Category Archives: horror

horror, Shudder

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

Leave a comment

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, horror, MUBI, Reviews

Cinema Review: The Substance (2024) – A Dark Exploration of Identity

3 Comments

THE SUBSTANCE (2024)

Directed by Coralie Fargeat

Written by Coralie Fargeat

Produced by: Coralie Fargeat, Tim Bevan and Eric Fellner

Main Cast: Demi Moore, Margaret Qualley and Dennis Quaid

Cinematography by Benjamin Kracun

*** MAY CONTAIN SPOILERS ***

The Substance (2024), directed by Coralie Fargeat, is a visually striking and visceral film that pushes the boundaries of body horror and psychological terror. Fargeat, known for her raw and relentless style in Revenge (2017), once again delivers an unforgettable experience by weaving references to classic literature and horror cinema into a narrative that is at once familiar and entirely original.

Demi Moore portrays a former Hollywood star, Elizabeth Sparkle, now relegated to doing a mildy successful cable TV aerobics show. However, Dennis Quaid’s oily production executive is on the lookout for younger talent. Elizabeth soon finds herself on the media scrapheap. Desperate to regain her youth and career, Elizabeth is drawn to the hypnotic promise of a new product called ‘The Substance.’

Before you can say, “Dorian Gray”, Elizabeth is lured to a strange white room full of lockers and has committed to the process. Similar to Gremlins (1984), there are rules to follow. As she follows the steps and injects the potions, Elizabeth goes through a painful and incredibly impactful transformation process. She literally gives birth to a young and beautiful alter ego called, Sue (Margaret Qualley). Elizabeth and Sue then get seven days each to live their life before they have to swap back. What could go wrong?

The film’s core themes draw heavily from Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde, exploring duality, identity, and the monstrous potential hidden within human nature. Like Stevenson’s tale of inner conflict, The Substance delves into the consequences of scientific ambition. It investigates moral transgression but with a modern, feminist twist. Fargeat’s use of body horror, particularly in the transformation sequences, echoes the grotesque, unsettling work of David Cronenberg. The nightmarish atmosphere and surreal visuals are reminiscent of David Lynch’s unsettling dream logic. This is notably seen in Eraserhead (1977) and Mulholland Drive (2001).

The film also pays homage to John Carpenter’s The Thing (1982), with its transmogrifying frights, sense of creeping paranoia and rising conflict. But rather than a group of men fighting each other Elizabeth and Sue turn on each other over ownership of their physical existence and Hollywood status. The final act descends into hellish and bloody satire echoing Peter Jackson’s Braindead (1992), with gore galore. Moreover, Stanley Kubrick’s influence is palpable in the film’s meticulous framing, production design and tension-building. The climactic body-morphing scenes, however, most clearly nod to Brian Yuzna’s Society (1989), with its grotesque depictions of class and conformity, fused with Fargeat’s unique vision of female empowerment, revenge and resistance.

The Substance (2024) feels like a bigger budget film in look and style, but you soon realise the minimal number of sets used and a lack of crowd scenes, finds the narrative effectively becoming a two-hander in the middle act by focusing on Sue and Elizabeth’s internal retaliatory vindictiveness. There are some amazing framing, colour design and cinematographic choices as showers become tombs to trap the protagonists. The book-ended Hollywood star montage and returning final shots are imaginative and unforgettable. Got to say that Demi Moore, as an actress taking on a role of an aging and neurotic former star is genius casting. While Qualley delivers a sexually charged and energetic performance, it is Moore who carries the weight of the complex themes as Elizabeth’s journey dives deeper into the stuff of nightmares.

Overall, The Substance (2024) is a postmodern classic and a film that honors its influences while forging its own path. Fargeat uses these references to enrich the narrative, creating a damned ugly and beautiful satire on those seeking narcissistic perfection through unnatural means, ultimately paying the price of those seeking eternal youth and fame.

Mark: 9 out of 11

Cinema, horror, Reviews

CINEMA REVIEW- ALIEN: ROMULUS (2024)

Leave a comment

CINEMA REVIEW – ALIEN: ROMULUS (2024)

Directed by Fede Álvarez

Written by Fede Álvarez & Rodo Sayagues

Based on Characters by Dan O’Bannon & Ronald Shusett

Produced by Ridley Scott, Michael Pruss, Walter Hill etc.

Main Cast: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn and Aileen Wu etc.

