite brief signs of its early potential.

3/10.

Old Man (2022)

"I got lost in the woods; I saw smoke coming from the chimney"

[8/10 · 2 April 2024]

Haunting and surpassing are the two key words that come to mind when reflecting on Old Man.

This film truly surprised me in ways you cannot imagine. Firstly, it reminded me of early 2000's films that have continued to stick with me immensely over the years, particularly those with huge psychological twists such as 'The Machinist' or 'The Prestige'.

Isolation, anger, regret, guilt, and forgiveness - this is the basis of a haunting tale set in a remote cabin in the woods, although we are shown nothing for over one hundred minutes except the interior of a lonely cabin.

Old Man begins in a daze, and as we gradually open our eyes, we are not sure what to believe or who to trust. The back and forth between Stephen Lang as the Old Man and Marc Senter as Joe are essentially the two men who carry this film from start to finish in this low-budget, character driven narrative.

Old Man is psychologically mesmerizing. It is a slow, arduous build-up, but with a very worthy payoff. Gradually, I became increasingly unsettled, wanting to see a little more action, but the emotional depth keeps your attention long enough for the next major reveal.

This film sets the benchmark for how to make a film on the lowest budget, but with the right performers, it makes a lasting impression on how to grip and pull you into their world - one that can be frightening and harrowing without any blood, gore, or cheap jump scares.

A very unique and intriguing film that deftly touches on mental illness as everlasting remorse gushes over you like a running waterfall. The final twenty minutes the story finally picks up its pace and absolutely stuns you with glorious performances of sadness, and despair.

The interpretations in this film are done right. The story builds to its climax, and we are left to contemplate the things in the old man's mind - from Rascal to the reveal of the cougar moaning, to the ever-repetitive hell of never-ending guilt driving Old Man to insanity. Forgiveness is all what is craved to break a hauntingly beautiful soul and free it from the shackles that bind it to this cruel and unsettling world.

Old Man deserves a lot more plaudits. For what it achieves, it's hard to replicate the beauty of emotions. While these ideas may have been explored before and the film does them in a slow but rewarding manner. Old Man hits the right mark and doesn't overstay its welcome. The only negative is that this is a film you probably only need to see once, as there aren't enough twists, suspense, or action to have you coming back for more.

8/10.

The Offering (2022)

"Often to seal a body containing a demon"

[5/10 · 27 March 2024]

The offering has some genuinely scary moments. The Victorian-style apartment complex, the cold morgue in the basement, and the elevator echoed some inspiration of Roman Polanski's classic 'Rosemary's Baby'.

The demon, and sigils looked refreshingly sinister, a telltale sign that this film could and probably should have stood as something more isolated and haunting. Perhaps it could have escalated the violence and been a little more gruesome and darker.

While the premise of a demon that feeds off children is nothing new or innovative, the way this story was told from a Jewish cultural perspective added authenticity to the demonology and its origins. The acting from both Paul Keye as Heimish and Allan Corduner were the standout performers. Both embraced their roles and became clearly identifiable key figures that gained my sympathy and compassion.

As for Nick Blood as Arthur, it wasn't that he was unlikable, but he felt whiny and portrayed a very weak male lead. His wife Claire, played by Emily Wiseman, controlled the foundations of the relationship, but even she gave off some very cliché and forgettable moments.

The ending wasn't surprising but was very disappointing. It is established that the demon is immortal but able to be trapped inside a pendant, with a sacrificial ritual, which all sounded very intriguing. But you can't help but feel the ending was hugely flawed. Not only was there no retribution or deeper mystery, but it felt like such a downtrodden and depressing end for a relatively mediocre horror.

There was good chemistry between the characters, and the setting was well thought out and felt real. However, the story itself is linear, and when you add the disappointing ending, and lack of story progression the negatives begin to outweigh all the positives that this film had to offer.

Therefore, seeing the visualization of the towering demon, crackling lights, and spiritual movements, along with its ghastly teeth and facial features, is the real highlight of the film. I shudder to think what it would have been like if not for the monstrous presence who quite easily becomes the most memorable part of this film.

5/10.

Caveat (2020)

"Are you going to tell anyone what I asked you to do?"

[6/10 · 25 March 2024]

Caveat offers an intriguing premise but ultimately falls short of delivering a truly unique and memorable experience.

I was initially drawn to Caveat by its unusual and attracting story, and I found myself drawn in from the start. The film sets the stage with a mysterious backdrop-an isolated house on a lonely island, an occupant who keeps going back to the house where her father and mother had died, and our protagonist Issac agrees to be locked in by a leash, forbidden to enter certain rooms due to the daughter Olga's psychological state with strangers and her sudden mental fits. However, the sparse explanation of Issac's amnesia and purpose being in the home left me wanting to know more.

What worked well were the eerie atmosphere and gradual revelation of Issac's possible connection to the house. The inclusion of the bizarre and creepy drumming rabbit, who could sense spirits or strange occurrences, added to the film's mystique. Additionally, achieving such supernatural and spooky surroundings on a minimal budget deserves commendation.

However, what didn't work was the lack of sufficient backstory. While some mystery is essential with solid character development, a stronger foundation or basis is needed to fully grasp the concept of where the journey is taking us. The ambiguous existence of the mother's spirit or undead presence, who's body is left rotting behind a basement wall, is left rather unanswered and keeps us guessing in a perplexing way.

Although the mystery remained somewhat compelling throughout the film, it ultimately felt underwhelming and predictable. The limited cast, comprising only three characters, Issac, Barrett, and Olga throughout the film, also contributed to a sense of familiarity and lack of range early on.

In summary, Caveat is worth a single viewing, but it will leave you a lot more confused by the ending than you were at the beginning. Effective storytelling should not leave gaping plot holes like you would expect to find watching something by Riley Reid. And unfortunately, this film fails to deliver on its promising premise. It's disappointing because the director seemed to have the ideas to showcase his potential, but ultimately the execution lacks complexity and further anticipation, leaving viewers wondering what might have been if the story was merged together with greater clarity.

6/10.

Terrifier 2 (2022)

"Food's a little funny at the Clown Cafe!"

