Monthly Archives: October 2024

horror, Shudder

Must-See Horror Films on SHUDDER. . . Mostly!

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SHUDDER HORROR FILM REVIEWS (2024)

Looking for something horrifying to watch during Halloween. Well you could do far worse than getting a Shudder subscription.

A few months a year I sign up and binge bloody disgusting and scary films as my previous reviews testify. Check them out here!

This year I have done the same and watched some really good, terribly bad and hideously ugly horror films via Shudder. Peruse my short reviews below. In alphabetical order with marks out of eleven.

Host (2020)

A terrific low-budget British indie film that explores the dangers of angering ghosts during a Zoom call. While the mildly irritating characters don’t realize they can simply end the online séance, it’s still a spooky, suspenseful, and fast-paced horror flick. I’m not usually a fan of the found footage genre, but this was very well made and highly creepy. Mark: 8 out of 11

In A Violent Nature (2024)

This director will probably have an amazing career. But this film was, despite some wonderful practical-effect driven gore, SO slow and boring. The film satirizes classic horror tropes, mocking their clichés with a heavy hand. The director’s pretentious style and inflated sense of artistic ego drain the audience of any real suspense or tension. The attempt at highbrow genre obfuscation creates a hollow spectacle. Shot from behind, the killer stalks twenty-somethings in the woods in the style of Son of Saul (2015) meets every slasher film ever. Ultimately, suffering from atrocious dialogue, bad plotting and weak characterization, the visual flair fails to save a film which feels more like an exercise in intellectual vanity than a gripping thriller. Mark: 5 out of 11

Late Night With The Devil (2023)

With echoes of the recent Inside No. 9 (3×3 quiz show episode) and BBC show Ghostwatch (1992), and of course The Exorcist (1973), Late Night With the Devil (2023) is one of the most enjoyable and imaginative horror films I have seen in sometime.  One of the best horror films of the decade. Check out my longer review here. Mark: 9 out of 11

Pyewacket (2017)

Nicole Munoz’ isolated teenager summons a witch via a ritual and unleashes something not particularly scary or even present. All set-up and no catharsis! A waste of everyone’s time. Mark: 4 out of 11

Revealer (2022)

One of the best pitches I have read in a while – “A stripper and religious protester are trapped together in a peep show booth and must come together to survive the apocalypse in 1980’s Chicago!” does not unfortunately live up to expectations. However, there’s a decent female buddy dynamic and some imaginative gore which channels early Raimi, Jackson and Carpenter. Mark: 6 out of 11

Room 237 (2012)

For Stanley Kubrick completists, this fascinating documentary is divided into nine sections, with each one exploring a different aspect of The Shining (1980). Hidden theories buried under the surface relate to faked moon landings, Native American genocide and the holocaust are some of the ideas chucked at the wall. While some may stick and some don’t, it’s lovingly made and always fascinating. Mark: 8 out of 11

Skinamarink (2022)

Skinamarink was a major letdown for me, especially given the high expectations after its impressive financial success. With a $15,000 budget, it garnered over $2.1 million at the box office, creating a buzz around its unconventional style and promise of fresh horror. But despite its atmospheric tension and experimental approach, I felt the film didn’t live up to the hype. The slow pacing, abstract narrative, and reliance on ambient sounds and shadows left me unmoved. It’s an original, art-house horror so surprised it crossed over. Filmmaker, Kyle Edward Ball, clearly has a distinctive voice though. Mark: 6 out of 11

Stop Motion (2023)

The animation in Stopmotion (2023) showcases Robert Morgan’s genius, with his signature blend of hauntingly detailed stop-motion work that creates an eerie, tactile atmosphere. His craftsmanship brings a nightmarish quality to life, adding unsettling textures and depth that pull the audience into a world of psychological horror. However, while the animation excels, the plot—reminiscent of Repulsion—struggles to connect on a human level. The surreal visuals overshadow the character’s psychological journey, making it hard for viewers to engage with the protagonist’s inner turmoil, leaving the story feeling more distant and abstract than compelling. Mark: 6.5 out of 11

Superdeep (2020)

The Russian horror film Superdeep feels like a patchwork of borrowed elements from better-known sci-fi and horror movies, but without their finesse or originality. It mimics the claustrophobic tension of The Thing, the body horror of Alien, and the descent into madness of Event Horizon, yet fails to capture the essence that made those films effective. Derivative and ineffective, it at least has some ridiculously bad monster effects at the end that had me laughing. Mark: 4 out of 11

The Coffee Table (2022)

The Coffee Table is a twisted and darkly humorous horror film that pushes the boundaries of discomfort while delivering a sharp, satirical take on the horrors of parenthood. The film’s sick sense of humor blends with its unsettling premise, as it uses a seemingly mundane object—a coffee table—as the catalyst for an absurd but terrifying chain of events. Its pitch-black comedy amplifies the tension, making the film both deeply disturbing and strangely cathartic for those who understand the pressures of raising children. It’s a fearless examination of the darker side of family life, where humor and horror collide to expose the anxieties and struggles that often go unspoken. Mark: 8 out of 11

We All Went to the World’s Fair (2021)

We All Went to the World’s Fair (2021) falls short both as a horror film and as a rites of passage story. Its eerie, slow-burn approach creates an unsettling atmosphere, but the lack of a clear, escalating threat leaves it feeling aimless. Switching protagonists at the end does not work, and despite an excellent performance from Anna Cobb, the film spoils an intriguing premise. Mark: 5.5 out of 11

Where Evil Lurks (2023)