Cinematography by Galo Olivares

*** CONTAINS SPOILERS ***

Did we need another Alien film? Prometheus (2012) was a box office success while the entertaining, if bland, Covenant seemed to have killed off any possibility of more bleeding chest-bursting. As original director, Ridley Scott, concentrates on the unnecessary sequel Gladiator 2 (2024), Fede Alvarez helms unnecessary prequel, Romulus (2024), set some time between the classic original and one-of-the-best-sequels-ever, Aliens (1986).

The franchise is renowned for its blend of horror, science fiction, and action, with iconic elements that have become staples of the series. To create a successful prequel within this franchise, it’s essential to incorporate certain tropes and thematic elements that resonate with fans while expanding the lore in a meaningful way. So, while it is very entertaining and directed with fine energy, Romulus (2024), is essentially one of the biggest budget fan films ever.

As the script for this film seemed to be written by ChatGPT, I ask you to enjoy a game of Alien: Bingo with me. So, when you watch Romulus (2024), take this list with you and check them off.

  1. Ancient Alien Ruins: Introduce ancient, mysterious structures or artifacts related to the Engineers or other ancient civilizations, which hint at the origins of the Xenomorphs.

  2. Uncovering the Unknown: The protagonists should gradually discover the horror of their situation, with an escalating sense of dread as they uncover the truth about the Xenomorphs.

  3. Weyland-Yutani Corporation: The presence of the Weyland-Yutani Corporation, or its precursor, should be central, with their unethical practices and obsession with the Xenomorphs for profit and weaponization playing a key role.

  4. Corporate Deception: Characters may be manipulated or deceived by corporate agendas, often leading to their doom.

  5. Body Horror: Incorporate the visceral, gruesome body horror elements that are a signature of the franchise, such as chest-bursters, acid-for-blood, or other horrific ways the Xenomorphs reproduce and evolve.

  6. Mutations and Experiments: Show early experiments with the Xenomorphs or other creatures, emphasizing the grotesque consequences of tampering with alien biology.

  7. The Alien Xenomorph: Introduce early forms or ancestors of the Xenomorph, exploring how they evolved into the perfect killing machines.

  8. Bioweapon Origins: Delve into the origins of the Xenomorphs as potential bio-weapons, being exploited by the Weyland-Yutani Corporation.

  9. The Engineers: Expand on the lore of the Engineers, their culture, technology, and their role in the creation of the Xenomorphs.

  10. Claustrophobic Settings: Use isolated, claustrophobic environments like derelict ships, alien worlds, or underground facilities to enhance the feeling of dread and helplessness.

  11. Slow-Burn Suspense: Build tension gradually, with a focus on atmosphere, sound design, and visual storytelling, allowing the horror to unfold slowly.

  12. Synthetics (Androids): Include synthetic characters (like Ash, Bishop, or David), exploring their complex relationships with humans and their potential hidden agendas.

  13. Small, Vulnerable Crew: Focus on a small group of characters who are outmatched by the alien threat, emphasizing their vulnerability and the high stakes of survival.

  14. Foreshadowing: Include subtle nods or direct connections to the events or characters of the original “Alien” films, creating a sense of continuity.

  15. Iconic Imagery: Use familiar visual motifs like the Xenomorph egg, facehugger, and the bio-mechanical aesthetic associated with H.R. Giger’s designs.

As well as a superb dirty industrial look and striking cinematography, all of the above tropes and more are present in Romulus (2024). The cast are mostly bland, notably the young Ripley clone portrayed by Cailee Spaeny. Having said that, David Jonsson as Andy, brings tremendous depth and humanity to the character of Andy. Once again, ironically the android character is the most interesting aspect of a recent Alien offering. Jonsson is destined for a great acting career and rises above this often thrilling, if highly generic, horror film.

Mark: 7 out of 11

Cinema, horror, Reviews

CINEMA REVIEW: LONGLEGS (2024)

2 Comments

CINEMA REVIEW: LONGLEGS (2024)

Directed by Osgood Perkins

Written by Osgood Perkins

Produced by Dan Kagan, Brian Kavanaugh-Jones, Nicolas Cage, Dave Caplan, Chris Ferguson etc.

Main Cast: Maika Monroe, Blair Underwood, Alicia Witt, Nicolas Cage, etc.