[6/10 · 7 March 2024]

Terrifier II takes the gruesome brutality of its predecessor and ramps it up to even more sickening levels. This sequel is full of outright intense scenes of bloody mutilation that push the boundaries of horror depicted on screen to the very extremes. It's a relentless onslaught of violence that comes at you again and again, keeping you squeamish, and sometimes swaying rather nauseously on the edge of your seat.

One of the strengths of Terrifier II lies in its characters, particularly Sienna's family. Unlike the original film, there is a sense of hope throughout the movie that they may not meet their demise in horrific ways. This adds a layer of emotional depth and gives you someone to root for amidst the vicious chaos, notably the brother and sister bond between Sienna and Jonathan.

Sienna, played by Lauren LaVera was my pick of the film, with her toned, fit physique and strong personality made me draw comparisons to someone like Xena the warrior princess. Jonathan's age was contentious otherwise he was a little whiny for someone of my liking, the mother Barbara (Sarah Voigt) was almost a carbon copy my own mother minus the occasional foul-mouthed rants. Allie played by Casey Hartnett had the most brutal scene in the film which I will touch on a little later.

The Clown café song was catchy, and a much-needed breaker during all the grim slaughter, there is other elements throughout the film giving it some complexity for future instalments such as an ancient dagger and Sienna's father who is connected to Art is some way after discovering graphic pictures in his notebook before he died.

However, where Terrifier II falls short again is its overall story. The first film had a certain novelty factor that kept audiences engaged despite its severe lack of depth. This sequel struggles to deliver a compelling narrative to accompany its visceral horror. It relies too heavily on outrageous, macabre kills and severe blood and gore, neglecting the need for a solid backstory or other innovative ideas to better anchor the film.

The budget on compared to the first film has greatly increased, as noted by the scope of the cinematography. The scenery was vastly improved and far superior to that of the grimy, dingy original, which made it feel more like a proper cinematic experience rather than heading down the common path of watching a cheap b-grade horror released straight to DVD.

The film's runtime is also substantially longer than the original, and I never thought I would say that a gruesome slasher could overstay it's welcome, but as the film trudges along towards the carnival you begin to think we are nearing the final moments, but instead there are another whopping 40 odd minutes left of multiple fight scenes and trying to escape from the deranged clown.

David Howard Thornton embodies the role of Art in Terrifier with such finesse, and that it's hard to imagine anyone else in the part. His mastery of outrageous but distinct facial expressions has made Art his own, akin to how Robert Englund defined Freddy Krueger, Doug Bradley personified Pinhead, and Tobin Bell became synonymous with Jigsaw.

The controversial bedroom with Allie scene stands out as this film's magnum opus of utter disgust. The scene is harsh and gnarly, and perhaps the most violent and unnecessary way to kill someone I have seen on-screen. Yet, it sticks with the audience as an abhorrent act of savage violence.

However, like the original, we have no idea why Art is a mad sadistic psychopath who loves to torture his victims in this fashion. This lack of motive or Art's backstory undermines the effect of these acts from the overall influence of the film, and this bothers me particularly as it feels like the director is just trying to make your stomach churn with no substance behind the basis or foundations as to why?

Other slasher cult figures like Freddy Kreuger, Pinhead, Michael Myers, Jason Voorhees, Ghostface, The Creeper, or Hannibal Lector, all have clear motives, and intention. Whether it be collecting souls for hell, a paedophile school janitor wanting revenge, a demon offspring, or being trapped in hell for all eternity, unlike Art there is a strong basis for these other notorious villains to exist.

The ending of Terrifier II leaves more questions than it does answers, but at least it shows there is a greater story at play. We now know the those killed or affected by Art seem to turn into his followers and that gives us some insight into his supernatural abilities.

Overall, the same issues arise as with the original. It seems this franchise will continue with horrific mutilation as the centrepiece of its story, which is a shame considering Art could have a unique, and compelling background which may still come to light. The addition of the pale girl was a nice touch, played by Amelie McLain who definitely deserves more plaudits. Apart from being creepy, and playful she seems to be connected to Art in mysterious ways, while the repetitive mentions of Sarah played by Katie Macquire adds a link of continuity across the films helping to give it a small sense of grounding in reality.

6/10.

Cabin Fever 2: Spring Fever (2009)

"Water here is bull!"

[6/10 · 7 March 2024]

Cabin Fever II picks up where the first film left off, bringing back some familiar faces like Deputy Winston and a very brief appearance by Rider Strong. It's directed by Ti West, who (like Eli Roth back in 2002) is his full-length feature directorial debut and known for modern horror films X and Pearl.

Compared to the original, Cabin Fever II has a similar drawn-out pacing issue, but I found it more noticeable this time around. The high school setting adds a layer of vulnerability, and while some elements may feel cliché, they still contribute to the film's charm.

I feel a connection to a film that's gives off a genuine high school setting vibe that feel genuine, and authentic. I grew up fascinated by reading stories like Goosebumps, which I have always admired, and in many of the stories this is how I picture the cultural setting in my mind.

Both Cabin Fever and Cabin Fever II boast relatively unknown casts and modest budgets, but that works to their advantage, setting the bar low, and leaving you with the only possibilities of something unexpected or surprising for a horror sequel.

A slight annoyance is seeing older actors and actresses, attempting to play young school teenagers. While you get better acting skills, you are giving up true authenticity, which would have helped the film ever so slightly.

Cabin Fever II has gnarly and gruesome scenes such as a human fingernail being peeled from the skin, blood and pus drizzling from a human phallus, and its fair share of grossly sprayed-up viscera.

The government conspiracy or cover-up is a wonderfully intriguing, and mysterious part of the story, because of the reality in which it is set. These are all true horrors that are undeniably relevant to today's world, making it all the more chilling.

Other scenes like the ending at the strip club have such clever real dialogue, from the school dads to the immigrants. It shows more of a reality than many people may realise and therefore adds depth to make it feel somewhat of a genuine story.

