Reviews

How David Dastmalchian is not yet a household name may forever remain a mystery. He's churned out countless performances over the years where he manages to stand out at every turn and should have been leading movies long before this. But now he has his time to shine and its nothing short of mesmerizing. Late Night With the Devil is another in a long lineup of modern horror masterpieces but this one has fun while brilliantly paying homage to the things that inspired it. Late Night With the Devil is a modern horror but it manages to fit right in stylistically with some of the best horror from the 70s which most of us know to be the best period of horror. The movie manages to be scary without ever taking itself too seriously so while the thrills are there its also a lot of fun, with a captivating performance by Dastmalchian that keeps it anchored even when it risks diving into sillier territory. Its easy to see why the ending has divided viewers, but I won't go into spoiler territory here. Intense, frightening, and truly terrific fun, Late Night With the Devil is one to seek out for the film lover looking for something a little against the grain.

I haven't seen the Terrifier movies so I don't know much about Jenna Kanell. This movie popped up as something I might like and the cover and synopsis were intriguing and I saw it was a new release and figured what the hell. It's been awhile since I've done a review so why not get back at it with another indie horror movie fresh off the market? Faceless After Dark is a movie that lives in its meta world. I haven't seen Terrifier but I can assume that Jenna's decision to make her claim to fame a killer clown movie was motivated by that movie and so the disdain she feels towards everything seems all the more real for it. Everything feels real. The synopsis is a little misleading because it's only a small part of the movie that sets up the events for the real story to begin and I see why some would be bothered by that but once you look past it you get something even better that shouldn't be spoiled here. It's true that Bowie isn't a character that you like right away but everybody else seems worse and I think that might be the point and by the end of it you can see that this movie was a deeply personal one for its writer and star that proves as a catharsis. It isn't perfect but it has something important to say and I think the message was gotten across well, a message that should be heard. It's worth a watch and definitely not deserving of the hate it seems to be getting here. See for yourself.

Yorgos Lanthimos is known for his work from Dogtooth to The Lobster to Killing of a Sacred Deer to The Favorite. His work is divided among audiences but never fails to get a conversation started. Like most of his audience, there are movies of his in which I find myself drawn and can't look away and there are others which I find myself pulling away from. While Dogtooth and Sacred Deer never manage to grab my attention The Lobster and The Favorite are incredible. Poor Things is his most audience friendly film and maybe his biggest treat. Since the trailer alone shows how strange this one is going to be people are probably showing up for Emma Stone but the journey of Bella Baxter from child in an adult's body to fully developed woman is a journey that audiences should want to take. Poignant and surprisingly sweet for this director Emma shines in her best role yet. Everybody is great and Mark Ruffalo makes for a strong and funny support. Worth checking out for this alone.

I like David Gordon Green. I've always enjoyed him as a director. Even most recently when the world turned on him for his Halloween Trilogy I supported him and I even found myself enjoying it more than most. Is Halloween Ends perfect? No, but he tried something new and it mostly paid off. So suffice to say I was excited yet skeptical to see his take on one of the greatest horror movies ever made. I'm sorry to say I'm out on this one. The Exorcist: Believer has a good enough start and mostly manages to build its characters well, but horror of it all is handled poorly, taking a huge backseat to the drama, which wouldn't be a problem if the horror was done just a little better. The demons never feel all too scary and Ellen Burstyn is wasted here, shoehorned in to copy the formulaic success of Halloween. A terrible final act ruins everything that came before it. Substantially. This one should have been left alone.