Cinematography by Andrés Arochi

*** THIS REVIEW CONTAINS SPOILERS ***

As a no-budget filmmaker I have often written and produced scripts which arguably had plots and concepts that were under-served by the lack of funds. The low budget meant one’s production values suffered on screen and did not allow the requisite number of shoot days to do the finished script justice. I felt similar vibes watching Longlegs (2024), as filmmaker Osgood Perkins attempts a FBI procedural thriller on less-than-$10 million dollars. The sparseness of the production and minimal cast kind of works in its’ favour, as Perkins goes for an ultra-violent-Twin-Peaks-meets-economy-Fincher vibe, ultimately ending up with a incredibly strange brew indeed.

Maika Monroe is FBI agent, Lee Harker, investigating a series of inexplicable murder-suicides during the 1990’s. In terms of structure the breadcrumb plotting is not the films’ strength but it does allow the director to hang a whole load of janky peculiarities on the screen. Harker’s keen empathy and apparent sixth-sense bring her ever closer to a suspect who goes by the name of ‘Longlegs’. Yet, the killer is not related to a spider, but rather reminded me of Noel Fielding meets the monster from parodic film-within-a-TV-show, Doctor and the Pencil. Surprisingly, and you will not believe this, the weirdo killer, Longlegs, is portrayed weirdly by Nicolas Cage, who revels in the wig and prosthetics and is, did I say already, the height of weirdness.

Osgood Perkins directed one of the dullest horror films I have ever seen in the experimental, I Am the Pretty Thing That Lives in the House (2016). But Longlegs (2024) is a massive improvement with some chilling and suspenseful scenes, and a decent lead performance from Agent Starling-alike, Maika Monroe. Similar to Carol Morley’s Out of Blue (2018), this is an arthouse director taking on genre filmmaking without enough cash and getting it deliberately wrong. Overall, with a very strong first half, Longlegs (2024), latterly takes some insane plot turns involving Faustian pacts, parental abuse, religious mania, hypnosis and voodoo sci-fi concepts which don’t really meld but remain thematically fascinating. Cage portraying Noel Fielding as an oddball killer, as well as many fantastic on-screen deaths, definitely give this cult cinematic stew strong and curious limbs.

Mark: 7.5 out of 11

Cinema, horror, Netflix

NETFLIX REVIEWS: HORROR!

Leave a comment

NETFLIX REVIEWS: HORROR!

As regular readers of my blog will know I am a massive fan of horror films. So much so I will often theme my monthly viewing around the genre, then consolidate the reviews in one post. Here are two of the most recent posts:

HORROR OBSCURA FILM REVIEWS – HALLOWEEN 2021 SPECIAL!
13 HORROR FILMS FOR CHRISTMAS – Some alternative festive reviews!

For the month of June and bleeding into July, I solely focused on horror films streaming on Netflix. So, here are short reviews of the many films I watched that are currently available on Netflix!

*** CONTAINS PLOT SPOILERS ***

A CLASSIC HORROR STORY (2021)

Italian shocker that echoes Midsommar (2019), Scream 3 (2000) and The Ritual (2017). The script is meta-clever and there’s some decent gore, but overall it lacks emotional empathy for the characters. More of a knowing film satire rather than being proper scary. Mark: 6.5 out of 11

BAGHEAD (2023)

Suffers in comparison to the far more energetic and thrilling Talk to Me (2022) – which is also on Netflix. Aside from the opening with the always brilliant Peter Mullan, who sets the scene, monster and horror rules, the film contains slight characterization and low stakes when the lead protagonists enter the shadowed fray. Mark: 5.5 out of 11

BLOODY NEW YEAR (1987)

Genuinely one of the worst horror films EVER made, that somehow still has some memorably crazy moments and monsters. Watch and cry with laughter about how bad this Brit-shocker is though! Mark: 2 out of 11

CAM (2018)

Madeline Brewer is fantastic as the narcissistic Cam-Girl who finds her identity is cloned, with the added stress of a killer being on her trail. Cleverly and wittily plotted, this brilliantly directed satire rises above its exploitative material to deliver a thematically rich horror film full of suspense and shocks. Mark: 8.5 out of 11

CREEP 2 (2017)

Mark Duplass gives another strikingly weird performance as the serial killer who loves the slow-burn taunting of his victims. Both this and Creep (2015) actually make the found footage filming trope work really well. Mark: 7.5 out of 11

EMELIE (2016)

What if your babysitter isn’t the person you think they are? An incredibly chilling character study designed to give every parent sleepless nights. With a committed performance from Sarah Bolger, this has so many twisted scenes involving the kids that disturbed me and feared for their safety. A horror film that really burrows under your skin throughout. Mark: 7.5 out of 11.