While this film will be easily forgotten by time, mainly thanks to Eli Roth's original, Cabin Fever II was a worthy sequel, one that kept me engaged for some fun light-hearted entertainment. The use of storyboard sequences in the opening and ending adds a unique flair to the film, making it stand on its own and a worthy watch for fans of the genre.

6/10.

Cabin Fever (2002)

"We're All Going To Get Sick, And Jeff's Off In The Woods Getting Drunk"

[7/10 · 5 March 2024]

From legendary horror director Eli Roth, Cabin Fever, post the Covid era feels like it has aged spookily well and now provides us with greater insight into what a truly ground-breaking story when originally released over twenty years ago.

Cabin Fever isn't something that immediately grabs you, but the simplicity of the story about four teenagers having a peaceful getaway in the woods, before all hell breaks loose bears similarities and draws from other stories or cult classics such as films like The Evil Dead or even Dreamcatcher.

With a completely unknown cast and, I predict, a low budget, Cabin Fever exercises a great cultural balance of the townspeople, and core characters each with their own unique personalities, which helps form a tightening bond, of you personally relate to, and for me it was Joey Kern as Jeff, who constantly covered his nose, trusts no one and refuses to get close to anyone who may be infected.

In Cabin Fever where lies one of its great strengths is the overall uncertainty. Immediately, do we trust the hillbilly, redneck townspeople with the weird child Dennis sitting on a bench who tries to bite people? Is there a killer on the loose after we meet the strange hunter, or the traveling hippie with his dog and bag of weed? Is there something more sinister lurking in the woods?

Going into this film blind, I was quite surprised that a deadly flesh-eating virus with no apparent cure was the cause of horror that spreads throughout the party, infecting our protagonists one by one. The quick ascension of the virus and the physical effects have a lasting touch and make for a gruesome physical sight, where once infected the skin and flesh seem to peel, and glide away from the body, while the mental state of the teenagers begin to take a turn for the worse, on how they each individually deal with such a contagious disease.

From spewing blood to being slowly gnawed apart piece by piece by this flesh-eating virus, to discovering it is spreading through the water supply after a body is found floating nearby contaminating the reservoir of the town.

These surprises are not entirely new, but they are interesting. We never learn about the origins of the virus, and that itself could lead to a potential prequel down the track. There is a slow build-up at the beginning but then Cabin fever roars to life in the second half with the ending leaving the door open for an impending sequel.

Most importantly this virus as we have lived through in recent times showcases the incompetence and lack of expertise from our doctors, public servants, and behind-the-scenes government officials who obviously want to cover up anything remotely damaging or hide uncertain truths from the general populace.

This leaves a great deal of the film to interpretation, but it gives enough to understand what is going on, and what ways it can be stopped, leaving an gratifying taste in your mouth of wanting to learn more.

With a good balance of humour with the town shopkeeper, from keeping you largely unaware, and in the dark for good portions of the film, to the extra scenes where a health pandemic pamphlet is being handed out in the town of the mysterious illness, Eli Roth projects a beneficial, and relevant movie about real horrors in today's world.

A largely underappreciated film in its time may be its time in making a comeback, as I found it deliciously fascinating and something that seems probable at any time which makes the film lasting and deserving of many more plaudits than it has otherwise received in the past.

7/10.

Skinamarink (2022)

"I want to watch something happy"

[1/10 · 29 February 2024]

Skinamarink put me to sleep more times than I can count. On approximately the eight or possibly even up to the fourteenth attempt I eventually managed to make it right to the end despite it being one of life's greatest endeavours. If Hell was a place, then I assume this would be the film that is played on repeat.

I feel confused when reading other subjective reviews, because it garners an equal split on personal taste and they overall appeal of the film, both that I couldn't grasp no matter how hard I tried.

As for me, the feel of this film was appalling, and not the slight bit entertaining. After thirty agonising minutes of what felt like looking at a grainy distorted wall, It was hard to work out if the film had any direction, and unfortunately it did not get any better.

If watching paint dry had to be defined by one word, then Skinamarink would be on top of any list. Not only is the concept of the film hard to grasp, but it feels like watching 100 painstaking minutes of dark, still photos of shadows, slowly ticking over on a projector reel.

After thirty minutes there was a miniscule step up in tempo (which isn't hard as the photos changed from scattered toys to a bedroom) where we witness some ghostly woman which is assumed to be the mother sitting on the bed and a glimpse of a hand from creature or presence in the darkness, and this was the pinnacle of the film in terms of excitement.

From there we are back to the grainy static walls. And for approximately the 50th time I checked the timer to see how long left of this dreary lacklustre movie had left to offer. The final 20 minutes I did not hold my breath for anything remotely interesting, and unsurprisingly it goes out with a whimper.

Apart from the names Kevin and Kayley there is very little to go off, the story is completely non-existent and almost everything is left open for your interpretation. This is the first film where It is impossible to judge the acting as there simply isn't any. While this may have given off some odd supernatural vibes, it was bland, confusing and a real challenge to grind through.

Overall, I can't fathom how a very small group of people will find this engrossing, (The same people who I daresay tear down classic movies like Shawshank, Memento and The Godfather). I was trying really hard to find the balance of what to like about this film. Experimental or not, this is as low as it gets. Don't think about it too hard, I'm unsure if the director had a giggle thieving the hard-earned money of filmgoers, but this is a film deserving a refund of your time which you will never get back.

For the first time this is a film I am embarrassed to have sitting idly in my collection. I might put a white sticker over the title and call it an empty disc, that way no one will be tempted to waste any of their precious time.

1/10.

All Hallows' Eve (2013)

"Babysitting on Halloween night? That's just asking for trouble"

[5/10 · 27 February 2024]

This film starts with a grainy, realistic 90s feel, I loved the elements of vulnerability with the babysitter and two children. However, after the initial unveil of the VHS it began to slip Into a much softer variation of Terrifier.

There are three short stories shown from the VHS however, all are reminiscent of an anthology of short stories, crafted into one feature film, and too be honest it is confusing since it has limited foundations.

Not only do we not know what any of the creatures are, from the cultists in masks, a demon, a scuba- diving alien, and Art the Clown himself, there is no motives it seems other than to capture, torture, kill or rape which leaves a gaping hole on trying to discover any meaningful connection to anything other than an evil entity.