When considering horror franchises, how many come to mind that have worthwhile sequels that live up to their originals? Now take it a step further and consider how many horror franchises make it to a tenth installment, and then how often is that installment any good? These are the questions one might ask when thinking about Saw X, the tenth installment in an exhausted (and exhausting at times) franchise that arguably peaked at its inception but gave at least a few worthy sequels. Saw X delivers above and beyond all of its predecessors beyond its original work. Tobin Bell and Shawnee Smith are front and center for this one, a questionable choice that pays off at the hands of creative writing and strong direction. It's difficult to stay fresh at number X but they manage it here, going back to basics and bringing a little humanity to that series antagonists. Bravo to those involved, because to do this takes work but they managed it here with aplomb. The traps are fewer but this is a Saw movie so they are there, and they are brutally effective when on screen. But like the original we're back to really focusing on the story and not just the brutality. I won't say this is the most surprised I've ever been by a movie but it ranks, because upon hearing that a new Saw was to be made my eyes rolled hard, but seeing the positive reviews I just had to check it out and it lives up in every way. Are you a diehard fan of the franchise? Then this is for you. Did you lose interest after the first. This may also be for you, because nothing has come close since 2004.

Oh how I love it when filmmakers go so far against the grain to break through the norms that we've come to expect time and time again and give us something so fresh and unique that it makes us remember what it was like to go to the cinema as children and sit in awe as we were gifted with the experience of something new. No One Will Save You seems simple in its approach and offers a concept that could be gimmicky, a concept I'm sure anybody reading has heard about by now. What makes it pass beyond gimmick is two things, the first being the delicate manner in which the character is treated to make her so silent throughout, the second is a truly fascinating performance from Kaitlyn Dever, a performance that showcases more than ever how underutilized she is as an actress. Clever cinematography, powerful score, and masterful editing create a genuinely frightening atmosphere that makes for one of the best horror films of the year so far. Don't sleep on this one.

More psychological than thriller, The Woman Under the Stage is a rarity in low budget horror in the sense that it delivers on a great script and, even more rare in the genre, incredible actors to tell a story that isn't entirely unique but not derivative either. The main trio consisting of Jessica Dawn Willis, Matthew Thomkins, and Phil Harrison are amazing to watch, with strong supporting characters and actors throughout. Rather uncommon for something this, there are no weak links here. The story twists and turns throughout and while it isn't necessarily difficult to follow what's going on it will leave you wondering what is reality from start to finish. The scares are effective, but they are overshadowed by the drama which is the real selling point of the movie. It presents a core that is, again, uncommon in low budget horror and therefore elevates it above the rest. A strong meditation on the themes of artistic sacrifice that have probably been delivered better elsewhere but not in this way and not on this budget. Worth looking at on Amazon Prime.

If you've read Bram Stoker's Dracula then you're at least somewhat familiar with the doomed ship known as the Demeter and the implied tragedy that befell its workers. It's an interesting segment of the book that leaves the mind wondering and leaving plenty of gaps for the imagination to fill. The Last Voyage of the Demeter works to fill those gaps, and it wavers back and forth on its ability to do so. The pros: The Last Voyage of the Demeter is nice to look at, the violence is well-presented, and Aisling Franciosi gives a wonderful performance that it's too bad we didn't get to see more of. The cons: some of the more emotional scenes feel rushed or mishandled, the character buildup for most characters is lacking, which is a shame because they feel like they would have been likeable with a few tweeks. The film as a whole feels rushed and mostly becomes a slasher showdown by the end, with the epilogue being tacked on to make way for a sequel that will surely never come. Lots of reward to be had with this one and not something I'd recommend skipping if you're a big Dracula fan, but maybe when there's little else to watch.

After a young man's brother is murdered, he finds himself haunted by him and naturally seeks help, finding it in a mysterious psychiatrist whose treatment methods can only be explained as unorthodox. To say more might constitute a spoiler, but I will say that the presented concept is an interesting one. The script almost works and probably would have with another pass or two, but if unfortunately falls victim to amateur camerawork and performing. Our lead and our psychiatrist are decently enough performed but that's about it, with everybody else veering between decent and flat out awful. The camerawork feels like a student production and dampens the obviously stylistic nature they're going for. Low budget can be excused for some of these things but SURELY they could have cobbled together some resources to fix the flaws. The premise is so interesting that it deserves a good film behind it, but as is the only thing that's properly handled here is the ending, which is great but unfortunately doesn't feel earned. The filmmaking team behind this is probably one to look out for in the future, if only they manage to learn where to improve. More like a 3 or 4, but giving a generous 5 for a strong effort.