FANTASY ISLAND (2020)

Taking a 1970’s high-concept drama series and turning it into a horror film is not the worst idea, especially as the original series had its darker episodes often involving cautionary tales of morality. However, the script they delivered for this misfire feels as though many, many writers have tried desperately to resuscitate it from within the cold morgue draw. There’s some drive and energy from the cast and I actually enjoyed some of the set-pieces, but it feels ultimately like over-stuffed mush. Mark: 5 out of 11.

HAUNT (2019)

An incredibly generic set-up finds a group of teenagers drawn to a haunted house at Halloween, only for crazed killers to lock them in a slash them down. Benefits from some imaginative villains and kills, plus an empathetic lead characterization by Katie Stevens as the grieving Harper. Lastly, directors Scott Beck and Bryan Woods show excellent control over tone, style and suspense. Mark: 7.5 out of 11.

RED STATE (2011)

Kevin Smith goes ‘Grindhouse’ with this gnarly horror film where a group of horny teenagers are lured into a deadly trap that threatens their existence. Starts strongly exploring themes of religious mania and family values culminating in an incredible monologue delivered by Michael Park’s charismatic church leader. Latterly descends into a chaotic siege thriller shoot-em-up with crazy cultists versus the American authorities led by the always excellent, John Goodman. Smith’s trademark chitty-chatter dialogue is good, but kind of gets in the way (monologue aside) of the drama and humanity-as-horror of the piece. Mark: 7 out of 11.

THERE’S SOMEONE IN YOUR HOUSE (2021)

Extremely well written, directed and acted film which gets stuck between the rites-of-passage and slasher tropes, serving neither of these genres satisfactorily. There’s some alright kills, but overall feels like an inferior photocopy of Scream (2000) with little of the wit or meta-brilliance. Mark: 6 out of 11.

TIN & TINA (2023)

Featuring motifs relating to religion, fascism and family values, this interesting chiller ticks all the themes present in many Spanish horror films. As Lola (Milena Smit) and Adolfo (Jaime Lorente) suffer the tragedy of a lost child, they try to redeem their grief with the adoption of two blonde, shock-haired orphans raised by nuns. Driven by their naivete and religious fervour, Tin and Tina end up committing many questionable acts which threaten to send Lola over the edge. Beautifully filmed and scored, the director also builds an impressive sense of dread throughout, yet the film is ultimately denied a higher mark by the glacial pace and disappointing ending. Nonetheless, it is thought provoking with both the creepy kids and Christianity contributing to nail-biting scenes of high anxiety. Mark: 7 out of 11

Cinema, horror, Reviews

CINEMA REVIEW: LOVE LIES BLEEDING (2024)

4 Comments

CINEMA REVIEW: LOVE LIES BLEEDING (2024)

Directed by Rose Glass

Written by Rose Glass & Weronika Tofilska

Produced by Andrea Cornwell & Oliver Kassman

Main Cast: Kristen Stewart, Katy O’Brian, Jena Malone, Anna Baryshnikov, Dave Franco, Ed Harris, etc.

Cinematography by Ben Fordesman

*** MAY CONTAIN SPOILERS ***

Rose Glass’ debut feature film Saint Maud (2019), was one of my films of the year when released a few years ago. It was such a haunting horror and character study of one woman’s ascent into heavenly insanity. If Saint Maud (2019) borrowed heavily from Paul Schrader’s scripts such as Taxi Driver (1976), and First Reformed (2017), Glass’ second “difficult” feature film, Love Lies Bleeding (2024) owes much to the Coen Brothers darker feature films, dashes of David Lynch and the gritty bite of Jim Thompson’s noir stories.

Set in 1989, Kristen Stewart, portrays mulleted-Lou, a gym manager who kind of drifts along without a plan. Estranged from her gangster father, also named, Lou (Ed Harris), their connected past haunts her as she strives to escape his criminal influence. Into Lou’s humdrum existence comes the muscular chaos of Jackie (Katy O’Brian). Seeking her fortune as a competitive bodybuilder, a broke and homeless Jackie, attaches herself to Lou and they begin a lusty relationship. This passion and the constant sex consequently twists into what one could even call love.

As their alliance pulses on screen, Lou has further family woes to deal with because her sister, Beth, (Jena Malone) lives in constant fear of domestic violence from her husband, J.J. (Dave Franco). Further, Lou strives to help Jackie’s muscle dream by feeding her steroids from the gym dealer. But this backfires when a drug-induced Jackie commits a violent crime which Lou feels bound to try and cover up. Here the various narrative elements and characters, Glass and co-writer, Weronika Tofilska, establish begin to flail for me. While Jackie has a clear narrative goal, Lou’s character is reactive in dealing with the bloody mess created by others. This creates a divergent split of psychologies in the plotting, that Glass’s energetic direction cannot coalesce.