The VHS scene involving a baby being cut from someone's stomach to a leathery faced demon about to have a sexual ritual with a girl sensed it had inspiration from the cult classic Rosemary's baby.

Otherwise, what starts as an old-school Halloween horror fest gradually loses interest, and while the are some macabre scenes, nothing really jumps out and grabs your attention.

Art the Clown played by Mike Giannelli doesn't have the same charisma and clever comedic expressions as David Howard Thornton in Terrifier, and so Art doesn't seem have the same unique spark, or feature improvements such as make-up affects which makes him feel more delightfully "Terrifying"

A notable dislike comes from the fact that Art is a supernatural character and that while being whacked, stabbed, and shot doesn't seem to mortally wound, or impede the crazed psychopath whatsoever. Therefore, Art manages to catch up to his victim on every occasion with little effort or hinderance leaving no likelihood or genuine possibilities for escape. I for one like to see survival, and the arduous journey of self-discovery, but with this franchise the predictability of seeing everyone slaughtered leaves nothing to chance and therefore leaves no legitimate surprises.

It's a shame that an intriguing idea gets caught up too much is the sacrificial gore instead of solid storytelling. There is much we don't know, but also don't understand. While I don't think All Hallows Ever is a completely meaningless gore-filled slasher, I don't think it serves a hell of a lot of purpose at this point other than to shock and terrify the audience on different and resourceful ways to showcase brutal acts of violence.

5/10.

Terrifier (2016)

"The clown with the white face and the little black hat!"

[6/10 · 19 February 2024]

Terrifier is one of those films that catches your attention through the hype and buzz it generates on social media. While it wouldn't have typically been on my radar, small snippets I stumbled upon online were gnawing away at me enough that it intrigued me to add it to my watchlist.

This movie is pays homage to directors and writers that helped define the horror landscape such as Wes Craven and George A. Romeo and at the centre of it all is Art the Clown, a sinister character whose motives are as perplexing as they are terrifying. He revels in dismembering and torturing his victims in ways that push the boundaries of human cruelty and suffering.

Art is portrayed as a silent clown, who uses expressions and movements like a mime which give off a blended vibe of both comedy and eerie uncertainty due to his vicious methods of killing his victims. He reminds me a bit of Freddy Kruger in the later Nightmare on Elm Street movies although with a more sadistic and frightening temperament.

Terrifier teeters on the edge of being anything remotely meaningful with its storytelling or character development, but thankfully it tries to compensate with its unique blend of viciousness and gore.

The film excels in finding new, stomach-turning ways to depict bodily mutilation. Scenes featuring a woman being nearly cut in half vertically while hanging upside down with a hacksaw, or another woman being dissected and scalped, with her body parts such as breasts and chest being removed from and paraded around by Art the Clown as an exhibitionist showing his deeply unsettling and disturbing nature.

The characters made some truly awful sheer dumb decisions when faced with animosity. And I mean these were not as much cringe as just downright illogical. Imagine someone hostile, psychotic, and intimidating standing before you who has just stomped someone's head into cottage pie and after screaming hysterically, you turn your back on the threat grab a weapon, but instead of defending yourself you try and force you way through a locked door, while the threat casually walks up grabs you from behind.

Another instance is where you knife or bludgeon the threat once, and then immediately drop the weapon and begin to run knowing full well you could have probably finished off and eliminated the immediate danger. This doesn't happen once in the film, but on at least three separate occasions.

Tara played by Jenna Karnell beats Art to near death with a large plank-like object before allowing him to stand back up assumingly to hit him again when he is on his feet for morality reasons, and then we are meant to feel surprised when the deranged psychopath doesn't play fair and just pulls a gun and shoots her when he gets to his feet.

The acting, while not exceptional, holds up reasonably well. Samantha Scaffidi only came into the film at the halfway point but was immediately likeable, while Catherine Corcoran as Dawn was your irritating, carefree intoxicated friend with little responsibility that ends up being your typically villain fodder. The deranged woman cradling a doll could have sorrowful history of loss if adapted with better storytelling. Finally, the Pest Inspector was another friendly personality that thankfully got more recognition in the latter stages of the film before meeting his unruly demise.

It was unusual to see the main antagonist Tara killed merely halfway through the film, I mean understandably the film focuses heavily on Art and at the end of the day this is his movie, but I think you need some character connection as an outlet of mortality.

The cinematography looked less than impressive, from the pizzeria to the warehouse the film looked grainy, and sometimes distorted, while the atmosphere felt generally tentative, being set typically at night in dark, dingy places. The film definitely had its moments but still sits in the middle tier for me. However, it's gnarly themes will most likely resonate with modern horror aficionados.

It scores positive if you compare its ridiculously meagre budget of 35-55k to say a recent slasher in Winnie the Pooh Blood and Honey having an approximate 100k budget then Terrifier should be regarded as a resounding 10/10.

Unfortunately, it has generic weaknesses and the very beginning, and at the end which leaves more questions than it does than answers, and therefore the story could have benefited from more depth and coherence, particularly in addressing the origins or motivations of Art the Clown its evil antagonist.

6/10.

Red Eye (2005)

"Government overthrows, flashy high-profile assassinations. The usual"

[6/10 · 8 February 2024]

I really wanted to like this film, however, Red Eye feels like a script that desperately needed a 'wow' factor or some greater depth, yet Cillian Murphy and Rachel McAdams manage to salvage it with their compelling on-screen chemistry.

The plot is rather basic, and it feels peculiar to watch just two people confined to a red-eye flight for two-thirds of the film, relying heavily on emotion, expressions, and engaging dialogue to sustain viewer interest.

With expectations set high from the involvement of Wes Craven, Cillian Murphy, and Rachel McAdams, I anticipated a psychological thriller that would leave me on the edge of my seat with twists and turns. However, I was left slightly disappointed.

The film revolves around a blackmail plot involving the assassination of a government official, but the details remain murky, and the storyline itself lacks depth and complexity.

