SHUTTER ISLAND. (2010) BASED ON THE BOOK BY DENNIS LEHANE. DIRECTED BY MARTIN SCORSESE. STARRING LEONARDO DICAPRIO, MARK RUFFALO, MICHELLE WILLIAMS, BEN KINGSLEY, MAX VON SYDOW AND TED LEVINE. I was glued to this psychological thriller film from the moment it started, but I knew I would be as I’d read the book by Dennis […]
SHUTTER ISLAND. (2010) REVIEW BY SANDRA HARRIS.
IT’S GONNA BE A KILLER CHRISTMAS
A BLOODY ASYLUM SPOILER-FREE REVIEW
SNEAK PEAK AT A NEW YULETIDE HORROR
The latest from Dondi Inferno Productions, Herman Productions, and Photomundo International Entertainment.
In common with many past Herman films, IT’S A WONDERFUL SLICE is an anthology, but this time out all are written and directed by Michael Mousatsos (RAVAGE, RAVAGE NATION, THE BUTCHER). As is always the case with anthologies it is very hit-and-miss.
Mousatsos told BLOODY FILICKS that he wanted to create something different in the stories with fresh ideas as he hates the same old tropes.
The first third is scattershot and random until it reaches the bookend that wraps around and connects the segments. Throughout the feeling is Mousatsos was being experimental with differing styles and techniques. Some of which are more effective than others. While this does not make for a flowing narrative and is jarring at times, it is admirable.
The limited budget is a drawback, as out of necessity most kills are just out of shot or at the edge of the frame. Whereas honestly far more blood, gore, and splatter effects were needed to make them more effective. Nonetheless, the utilisation of what there was to work with is commendable.
Although most of the segments take the form of a killer and their victims, the latter are the more engaging. Making the biggest impression was a demon possession story that takes an interesting approach. Preferring psychological horror, it would have been nice to see more segments in this vein. Hopefully, Mousatsos will venture down this route with future movies as those aspects were the strongest and more suited to the limited resources and budgets.
He also makes a brief appearance as a victim, but would have liked to have seen him in a more substantial role, as in one of his previous films THE BUTCHER he gave an effectively convincing performance as the lead, which would have elevated proceedings here.
For the most part, it did not outstay its welcome with most of the stories and is relativity entertaining.
The lo-fi DIY nature of IT’S A WONDERFUL SLICE may not be to all tastes, but horror hounds that like this type of production will find much to enjoy.
Currently, a distributor is being sort after and a release is hoped for later in the year.
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THE WORLD DIES TOMORROW
A SPOILER-FREE REVIEW OF A NEW RELEASE
BASED ON THE MASUD RANA NOVELS
Masud Rana is a legendary Secret Agent code-named MR-9 of the Bangladesh Counter Intelligence Agency, who for over 55 years has appeared in the widely popular novels written by Qazi Anwar Husain. With over 550 novels and counting published in the series to date by his publishing company Sheba Prokashoni, Masud Rana’s adventures have captivated audiences for more than five decades. This primarily English-language Bangladeshi movie is the first adaptation since MASUD RANA, released in 1974, and draws inspiration from the first novel MASUD RANA: DHONGHSHO PAHAR (DEMOLITION HILL).
An elite Bangladeshi spy teams up with a CIA operative to bring down an international criminal organization headed by a ruthless businessman.
MR-9: DO OR DIE is a reasonably fun movie despite drawbacks. Not taking itself too seriously in a similar vein to the Bond films. The initial inspiration for the source novels back in 1966. The filmmakers here aim to kick-start a similar franchise. And with the wealth of material, they have much to take from. Already, a sequel is in the works.
Producer, director, and co-writer Asif Akbar explains his desire to make this movie, “The character of Masud Rana is very iconic to the people of Bangladesh, even I have been familiar with the character since childhood. You can say, I grew up imagining this character. I’ve always wanted to present this character to the world.”
MR-9: DO OR DIE hits the road running from the very first with an homage to the Schwarzenegger classic COMMANDO. While it aims to emulate Hollywood action movies the production values point to the fact its budget was far less. Of bringing it to the screen Akbar says,
“MR-9: Do or Die has been the most challenging project in my entire career as a film director and yet it made me learn the most. I’ve experienced all the good and bad in this world through the journey of making this film that has taken me all over the globe as a very grateful young filmmaker.”
Starring Abm Sumon as the titular hero, who looks the part and acquits himself adequately, particularly in the action sequences. However, he needed to make the character larger-than-life like Bond but is a little bland to fully convince.