In terms of genre elements involving same-sex romance, brutal violence and crime, Love Lies Bleeding (2024) also owes much to the far superior, Bound (1996) directed by The Wachowskis. That is not to say Glass’ film is without merit. It is just a bit of a hot mess of plot and themes and tonal lurches which do not work as a whole. Indeed, it feels at times there are two scripts pulped together which constantly push back against each other. I would have gone with the bodybuilding story as the main focus. Plus, so many characters makes dumb decisions in, Love Lies Bleeding (2024), I just gave up caring. Still, there is some decent violence, a smattering of gallows humour, and magnetic work from Stewart and Harris (of course). Finally, the ultra-talented Rose Glass gives us some fantastically directed visuals which deserved a less smudgy and more coherent screenplay.

Mark: 7 out of 11

Cinema, horror, Reviews, Shudder, Television

SHUDDER REVIEW: LATE NIGHT WITH THE DEVIL (2023)

Leave a comment

SHUDDER REVIEW: LATE NIGHT WITH THE DEVIL (2023)

Written and directed by Colin Cairnes and Cameron Cairnes

Produced by Mat Govoni, Adam White, John Molloy, Roy Lee, Steven Schneider and Derek Dauchy

Cast: David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri, Georgina Haig, and Josh Quong Tart

Cinematography: Matthew Temple

*** MAY CONTAIN SPOILERS ***

Some years ago I wrote an article about how I dislike the found footage sub-genre and that article can be found here. Occasionally, found footage is used well such as in Creep (2014) with Mark Duplass or REC (2007) or Chronicle (2012). Now you can add Colin Cairnes and Cameron Cairnes, Late Night With the Devil (2023) to that list of found footage films I actually enjoyed.

Technically, one could argue it isn’t really found footage and it negates such films often “amateurish” filming methods, with a truly stylish rendition of 1970’s television chat shows. However, we are asked by the narrator to view “never-before-seen” images and sounds from a previously unreleased and infamous TV chat show presented by ‘Night Owls’ host, Jack Delroy (David Dastmalchian). So, found footage it is!

David Dastmalchian is absolutely fantastic in his role as ambitious but desperate to be number-one chat show host, Jack Delroy. Often cast in supporting roles he now grabs the chance to become much more than that scene-stealing character actor. Delroy is not unlikable, but his arrogance and ambition dominate his personality. So much so, and despite his grief at losing his wife to cancer, he is prepared to allow all sorts of creepy and inappropriate situations unfold in his desperate search for TV ratings.

Delroy pits a dubious psychic Christou (Fayssal Bazzi) against skeptical former magician Carmichael the Conjurer (Ian Bliss), before asking parapsychologist author June Ross-Mitchell (Laura Gordon), and her subject Lilly D’Abo (Ingrid Torelli) to contact a demonic presence called ‘Mr Wriggles,’ live on television. Even after Christou is rushed to the hospital and Lilly contorts and spits out growling obscenities, Delroy decrees the show must go on. The Cairnes Brothers then continue to ratchet up the tension and horror to a deadly and shocking ‘Night Owls’ televisual denouement.

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 horror films I have seen in sometime. The 1970’s period setting and TV studio location is impressively recreated by the fantastic production team, especially on a relatively low budget. Arguably, the plot, once you dig down into it lacks emotional depth, however, the pacy and darkly funny screenplay more than compensates for this. Overall, the film’s style, design, direction and a commanding performance from Dastmalchian ensure Late Night With the Devil (2023) is essential viewing for all horror fans.

Mark: 9 out of 11

Articles, horror, Short films

INFERIS (2024) short film POSTER and STILLS

Leave a comment

INFERIS (2024) – A new horror short poster and stills.

After a few years gap I finally managed to get back into the short filmmaking process last year with INFERIS (2024).

I wrote and produced it as a very low-budget psychological horror proof of concept short.

It was filmed at Raindance Film School in August 2023 and post was completed in February 2024.

Here’s the poster:

Here are some stills:

If you haven’t seen it, the trailer is here:

INFERIS (2024) – Production Details

Tagline – “They make you work like hell!”

Logline – Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.