Red Eye unfolds in a linear and predictable manner, failing to evoke a sense of suspense or immersion in the action. The climactic Hollywood-style action sequence and stunt work at the film's end feel rather forced and uninspiring.

One glaring question that arises is why Jackson Rippner (played by Cillian Murphy), purportedly a secret agent, proves to be so inept in dealing with Lisa Reisert, who seems to outmatch him in physical skill, intelligence and even beats him up quite badly without evert really being manhandled.

Overall, Red Eye may suffer from its nearly 20-year-old release date, which has likely contributed to its less than graceful aging. While it still maintains a degree of authenticity, it fails to evoke the utter suspense one might expect. At no point did I truly feel that Lisa (Rachael McAdams) or her father were in any kind of imminent danger.

However, the standout performances from the cast, including Brian Cox as Lisa's father Joe and Jayma Mays as Cynthia, provide some much-needed support. It's fortunate that the strong acting elevates the film, as without it, Red Eye might have been a little bit of a snoozefest.

Personally, I would have appreciated more depth to Jackson's character and perhaps a shocking twist involving his family being held hostage, forcing him to participate in the assassination job or risk their demise. Such a storyline could have added a misaligned compassion and a greater psychological journey within the film.

Ultimately, Red Eye is the kind of film you watch once and will find it challenging to ever revisit. There simply isn't enough substance to keep you invested or ponder the characters' motives or lack of complex personalities.

6/10.

Belzebuth (2017)

"Ever since the holy church was founded hundreds of believers have announced the antichrist"

[7/10 · 4 February 2024]

I find it fascinating when a film delves into a different culture and goes away from traditional Hollywood roots, there more it feels like an obscure reality. The language, scenery, and characters all possess unique attributes that lend a great sense of authenticity. This approach makes the story grittier and imbues it with a profound sense of unknow terror, believability and mystery.

So far in the year 2024, I have come across some films that showcased this cultural diversity, such as "I Saw the Devil" set in South Korea, "Talk to Me" from Australia, and now "Belzebuth" set in Mexico. Each film introduced a unique style and aesthetics that kept me intrigued, breathing new life into the genre and the film industry as a whole.

The opening sequence of Belzebuth, where the nurse inhumanely stabs multiple babies, will haunt me immensely. I haven't encountered a more disturbing opening in recent times, with the closest comparison being the infamous wire scene from Ghost Ship. If this harrowing scene doesn't immediately draw you into the film, then I don't know anything more sinister in a horror film that possibly could.

Belzebuth draws inspiration from many similar possession films over the years but succeeds by showcasing them in an altered way. The scenes of slaughter among children are usually harsh and borderline taboo. From the swimming pool electrocution to the schoolroom shooting, the filmmakers tread cautiously with these scenes, and for very good reason.

The talking Jesus statue in the film was quite unnerving. While it didn't seem that special at first, the demon trapped inside gave off some truly terrifying vibes. The symbols painted all over the church and tunnels added a satanic vibe. Although the enhanced ambiance was effective, a bit more lore and backstory could have enriched the plot.

The casting of Mexican actor Joaquín Cosio as Emmanuel Ritter was a stroke of genius. His portrayal not only perfectly suited the role but also underscored the notion that physical attractiveness holds little significance when you have a compelling script and an even better story. Joaquín's transformation from being possessed was both credible and haunting, illustrating a diverse character with flaws and his journey toward closure and moving on.

Ivan Franco, playing Tate Ellington, was another complex character who shifted from otherworldly scientific practices to be seen as a priest in the Vatican. He effectively utilized his knowledge and charisma, while José Sefami as Demetrio provided Italian Mafia vibes but turned out to be one of the most loyal and reliable characters in the film.

The priest revealed by Belzebuth to have made a deal to track down the reincarnation of the Messiah. Shockingly, it is disclosed that Vasilio Canetti (Tobin Bell) attempted to break his pact to save his soul through multiple child sacrifices, adding a shock twist in the latter stages of the film.

Tehe potential ending almost hit me with what would have been one of the best psychological twists since "The Prestige" and would have been disturbingly mind-blowing. While it's fortunate the movie found a healthy balance, It held my attention intently realizing this change could have led us to a truly depressing and despicable ending.

Belzebuth jumped out of the gate with ferocity, and I never looked back. Forget cheap jump scares, gore, and cliché storytelling. This film was deliberately stark, and tempting but not with needless malice, and it could have very well ventured a little bit more into cartel or human trafficking territory. However, it kept a mysterious tale integrated with themes of immigration, corruption, and religion. Belzebuth relied on good storytelling, excellent acting, and a shocking, and suspenseful narrative, all of which it delivered in spades.

7/10.

A Clockwork Orange (1971)

"Goodness is something chosen. When a man cannot choose, he ceases to be a man"

[9/10 · 1 February 2024]

This film has been sitting in my library and backlog for years, and I've finally got around to seeing what the fuss is all about. Artistic, violent, hallucinogenic, political, and heavily sexualized are the initial impressions I have of A Clockwork Orange.

A film that surely divided many opinions in its day has a strange, new worldly vibe to it. Firstly, this didn't mentally scar me or make me feel uncomfortable in any way. However, over 50 years ago, it would have done a bit more than raised a few eyebrows, and I can understand the themes that could have incited violence within small groups of impressionable youths in the general public that thought opposing society was "Cool."

Watching this in 2024, it hasn't aged particularly well. But that doesn't mean that it isn't an influential film. On the contrary, it has powerful messages and admired artistic expressions. The Korova milk bar, with the Russian words Moloko Vellocet on the walls where Alex and his gang of "Droogs" drink Milk Plus, which is implied to be milk laced with drugs such as LSD. There are sculptures posing in vulgar, sexual poses, creating a dystopian world that blends the hippie years of the late 1960s and early '70s with a vision of a futuristic new world.

Alex's cunning stare at the very beginning, accompanied by the eerie background score, will go down as one of the most memorable opening scenes. It's quite impressive, considering there is no suspense, action, or psychological alarm, but just the beginning of a story being told from the narrator (Alex's) perspective.

The language used in the film, was confusing at first. (I haven't read the book but want to keep them separate.) Upon some online research, I discovered that the author called it "Nadsat," which is the basics of the Russian language infused with British slang.