There is good support in Hollywood marquee names Frank Grillo and Michael Jai White who both deliver the expected and invigorate proceedings when on screen. Culminating in the expected fight sequence that is over too quickly. Quite rightly so narratively Masud Rana (MR-9) has to finally despatch the villain of the piece.
While some action and dramatic set pieces are competently staged and shot, many are less so. Grillo and White are seasoned actors comfortable in the action genre whereas some of the less experienced cast come across as self-conscious, and this distracts in some sequences.
MR-9: DO OR DIE is primarily hindered by seemingly budgetary constraints. Most noticeably some of the digital effects work is lacking. The finished film was distinctly elevated in the editing room. Decent work was done at this stage to hone it but could have tightened it up a bit more. The visuals, including drone shots incorporated to add a sweeping feel, and attempt to give it a more dynamic edge. Nonetheless this is not particularly effective.
The original cut seems to have been 140 minutes, yet the now 104-minute runtime dragged in places. Trimming by another 10 or 15 minutes could have made for better pacing and a more engaging experience.
Now I am not going to sit here and say this is a film on par with similar Hollywood action fare, but it would have been unfair to sit down and watch expecting anything approaching that level. Nevertheless it could have been better, but also much worse.
It has to be stressed even though I am a fan of the Bond films, modern action films just are not my thing. So really am not the target audience for MR-9: DO OR DIE.
MR-9: DO OR DIE is a reasonably diverting movie, and may well appeal to those who will enjoy the type of action movie and of productions that make the most of the limitations.
Ultimately it somewhat delivers and entertains on its own terms, but is only a once watch for this reviewer.
With that I will leave the final words to director Asif Akbar,
“I’m grateful and honored to have had a part in bringing this childhood hero of many, including myself to the big screen for the first time in 50 years of its decades-long existence from the creation of the legendary late novelist Qazi Anwar Hossain, sir. Thank you to all the supporters and fans out there, this film is for all of you and it is now a history in the making for a nation.”
EVEN THOSE WHO LOVED HIM WERE NOT SAFE!
A BLOODY ASYLUM SPOILER-FREE REVIEW OF A HAMMER HORROR CLASSIC
Following on from SHE, my first experience of a Hammer film as a 5-year-old, THE CURSE OF THE WEREWOLF would just a couple of years later be my first horror movie proper.
And WOW! What a massive impression it made on my young self. Images and scenes etched into the memory for over 50 years. Specifically, the opening wedding banquet wherein a homeless beggar is cruelly mocked by the obscenely rich groom and guests. A sequence still more disturbing than much of the horror that follows.
My passion for edgy, humanistic, character-centric horror can probably be traced back to one of Hammer’s definitive films. The cornerstone of my lifelong love of their movies.
Released in May 1961, THE CURSE OF THE WEREWOLF is widely considered one of Hammer’s very best. Yet surprisingly it was the only werewolf film they produced. As the first werewolf movie filmed in colour, it would go on to influence cinematic horror much like Universal’s THE WOLFMAN two decades before. Over 60 years later it still holds up as one of the all-time great movies from the golden age of classic horror.
Having previously adapted DRACULA, FRANKENSTEIN, and THE MUMMY it was inevitable Hammer would turn their attention to the werewolf. All three were directed by Terence Fisher who is credited more than any other with creating their unique style. So it was no surprise he would again be in the director’s chair. The distinctive, economical, streamlined Hammer screenplay by Antony Hinds writing as always under the pseudonym John Elder was based very loosely on the novel WEREWOLF OF PARIS by Guy Endore.
In eighteenth-century Spain Leon, a young adopted boy, becomes a werewolf and terrorizes the inhabitants of his town.
The script was shaped to work within the setting changed from France of the novel to Spain to save money as sets were already constructed for another movie set during the Spanish Inquisition. This enforced change added immensely to the finished film and the unique overall aesthetic for the werewolf genre at the time.
THE CURSE OF THE WEREWOLF is among one of Hammer’s most emotionally involved due in no small part to Oliver Reed in his first lead role as Leon. Although not appearing until nearly halfway through still he makes a lasting impression, showing why he would go on to become one of the finest and most daring actors of his generation.