Where Evil Lurks (2023) skillfully employs well-known horror tropes—such as viral infection and monstrous transformations of humans—to deliver a fresh and intense experience. The film taps into the fear of contagion, using the idea of a mysterious, spreading evil that corrupts and distorts its victims. This viral-like menace is combined with disturbing body horror, as infected humans gradually turn into something grotesque and monstrous, making the familiar threat feel visceral and terrifying. The gradual, creeping transformation of people into monstrous figures is done with chilling precision, playing on the fear of losing control of one’s body and mind. By grounding these tropes in a strong narrative and unsettling atmosphere, the film elevates the horror elements, using them to amplify its emotional and psychological impact. Mark: 8.5 out of 11

Cinema, Reviews

Cinema Review – Exploring Music and Madness in Joker: Folie à Deux (2024)

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Cinema Review: Joker: Folie à Deux (2024)

Directed by Todd Phillips

Written by Scott Silver and Todd Phillips (Based on Characters by DC Comics)

Produced byTodd Phillips, Emma Tillinger Koskoff & Joseph Garner

Main cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener and Zazie Beetz etc.

Cinematography by Lawrence Sher

Music by Hildur Guðnadóttir

*** MAY CONTAIN SPOILERS ***

In 2019, Todd Phillips and Joaquin Phoenix, as director and lead actor, unleashed Joker (2019) on the cinema public. It became an enormous critical and commercial hit, with Phoenix winning the ‘Best Actor’ award at the Academy Awards. Unsurprisingly, a sequel now reaches us. While the original 1980’s set period drama worked superbly, echoing the structure and themes of Scorsese’s King of Comedy (1982) and Taxi Driver (1976), the follow-up Joker: Folie à Deux (2024) is altogether different. In fact, given it experiments with musical, romance, crime, court-room and psychological horror genres, it is an altogether riskier film, which while compelling and fascinating, doesn’t always connect to a satisfactory whole. But perhaps that is the point. It is intended to reflect an inconsistent mind and unreliable narrator, a fractured soul in Arthur Fleck.

For me, in Joker: Folie à Deux (2024), Todd Phillips masterfully employs cinematic techniques of fragmentation and ambiguity to deepen the exploration of mental illness, echoing the disorienting and fractured experience of his protagonists. The film, much like its predecessor, blurs the lines between reality and delusion, but this time the ambiguity is intensified through musical elements, dreamlike sequences, and multiple perspectives. Phillips’ use of disjointed timelines and unreliable narratives immerses the audience in the chaos of Arthur Fleck’s (Phoenix) and Harley Quinn’s (Lady Gaga) unraveling psyches.

The musical numbers, set against stark, gritty environments, feel both fantastical and unnerving, reinforcing the characters’ distorted perceptions of the world. Moments of quiet introspection are suddenly broken by violent outbursts or surreal interludes, mimicking the unpredictability of their mental states. The film’s visual style shifts between stark realism and surreal imagery, reflecting the internal fragmentation of Arthur and Harley’s minds, keeping viewers on edge and questioning what is real.

Phillips’ direction ensures that the story remains rooted in ambiguity—much like the first film—inviting viewers to interpret the characters’ mental states without offering clear answers. This cracked narrative style doesn’t just illustrate their mental illness; it pulls the audience into it, making Joker: Folie à Deux a bold and unsettling exploration of madness through form as much as story. As such there isn’t much plot to speak of as Arthur’s journey essentially follows him from Arkham Asylum to court, with episodic splashes of song and dance in between, before we get to the climactic court room scenes.

As aforementioned, in Joker (2019), Todd Phillips drew heavily from Martin Scorsese’s The King of Comedy (1982), particularly in its portrayal of a lonely, unstable man seeking fame and validation in a world that cruelly rejects him. Arthur Fleck’s obsession with talk show host Murray Franklin mirrors Rupert Pupkin’s fixation on becoming a comedy star, and both films explore the dangerous consequences of societal alienation and delusional aspirations. The gritty, urban backdrop and character-driven narrative made Joker a powerful homage to Scorsese’s psychological explorations of fame and madness.

With Joker: Folie à Deux (2024), Phillips shifts toward a different Scorsese film for inspiration: New York, New York (1977). Much like Scorsese’s semi-musical about a turbulent romance between two performers, Folie à Deux integrates musical elements and centres on the chaotic relationship between Arthur and Harley Quinn (Lady Gaga). The film’s blending of harsh realism with the stylized, dreamlike sequences of musical numbers echoes New York, New York’s mix of glitzy performance and dark personal struggle. Thematically, both films explore how dreams of stardom can clash with mental instability, but Folie à Deux takes it a step further by embedding this conflict within its characters’ delusions, making the musical sequences feel like an escape from—or reflection of—their psychotic minds. This potential homage to New York, New York allows Phillips to expand Joker‘s cinematic language, fusing psychological drama with surreal musical spectacle.

Joker: Folie à Deux (2024), at time of writing, has polarized critics and cinema-goers. As someone who watches a lot of “art-house” and European cinema, I can see why this film is dividing opinion. This is what happens if Jacques Demy, by way of Bergman, were given $200 million to make a DC comic-book film. Todd Phillips takes many risks in form and structure, most notably denying the audience catharsis at the bleak finale. It is truly downbeat and it felt like Phillips and Phoenix were finally done with this clownish killer and anti-hero.

As a cinematic experience the musical score is striking. Moreover, the production is grey and oppressive and claustrophobic, set in enclosed cells and shadowed court rooms. There is little light in this film nor even a shadow at the end of the tunnel for Arthur and Harley. Phoenix is fantastic again, while Gaga’s romantic partner-in-crime is under-cooked as a character. Nonetheless, Gaga still sparkles amidst this gloomy, musical, existential journey into the mouth and down the throat of madness.

Mark: 8.5 out of 11