I personally had an easier time recognizing the Russian language over the dialect. Blended together, it felt odd but strangely receptive. The narrative told from McDowell was superb, and it really amplified the uncertainty of malice or "Ultraviolence" in the film.

Malcolm McDowell was incredible; I had to look up what other movies this man had been in, but alas, I don't think he is as popular as he should have been. Michael Bates came across as a sitcom British comedian comparable to Faulty Towers, and I couldn't help but giggle at his temperament, dialogue, expressions, and scenes.

It is strange, in a hallucinogenic sort of way, to watch these violent crimes unfold in the first ten to fifteen minutes of the film - bashing an old man, including a raucous group of youth, multiple rape scenes and even a murder - all viewed in a psychedelic sort of way, although it does feel redacted and toned down into a low-key act of amusements rather than the brutal acts themselves being portrayed seriously.

The ages of the gang or "Droogs" is a little subjective in the film. They are meant to be teenagers around the ages of 15-18, which I'm sure if they hired actors that young then the film perhaps would never see the light of day. Although the gang looks well in their mid-20s running amok recklessly in a lawless society.

Alex is a malevolent criminal who lacks morality and is someone that should be locked away for a long time. Kubrick, it seems, tries to get the viewer's compassion in the last half of the film, but it makes it difficult visually seeing the atrocious acts he has committed. Although there is always a small lump in your throat, which tells you that no one shouldn't be punished for a larger sort of evil, being that of society!

The oddest thing to come out of the film was the unrelenting over-sexualization of everything. From a plethora of t!t$ to sexual imagery on statues, paintings, and sculptures (Keep in mind I haven't read the book, as I assume it is probably depicted much worse, but it was noticeable). Whether it be just a shock factor for the times or possibly aimed at something more, as we have grown much more accustomed to outrageous sexualization in modern times, probably akin to what the film portrayed the future to look like.

As I said before, this film will be very subjective, and the world presented to us feels dark, unusual, and quite frankly dim and depressing. But it does resonate with you in many ways. What stood that gripped me the most was the disorientation and confusion of everything while watching. Your feelings are mixed as you try to determine if you really should feel any apathy for Alex or that he should be punished for his crimes. The ending is mellow but works; it shows that nothing has changed within governments for decades or even centuries, and their influence and manipulation is clearly noted in many ways throughout the feature.

Sometimes films bring out ideas that etch into folklore, and it only takes an idea to change everything and to make its mark in popular culture for decades. Thinking of the iconic scene in "The Shining"", the quote 'You Can't handle the Truth' from "A Few Good Men, or even the Russian roulette scene in "The Deer Hunter". In A Clockwork Orange, it is the intriguing Ludovico's technique that prominently stands out and is referenced throughout popular culture.

Alex is chosen to undergo an experimental program called the Ludovico's Technique, a form of torture therapy that includes Alex's eyes being forced open with metal locks while watching films of thuggery, beatings, and Nazi "Ultraviolence". This treatment causes him to become physically sick if he even thinks about committing or is witnessing a crime.

On the whole, A Clockwork Orange should be recognized as an important piece of cinema history. Despite the problems it faced back then, and the way the film has aged, isn't particularly graceful, I still believe it has important messages, and lessons to teach, most that still affect the world to this day.

9/10.

The Price We Pay (2022)

"You got yourselves a regular little fun house down here"

[3/10 · 31 January 2024]

My thoughts get all muddled when I think long and hard on how to describe disinteresting poor films that offer very little substance or enjoyment, so I might trim some of my reviews down to the bare minimum.

The Price We Pay is a below average film at best. The pacing was pretty ordinary, and there just isn't enough to keep you fascinated until the true horrors begin. Even when they do, your attention doesn't last long. Even with the occasional squeamish scene of someone's eyes being cut out or a body being cut open, the sequences leave you feeling just complacent, without too much stress, worry, anxiety, or suspense.

A big concern is the fact that you really don't care at all for any of these characters. It really comes down to the lesser of two evils. Possibly Cody, as he was vehemently against cold-blooded murder and was only there to do his job of robbing a pawn shop.

There isn't much to say about the acting either, which was sub-par. Cody, played by Stephen Dorff, was your typical ex-military macho man. Emile Hirsch was the pick of the bunch of the while Gigi Zumbardo as Grace felt like she was missing the right emotional levels and didn't feel believable when watching someone get cut open and about to be harvested; she felt as if all was not brutally horrific and therefore looked a little impassive.

Jodi was akin to Leatherface or a modern-day Charlie from Charlie's Farm. She was a hulking brute that didn't speak, but probably had a very interesting backstory, unfortunately like many large cliché villains, we learn very little other than she is happy to go along with these tormenting horrors as the physical brute of the operation. Although I would love to know more about the blue electric club she carried around.

Unfortunately, this film goes down the line that shockingly disgusting gore is more appealing than good storytelling. While the final kill of Jodi was drawn out and felt distinguished, the rest of the film felt quite lingering and dull, perhaps because there isn't anything that hasn't been seen many times before.

Overall, The Price We Pay is no different from your extremely low-budget B-Grade horror movies. My wife mentioned it sometimes had a Bollywood vibe to it, since one of the kills with the air canister was somewhat laughable rather than serious. You couldn't possibly recommend this film other than going in for some disgusting gore-fest scenes, but without much basis to a story, the novelty fades pretty quickly.

3/10.

The Dark Knight (2008)

"You either die a hero or you live long enough to see yourself become the villain"

[8/10 · 26 January 2024]

The Dark Knight

After the release of Batman Begins I just knew it this trilogy would be one of the that forever changed the superhero landscape and I think many would agree.

The Dark Knight in most areas raises the bar on it's predecessor and captures your attention with awe inspiring IMAX cinematography which enhances the visuals of the feature.

The story is deeper, the action sequences deliver pleny more disorder and destruction, and the performances from Heath Ledgers Joker and Aaron Ekharts 'Two Face' Harvey Dent, are wonderfully captivating and deeply engaging .