Fisher and Hinds were quite obviously aware a slow-burn narrative was essential to underscore the human aspect. Reed was instrumental in this. Fuelled by his performance, even when his full transformation make-up is finally revealed. Perfectly depicting with gradually mounting intensity the horror and desperation Leon feels. To the eventual realisation of what is happening to him. For this is a film that stands or falls on Reed. And he more than delivered. Grabbing the chance for all it was worth with his moving portrayal of a young man unable to control the affliction of becoming a murderous creature at every full moon. Michael Ripper said that Reed’s intensity scared him when the camera was rolling, which further bolstered their shared scenes. Perfectly highlighting Reed’s committed performance is a sequence involving a door which he grabs and throws. It was in fact made of timber and not the usual light balsa wood.
When Reed was asked in a 1984 interview what movie he would be remembered for he singled out THE CURSE OF THE WEREWOLF because he felt it was one of his best. Going on to say that it was also one of his most enjoyable filming experiences. Adding that working on several Hammer films taught him many things that helped him learn his craft as an actor.
Reed was no doubt helped by being in the company of one of the best ensemble casts to ever appear in a classic British horror, with the veterans on hand to inspire him.
Headed up by Clifford Evans (KISS OF THE VAMPIRE), with Hira Talfrey (WITCHFINDER GENERAL, THE OBLONG BOX) as Leon’s loving and nurturing adoptive parents.
Laying down the foundation of the heart of the story early on is Yvonne Romain (CAPTAIN CLEGG, CIRCUS OF HORRORS, CORRIDORS OF BLOOD). Exceptional as the mute servant girl who gives birth to Leon. Touchingly depicting each emotion in every look and expression.
Catherine Feller as Christine, the woman adult Leon loves, has a believable chemistry with Reed that again re-enforces the human aspect. Both she and Romain, in thinly written roles, like many Hammer actresses created rounded characters that at times transcended the Hammer Glamour tag.
In more or less a supporting role is Warren Mitchell. Many in the UK will know him as Alf Garnett from the sitcoms TILL DEATH US DO PART and IN SICKNESS AND IN HEALTH and may well be surprised to discover he was first and foremost a top-class character actor. In only a few scenes making a big impression.
Hammer regular Ripper, who appeared in more of their films than any other actor, appears briefly, but as ever memorably, as a prison inmate.
However, having a lasting impact on the young me more than any other character was the disturbingly convincing Anthony Dawson (Dial M for Murder, Dr No, From Russia with Love) as the vile groom, Marques Siniestro. More horrifying than any creature Hammer brought to the screen.
The cast aided immensely by Hammer’s always stellar craftsmanship behind the camera. Cinematographer Arthur Grant shows off in all its splendour the ever-exquisite production design by Bernard Robinson that once again transformed the small Bray studios into seemingly vast sets.
Roy Ashton’s werewolf make-up at each transformation stage for both Reed and his stunt double was inspired in its economical design and application. When in full make-up Reed took great delight in scaring cast, and crew. Even on one occasion pranking patrons at a local pub by revealing his hair-adorned body when taking off his shirt.
Finally, every aspect is complemented to perfection by Benjamin Frankel’s evocative score.
At the time this was one of two scripts Hammer had in development. THE RAPE OF SABENA being the other. Both ran into censorship problems. Even though the British Board of Film Censors warned them not to make either they nevertheless went ahead with THE CURSE OF THE WEREWOLF.
Although tame by today’s standards, it was not surprisingly their most controversial film up to that point. Hammer as ever aimed to push the boundaries of what could be depicted on screen. On this occasion, they went too far for the censor’s liking. The combination of far more explicit violence and sex ran foul of the BBFC even at the screenplay stage. At that time all scripts had to be submitted to them for approval before filming could commence.
Yet the problems for Hammer did not end there. THE CURSE OF THE WEREWOLF would subsequently run into more censorship problems. About 5 minutes of enforced cuts had to be made before release, and even more for the US release. The BBFC ordered pretty much all of the violence, blood, and sex to be excised. Integral parts of the narrative that when removed were detrimental to the film’s effectiveness. Reed’s wonderful performance was severely compromised in some scenes, notably the finale, along with key death scenes. Everything excised harmed the narrative flow and impact at crucial times. However, Hammer had no choice but to release this brutally truncated version. This had the effect of their subsequent films being far less graphic.
Only in recent years realising the version I first experienced back in the 1970s on TV was this compromised cut. It would be 30 years later in the early 1990s when the BBC aired the fully restored uncut version and Terence Fisher’s vision was finally shown in all its glory.
On a side note, it should be pointed out that the censorship issues inadvertently had a positive effect. Hammer would go on to produce some very impressive psychological horrors throughout the 1960s and 1970s. PARANOIAC with Reed is one of the standouts that is well worth checking out.