Cast and Crew

Director: Philip Wolff

Writer: Paul Laight

Producers: Paul Laight and Philip Wolff

Cast: Shaun Rivers and Julia Florimo

Cinematography: Toma Iaramboykov

Sound: Delbert Grady

Camera Assistant: Jackey Limbu

Lighting Assistant: Max Wronka

Editor and Post-Production: Gary O’Brien

Music: Premium Beat & Lord Oscillator

© 2024 A Fix Films and 21st Century Wolff Production

horror, Short films

INFERIS (2024) – A new short psychological horror film trailer

Leave a comment

INFERIS (2024) – A new horror film trailer

After a few years gap I finally managed to get back into the short filmmaking process last year with INFERIS (2024). I wrote and produced it as a very low-budget psychological horror proof of concept short. It was filmed at Raindance Film School in August 2023 and post was completed in February 2024.

Here is the trailer:

INFERIS (2024) – Production Details

Tagline – “They make you work like hell!”

Logline – Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.

Cast and Crew

Director: Philip Wolff

Writer: Paul Laight

Producers: Paul Laight and Philip Wolff

Cast: Shaun Rivers and Julia Florimo

Cinematography: Toma Iaramboykov

Sound: Delbert Grady

Camera Assistant: Jackey Limbu

Lighting Assistant: Max Wronka

Editor and Post-Production: Gary O’Brien

Music: Premium Beat & Lord Oscillator

© 2024 A Fix Films and 21st Century Wolff Production

Amazon Prime, Comedy, horror, Reviews

AMAZON FILM REVIEW: TOTALLY KILLER (2023)

1 Comment

AMAZON FILM REVIEW: TOTALLY KILLER (2023)

Directed by Nahnatchka Khan

Screenplay by David Matalon, Sasha Perl-Raver & Jen D’Angelo

Story by David Matalon & Sasha Perl-Raver

Produced by Jason Blum, Adam Hendricks & Greg Gilreath

Cast: Kiernan Shipka, Olivia Holt, Charlie Gillespie, Lochlyn Munro, Troy L. Johnson, Liana Liberato, Kelcey Mawema, Stephi Chin Salvo, Anna Diaz, Ella Choi, Jeremy Monn-Djasgnar, Nathaniel Appiah, Jonathan Potts, Randall Park, Julie Bowen, etc.

Cinematography by Judd Overton

*** MAY CONTAIN SPOILERS ***

Here’s a thing that rarely happens, I actually watched a trailer and thought, “Hey, that film looks really entertaining, so I am going to watch it now.” That trailer was for Totally Killer (2023) which is currently streaming on Amazon Prime. The story is essentially Back to the Future (1985) meets Scream (1996), but the hilarious and pacey screenplay wears it’s influences proudly and even cleverly name-checks those two classic examples of the time-travel and slasher sub-genres.

Based in the present day, Totally Killer (2023) is set in the small town Vernon, USA. The film opens with a Vernon podcaster and tour guide revealing how the horrific “Sweet 16 Killer” struck killing three teenage girls in 1987. Unfortunately, the murderer suddenly reappears and kills again. In a frenetic chase through the house, Pam Hughes (Julie Bowen) battles the 1980’s masked slicer, but unfortunately she meets her demise. In grief from the death of her mother is sparky teenager, Jamie Hughes (Kiernan Shipka), and she finds solace with her friend Amelia (Kelcey Mawema), who happens to be designing a time machine as a science project. Well, what do you know!! Jamie finds herself being attacked by the “Sweet 16 Killer” and somehow goes sent back to 1987. There she has a chance to investigate the original crime and perhaps save her mum from being murdered in the future.

Even as I write this basic synopsis of the opening act I realise Totally Killer (2023) seems so contrived and derivative, but I found it to be an absolute blast. The script is clever and knowing with energetic and fun characters. Kiernan Shipka as Jamie is especially brilliant with great comedy timing and delivery. The filmmakers embrace the joy of time-travel and horror film tropes, and there’s also some excellent set-pieces involving the obligatory 1980’s false-faced psycho with a grudge. Moreover, the “fish-out-of-time” gags which derive from Jamie’s reactions to the 1980’s people, fashion and moral attitudes are a real joy. I was smiling and laughing throughout. Yet, significantly this film also deftly balances the suspense, action, horror and science-fiction aspects brilliantly. Stranger Things gets a lot of critical acclaim for stealing wholesale from Stephen King’s back catalogue. Totally Killer (2023) blatantly borrows permanently from everything and for me remains one of the consistently entertaining films of 2023.

Mark: 8.5 out of 11