The Bank Heist opening sequence was jaw dropping, it introduces us to the Joker and what he is truly capable of, and it really sets up the chaotic threat of the whole film.

I'm going to be controversial and not just for the sake of being different, but just because I strongly believe that The Dark Knight's story just wasn't quite as good as it's predecessor Batman Begins.

The overall cricic reviews will tell a different opinion, but that's why we each have our own subjective thoughts. And dont get me wrong, The Dark Knight was an epic story and you couldn't have asked for much better in terms of the film technique, brilliant performances, and the overall visual appeal of the feature.

However, for me the Batman's origins and his intense training with the league of shadows made him benignant, compassionate, and relatable. To see him overcome his fear and emotional pain to eventually become the caped crusader, or the guardian of Gotham is what had me deeply invested in Bruce Wayne as the Batman.

In the Dark Knight, Batman is up against his greatest adversary. A man he doesn't fully understand. One that doesn't follow the rules, and doesn't have the need of money, power, or control. The Joker is someone that wants to send a message. And as Alfred beautifully says "They can't be bought, bullied, reasoned or negotiated with. Some men just want to watch the world burn".

I feel the focus shifted from the films gripping storytelling to Heath Ledger's performance as the Joker that stole the show. It got worldwide attention right after his unfortunate death, and so therefore the hype surrounding the movie propelled It into even greater heights.

I felt the ending was a little anticlimactic, sure it leads to the Batman becoming the outcast. And the whole message was Joker trying to create anarchy, and mayhem.

However, after the epic underground chase sequence, and the Jokers daring escape from the Gotham City police department with a phone-activated bomb sewn into an inmate's abdomen, the ending was toned right down.

After the Jokers capture, I felt that Batman taking responsibility for the crimes committed by Harvey Dent to become Gotham's Dark Knight was the part that resonated with me the most and was more emotionally impactful even than the death of Rachael Dawes.

Some of the dialogue used in the film as with Batman Begins is defining not just with film, but cinema in general.

The Joker (Heath Ledger) had some a few iconic lines, and one that stood out for me was "In their last moments, people show you who they really are"

Another was that of Harvey Dent 'The night is darkest just before the dawn. And I promise you the dawn is coming"

It was good to see in Christopher Nolan's vision he was able to add the Batpot as an addition to to the Tumbler in Batman Begins. It's always exciting to see a new invention utilised on screen to their fullest potential.

This is more of the story of the Joker as much as it is the Batman, however their paths don't cross as much as you would have liked. Possibly there could have been more opportunities in future films if not for Heath' passing.

In conclusion these two stories have been so expertly executed into this film because of the unbelievable realism of stunt work and intense action sequences coupled with rather the use of CGI which in Itself deserves all the critical success it received.

This makes these two Batman films stand alone as something darker, deeper, and with a more aligned grip on reality that as a viewer you can resonate with and learn new things by watching again and again.

8/10.

Rosemary's Baby (1968)

"This is no dream! This is really happening!"

[10/10 · 23 January 2024]

Rosemary's Baby stands as a cinematic masterpiece that not only defines the horror genre but also marks a golden era for cult classics. The film's footage, style, and setting are alluring, capturing the essence of a bygone era that remains irreplaceable.

Describing it as the traditional term 'classic' or even 'masterpiece' falls short of truly encapsulating the brilliance of Rosemary's Baby. It goes beyond that-it defines cinema, laying the foundations that countless films, stories, and video games have drawn inspiration from.

The film's drug-induced rape scene which will have raised eyebrows in 1968, but It's the sheer brush off from other characters which raised mine. Adding the portrayal of the peculiar, nosy, and intrusive neighbours sets the stage for the secrecies that follow including the occult that continue to pursue the unsuspecting Rosemary.

Guy's knowledge and haunting confession to Rosemary in the morning that he had slept with her, while she was unconscious was malevolent on so many levels, and I was left mouth agape, that she didn't react with more resistance but perhaps this was more shockingly appropriate for married couples or Stepford wives in those times.

Simplicity becomes the beauty of Rosemary's Baby. The heart of the story revolves around a couple moving into a New York apartment, wanting to start a family, and the husband pursing his acting dream, showcasing a slow, but character driven buildup. The Bramford where the couple have found their new home becomes its own character-a beautifully creepy and complex entity with a dark, and morbid history. The cinematography heightens this in some gorgeous scenes, revealing a city that is both eerily beautiful and unsettling.

Mia Farrow's portrayal of Rosemary is the film's guiding light. Her childlike innocence resonates deeply with the audience, despite frustrations with her decisions and her unknowing trust in her obnoxious and self-centred husband. Farrow's performance is utterly enchanting, deserving of the nomination she received for best actress.

Roman and Minnie, (Sidney Blackmer & Ruth Gordon) played despicably but haunting characters the audience loves to despise. Sinister individuals tempting their religion or satanic witchcraft on unknowing victims. Concepts like Tannis Root, a mind-controlling drug, are introduced but not extensively explored, and could have been given more time to flourish.

Questions linger, such as why the coven lacks children or families of their own. The horror in Rosemary's Baby doesn't stem from overtly terrifying elements; instead, it emanates from the foreboding atmosphere that something is very, very wrong. And the slow but ominous buildup engages us with a constant sense of unease, and concern about the likely harm to Rosemary and her baby.

The character of Guy, Rosemary's husband, emerges as one of the most despicable men on screen. Clearly noted as self-centred and callous, he adds a layer of horror beyond traditional movie villains, making his presence deeply distressing. I for one despised his lines, his attitude, and having to see his face, not to mention his outrageous and his toxic attitude towards his wife.

Rosemary's Baby is an emotional journey through a timeless classic. From the very beginning you are caught in a stupor from Mia Farrow's alluring lullaby. Watching it over five decades after its release, the film's suspenseful storytelling continues to grip the imagination, offering a nostalgic exploration into the enduring art of captivating storytelling.

10/10.

I Saw the Devil (2010)

"He can't be a monster to kill another monster. You know that's wrong"

[8/10 · 22 January 2024]

It may have been the international intrigue, the numerous awards, or the unrelenting violence that gradually tempted me to watch I Saw the Devil, and it has left me stirring with several emotions all at once.