Not unexpectedly on its original cinema release THE CURSE OF THE WEREWOLF was in some quarters critically mauled for its graphic nature, as was commonplace with most Hammer horrors. Nonetheless, overall it garnered very favourable reviews even though it did not quite have the box office success of CURSE OF FRANKENSTEIN or DRACULA. Yet it would go on to be one of their most beloved films.
Revisiting THE CURSE OF THE WEREWOLF yet again memories as ever came flooding back of first experiencing with my grandparents one of my favourite Hammer movies and among those that stands at the pinnacle of British horror.
On Blu-ray it looks and sounds better than anyone involved in its production could ever have imagined. Details being revealed that were pretty much lost in earlier releases. Such as a tear from Reed’s eye that heightens a gut-punch moment.
To round off, just a few words about the version reviewed here. THE CURSE OF THE WEREWOLF is included in the UK five-disc HAMMER THE UNIVERSAL YEARS released in 2015 by Final Cut. Each movie is beautifully remastered. Including plentiful extras spread over the four. Others in the set are BRIDES OF DRACULA, KISS OF THE VAMPIRE, and CAPTAIN CLEGG. On the fifth disc is a revealing documentary covering the Universal years.
A highly recommended collection for fans and not a bad place to start for those wanting a flavour of Hammer.
In the US Scream Factory also released THE CURSE OF THE WEREWOLF as what seems to be an impressive blu ray.
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SHE WHO MUST BE OBEYED!
THE GREATEST ADVENTURE STORY OF THEM ALL…
A BLOODY ASYLUM RETRO SPOILER-FREE REVIEW OF A HAMMER CLASSIC
Following a previous piece highlighting my first gateway horror movie THE GHOST TRAIN is yet another that knee-high me first watched with my horror-loving mum in the early 1970s on afternoon TV. Hammer Films’ remake of SHE was my very first experience of the legendary studio and laid the foundation for a lifelong love of their movies and horror films. Making a huge impression, with images lodging in the memory ever since, most notably the final act. And like many others young and old I was entranced by Ursula Andress’ stunning beauty.
While SHE cannot be strictly regarded as a horror there is much that is synonymous with a Hammer movie. Yet refreshingly and successfully they stepped outside of the horror genre into dark fantasy-tinged adventure and onto a larger canvass.
In 1918 an Edwardian archaeologist and two companions stumble upon a lost city in East Africa ruled over by a beautiful queen whose love holds the promise of immortality.
Billed as “based on the famous novel by H. Rider Haggard” it was previously brought to the big screen several times prior to this. Yet Hammer’s inspiration and intent was to follow in the sandy footsteps of recent epic adventure movies such as LAWRENCE OF ARABIA that were pulling in cinema audiences.
SHE was a co-production with Seven Arts, who paid Andress’ fee after she became a worldwide star two years previously in the Bond film DR NO. As the titular character, she headlines the cast alongside Hammer legends Peter Cushing and Christopher Lee, John Richardson (ONE MILLION YEARS BC, BLACK SUNDAY), Bernard Cribbins (Cushing’s co-star in Dalek Invasion Earth 2050), Andre Morell (Hammer’s Hound of the Baskervilles) and Rosenda Monteros (THE MAGNIFICENT SEVEN) round out the main cast. Coming through in every scene is the feeling they all had a fine old rip-roaring time filming.
While not as strong an actor as the other leads Andress is convincing enough and alluring, making believable that many would do her bidding without question. Although the producers were not happy with her Swiss accent and she was re-dubbed as in DR NO.
Cushing again elevates proceedings as only he could, adding the gravitas he always did, but this time with added humour in the opening scenes. It is also fun seeing him as a character who has an eye for the ladies when in reality he was the polar opposite; described by everyone who knew or met him as a true gent.
Lee in more of a supporting, but key role pretty clearly relished a character far removed from Dracula. Cribbins, not surprisingly, adds a comedic edge in his inimitable style, and some touching moments too.
At the time SHE was Hammer’s biggest budget film to date, their first to be built around a female lead, and the first to move outside of the UK on location. In a reasonably successful attempt to replicate the sand-filled vistas of LAWRENCE OF ARABIA, with shots inspired by David Lean’s classic, particularly a nice transition involving a flame. Although the budget was nowhere close to the level of a Hollywood blockbuster it impresses with what was achieved.
