Before this review can proceed, a few significant stigmas need to be pointed out. The first one is how short films are seen to be inferior to feature-length films just due to the fact that they are short. While the second one is how female filmmakers are thought to be averse to genre filmmaking; particularly the horror genre. Nothing could be further from the truth, as these statements are fatuous, demeaning and stupid. Anthologies and short films have been calling cards for many renowned filmmakers regardless of genre eg. Andrea Arnold's Oscar-winning short film Wasp (2003); while female filmmakers have been making many stellar examples of genre filmmaking -- eg. Jennifer Kent's The Babadook (2014), Mary Harron's "American Psycho" (2000), Julia Ducournau's "Raw" (2017) and many, many more.
Being a die-hard horror fan, I’m always on the lookout for new, original stories that are ready to unleash new horrors on viewers. That’s what drew me to Franck Khalfoun’s newest film, “Prey” – an abandoned island creature feature that’s strong enough to look past its flaws. The film follows Toby (Logan Miller), a high school senior who is sent to a rehabilitation program after his father (Anthony Jensen) is murdered by carjackers. In this program, Toby is forced to stay on an uninhabited island as his final test in order to “find himself” and work through his issues.
As part of their Huluween celebration, Hulu released “Little Monsters” (written and directed by Abe Forsythe) on October 11, 2019. The comedic zombie-horror flick comes just in time for spooky season and boasts a star-studded cast including Lupita Nyong’o (“Us”, “12 Years a Slave”, “Black Panther”) and Josh Gad (“Frozen”, “Beauty and the Beast”). Even with so many of the right ingredients, “Little Monsters” doesn’t follow through. Many of the jokes fall flat and the one-note characters make the film drag even though it’s just over ninety minutes long.
When making that perfect meal, there are two key rules - follow the recipe, and get the very best ingredients. Everything else is just adds to the general appearance, but if you get those basics right? You won't go far wrong. Making a film is pretty similar - get the right story, and deliver it with the best creative team, and you'll almost certainly get an enjoyable film. "Jennifer's Body" is the exception that proves this rule. Let me take you back to 2009. Megan Fox was one of the hottest properties in cinema, with her face and body being plastered all over the unfathomably internationally successful first couple of entries into the Transformers franchise. Amanda Seyfried was a key part of popular movies like "Mean Girls" and "Mamma Mia!", along with a major role in hip TV show "Veronica Mars".
"Body at Brighton Rock" is a horror film. However, it's not a very well executed one. There are a lot of jump scares in all the right places: a hand on the shoulder, a loud noise, someone jumps out from the bushes. When well-executed, the jump scare can be very effective. A prime example is in "Jaws", or in "The Shining". However, for the case of Body at Brighton Rock, the jump scare is used as a lazy way to keep the viewer awake, rather than actually scaring them. As a result, you walk away from this film feeling deeply unsatisfied.
"The Babadook" is the type of horror flick I love; one where the threat — in this case, the monster — works as both an internal and external threat. The unique creature design is simultaneously whimsical and menacing. Think, the hybrid that one would get if they were to describe Nosferatu to a child and have that child illustrate the description.
By Dominic Corr Since the involvement of the Mexican government in 2006, the war on Drug cartels and trafficking have torn apart the cultural landscape of South America, surprisingly without much focus from many Western nations. With upwards of 160,000 recorded deaths, with many children being hidden on the fatality list, 'Tigers Are Not Afraid'... Continue Reading →
The 31 days of horro continues with Netflix's Bird Box directed by Susanna Bier. Sandra Bullock leads as the film follows the events of an apocalyptic force making people commit suicide if they look at it.
It is tragic that this year’s Halloween season has seen barely any worthwhile horror shaking up the box office. Sure, Robert Eggers’ “The Lighthouse” is being released here and there, but if what I’ve seen on #FilmTwitter is anything to go by, the film is still quite inaccessible to quite a substantial amount of people. So, if like me, you’re spending your Halloween on the couch of a friend’s house, with some pumpkin spice--allow me to suggest you revisit Steve Miner's "Halloween: H20".
Only two (arguably three) of the six “Halloween” films released prior to this are worthy of a recommendation. This film--set 20 years after the events of Laurie Strode (Jamie Lee Curtis) barely escaping the hospital with her life on that fateful Halloween night--seems to have capitalized on the cultural zeitgeist of the “Scream” films (also worthy of a Halloween slasher binge).