A cold, bleak, gritty atmospheric setting that is reminiscent of lower-class areas or slums. The houses looked makeshift, and DIY projects but perhaps this could be much of the typical South Korean lifestyle. And having never visited the country or be born into its culture, it is hard to comment accurately.

This South Korean blockbuster is definitely not for the faint of heart. It has intense scenes of torture, rape, and brutal bloody violence; however, it also goes for sensationalism where some of the attacks are so ruthless and vicious it does raise the obvious issues on how these people would survive without any notable debilitating effects like permanent brain damage.

An example of this is approximately the halfway point of the film, where Soo-Hyeon was beating Jang Kyung-Chul in the back of the head with a metal pipe repeatedly. The blood gushes and spurts from Jang's head until the pipe breaks. Not only does he wake up a day later in the hospital, but also seems to brushed it off with little to no effect, he doesn't stagger, cough up blood, but instead just laughs manically as if he has had a bad trip. He then proceeds to drive a motor vehicle seemingly unimpeded which was quite frankly begs belief.

While it seems like the hunter Soo-Hyeon is barbaric and inhumane, an area not nearly portrayed enough on screen. I think deep down every man's emotion has been to beat someone to the inch of their life, and our imaginations flourish into weird and unsettling fantasies. From the Achilles cutting scene, to the bone-crackling tear of a person's jaw, there is enough clinching moments to disturb even the most hardcore of filmgoers.

The acting was phenomenal, Choi Min-Sik as Jang Kyung-Chul will definitely go down as one of the most sadistic serial killers in film history. The only weakness in the story was why? Why was he committing these heinous crimes without remorse; it seemed like a psychological problem and notably against women, but the film doesn't explore his wife/partner or much of his upbringing other than a fractured rift and growing apart between his parents and son.

Lee Byung-Hun as Soo-Hyeon had an extremely difficult part. Where he had to at times subdue his emotions and become a monster. I think he was exceptional, knowing when to hide his feelings and when to react to connect with the audience, for the most part, if felt as if he was still in touch with his humanity although his mind began slipping into dark places.

Both Chun Ho-jin as Section Chief Oh (Ho-jin Chun) and Jeon Gook-Hwan as Squad Chief Jang seem so genuine and compelling in the story towards the other characters. The realism felt natural, and it gave the film an aura that was stark and a little frightening.

A huge strength in the film was the pacing. With most stories, the second half or reveal or finale, climax if you will leave little to no mystery, and the film ends with and eases towards the hero extracting their retribution.

This film has a unique twist that keeps you on edge, but it's the final third of the film that ups the ante, greatly heightens the suspense to the point where I couldn't even sit down on my chair because of the nail-biting tension of Jang unearthing crucial information on the man hunting him and promising to hand out further suffering on Soo-Hyeon.

Jang's systematic plan to continue to make Soo-Hyeon suffer or "Lose" was terrifying, cruel, and it just seemed to keep getting worse, with the father-in-law and the sister-in-law becoming victims to a meat grinder orchestrated from Soo-Hyeon's failure to just kill blatantly his adversary when having the chance over and over again.

There are slight notations towards women, being victimised and subdued, not particular having any female leads in the police or ones that were given a fighting chance, but this again could be a cultural component so best not to get to hung up over it.

Despite its minimal flaws, I Saw the Devil was truly an unforgettable experience. I assume many disturbing scenes were most likely cut or toned down such the first scene of Soo's fiancée being brutally stripped, murdered, and her body chopped up and discarded so the film could be given a formal rating and not completely turn off the audience so grotesquely early in the film.

Overall, this is a hardcore revenge story, which highlights a lot of taboo where filmmakers don't like to go or to know their limits. I admire the cast for what would have been a gruelling performance, thankfully it was deservedly globally recognised. I applaud the production team, writer, director all those involved for a remarkability violent depiction of retribution that has left its disturbing imprint for many years to come.

8/10.

Talk to Me (I) (2022)

"I let you in"

[9/10 · 19 January 2024]

Talk to Me marks a resounding "HIT" in modern horror, defining itself as an exceptionally resounding breakthrough in the genre. The film beautifully encapsulates Australian culture while seamlessly blending important contemporary themes such as social media, mobile phones, and viral footage, highlighting an ever-changing threat in today's world. In depth it explores connection, suicide, moving on, friendships, trust, and family.

The score, and dark, impactful noises contribute to the suspense and dread, enhancing this encapsulating story. The characters, portrayed with accurate representation of modern teenagers, add layers of authenticity and relatability. The plot offers a breath of fresh air to the possession genre, transforming Talk to Me form horror into a daring, and immersive thriller.

The performances are compelling, pulling the audience into the movie right from the opening scene. The scenes featuring Riley (Joe Bird) when possessed and becoming relentlessly violent are brutally effective, creating moments that strike at you repeatedly, tempting your stomach while bracing for the seemingly inevitable critical blow.

An interesting aspect is the clarity and direction of the story, coupled with tempting openness. The discovery from the teenagers that ninety seconds is the optimal time for a spirit or entity to "Let them In" without succumbing to the spirit, and becoming unstable, and mentally unhinged. But this could have branched into so many more layers of the plot. The potential to want to know whether spirits can take over and claim a living host if it the candles are not blown out? Or a person supersedes the time limit? Whether younger or older people are affected differently? The randomisation of the spirit, and of course how good and evil entities manipulate their mind?

The calling of spirits with an embalmed hand of a psychic or "satanist" is a mouth-watering, and unique concept, and the filmmakers should be applauded for this fresh take on speaking with the dead as it captures all the right spooky, and unsettling vibes.

"Talk to Me" stands out as one of the best horror films of present times featuring a completely unknown cast and young, inspiring directors. It's a film that engrosses and engages, the last time I felt this reminiscent of the same alertness and impact was a few years back when I first viewed Sinister. I truly hope this idea blossoms into a sequel or even prequel. Nevertheless, I truly believe Talk to Me sets the benchmark of just how good low-budget films can turn out to be.

9/10.