Speak No Evil reminds me a lot of the Michael Haneke movie Funny Games, whereas there's a slow and subtle amount of discomfort immediately when thinks kick off and grows ever so slowly more and more frustrating as it continues. The viewer knows before the movie begins that bad things are eventually going to happen and these little slow buildups remind us the whole time without letting anything really happen, so that when it does happen it hits like a truck. Speak No Evil accomplishes this effect to perfection. I can't remember the last time I was vocal even once at a television, let alone the number of times I actually yelled out in frustration with this one. The horrors committed on screen are unfathomable to the point of nausea and will stay under your skin for a long time after its done. Watch it, but not if you're wanting a good time.

Thirst is a strange little movie that starts off interesting enough. Suggestions that something might be off. Insomnia mysteriously spreading through town. Thirst promises an interesting paranoia thriller that unfortunately never manages to take off and instead meanders throughout. The interest wears off right after the buildup, as unfortunately it never delivers the buildup it promises. For the most part, the actors make it work, with the exception of Scotty Walker in the Trent role, a performance of a mentally handicapped character that is outdated to the point of offensiveness. The filmmakers should still be commended for their effort because between occasionally hammy dialogue, especially when it comes to the conspiracies, there are some nice moments interspersed throughout, and with a supposed budget of $50,000 the production looks mostly professional. I just it lived up to its full potential.

Malum is an unimaginative remake of Last Shift, and if you're not already aware it's made by the same director of the original movie. I've seen last shift, and while it doesn't necessarily reinvent the wheel it still has a unique charm to it and genuinely frightening moments that make it a delight for horror lovers and especially impressive on its low budget. What you have with Malum is a lesser version of its predecessor, which is strange when you consider the budget increase. Malum isn't bad by any means. Its production value is high, the acting is strong, and like its predecessor it comes with its fair share of creepy moments and scares. But, again, it's all less intriguing than the movie that came before it. Did the director not trust that he would make an appealing movie if it wasn't attached to his horror classic? At the very least why not make a sequel. It's difficult to be objective with this one because if you haven't seen Last Shift then this may seem like a decent horror movie, but if you have seen Last Shift you know that a better version of Malum already exists in the world and this was unnecessary. If you've seen neither then, I promise you, stick to Last Shift instead.

Nefarious is a good example of a movie that does good work in its first half and then tragically falls apart in the end. As you've read by now, Nefarious is a movie about a serial killer who is given evaluation on the day of his would be execution, and things get interesting when he claims to be a demon, an interesting concept no doubt that deserves better execution. The whole cast is good but the standout is Sean Patrick Flanery, who gets a chance to shine in a way that he hasn't since The Boondock Saints. Pity because he has alot of talent. Unfortunately, after a little bit of interesting dialogue it pulls a bait and switch and becomes a preachy Christian movie that attempts to justify the prejudices it discusses, and this is where it quickly falls apart. This didn't have to be a Christian movie, and even if it wanted to do that it didn't have to be a preachy one to get its point across. The moment it takes this turn, all of the things that make it so unsettling in the beginning quickly fade away in favor of a sermon. And a bad one to boo. Too bad, because the potential here is great.

Talk To Me is the latest in a line of more mature horror released throughout the aughts and still going strong in the modern age. You might have seen the trailers and believed that maybe you were in for the same old story structure that you've seen a million times with movies like this but trust me when I tell you that Talk To Me is a refreshing find that continues the nice trend horror has been sticking to lately. The scares are fierce and earned. They don't come cheap. And you won't soon forget them either, as they are some of the most effective I've seen. To say much else would be a spoiler, but don't skip on this one. One of the best pieces of horror in a long time.