Produced by the prolific Michael Carreras, who oversaw many Hammer films up until 1979. SHE was admirably directed by Robert Day, handling the dramatic and action sequences with aplomb from a typical streamlined Hammer screenplay by David T. Chantler. Production design by art director Robert Jones and cinematography by Harry Waxman are exactly that which marks out Hammer visuals. Topped off by a rousing score to match the Hollywood epics from James Bernard who worked on many Hammer films from THE QUATERMASS XPERIMENT in 1955 until the 1980 HAMMER HOUSE OF HORROR TV series. Special mention needs to be given to Andress’ stunning costume designs by Carl Toms that really do add to her character.
Sadly SHE has yet to be given a Blu-ray remastering like many other of Hammer’s high profile movies.
For years without realising, I have watched it in an image-cropped form. That is until recently discovering it on DVD as part of the region-free Warner Archive Collection. Which is the only release in the correct Cinemascope ratio. What a revelation after all those decades. Even in standard definition via Blu-ray player upscaled and with some print scratches, etc, everything looks and sounds better than it ever has.
Hopefully one day we will see SHE given the loving remaster this classic so richly deserves.
Having returned to it many times over the intervening years, while not quite on a level with Hammer’s best, it is never less than highly entertaining. Transporting me time and again back to being a spellbound 5 year old again.
Dedicated to my horror-loving Mum xxx
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It’s time to say your prayers because God may forgive you, but Angel won’t.
A SPOILER-FREE RETRO-REVIEW
The dawn of the home video revolution in the 1980s saw many films produced specifically for direct-to-video release. A large proportion of which were merely cash-ins on the latest popular genre trend, most at best forgettable. However, there were impressive rarities buried amongst them, some now sadly lost to the mists of time never to be released on DVD. One of those is ANGEL’S DANCE which did get such a release.
To be fair that it was overlooked is not at all surprising since on its UK VHS release in 1999 it came and went unnoticed by most due largely to poor marketing as purely an action thriller. Yet as it stars the underrated Sheryl Lee for a Twin Peaks fan like me who was aware of the release it was a big deal at the time as it sees her in an all too seldom lead role.
Quite honestly but for her ANGEL’S DANCE no doubt would have passed me by back in the day. Happily, that was not the case as it still holds up as among the best of the direct-to-home video movies of the era.
A young hitman in training is asked to prove himself by killing an innocent woman but gets far more than he bargained for.
Now judging by this generic-sounding synopsis it intimates that a by-the-numbers action thriller will unfold, but what actually transpires is a fun film with darkly humorous overtones that is not easy to pigeonhole in one specific genre. To begin with, the story seemingly treads a much-travelled cinematic path. Nevertheless, soon surprises are thrown into this strange cross-genre mix.
Well, that is if you have not read too much of the synopsis or worse still watched the trailer.
Yet make no mistake even though James (Jim) Belushi (Twin Peaks The Return, Red Heat, K-9) is prominent on all the VHS and DVD covers, this is Sheryl Lee’s movie from the moment of her first appearance. For all the genre trappings her transformative performance elevates and sets ANGEL’S DANCE apart. She obviously relished the chance of being in a popcorn film that makes wonderful use of her magnetic screen presence and highlights her gift of creating unique, fully-rounded characters from what on paper are one-dimensional.
As always she throws herself wholeheartedly into the role. Where many other actors would veer into caricature, understatedly she keeps Angel quirkily grounded, making believable her transformation. An exquisitely realised physical manifestation of her taking control of her life. It is inferred that she suffers from a type of autism and has a high IQ, hence she learns things extremely quickly, as depicted when she repairs a fridge freezer from just reading a book on the subject, foreshadowing what will follow.
Not particularly surprising is the comedic elements, with the marquee star Belushi in fine form, alongside Kyle Chandler (Friday Night Lights, Bloodline, The Wolf of Wall Street, Godzilla: King of the Monsters). Making for a buddy duo of sorts, with a nice rapport, bouncing off one another with the genre cliché of pre-requisite banter they hurl at each other, adding to the entertainment value. Jon Polito (a Coen brothers favourite. Miller’s Crossing, Barton Fink, and The Man Who Wasn’t There) is as memorable as ever in a hilarious cameo as the mob boss.
David L. Corely directs with a no-frills approach from his script which at times stretches credibility to almost breaking point. The tone and “weirdness” are distinctly a fairly effective attempt to tap into Lynchian quirkiness. Sheryl Lee as Angel was instrumental in that and could well have been added after she was on board. Also in parallel, there is a Coen brothers feel, particularly early on. Again probably no coincidence that Polito appears in three of their films. These vibes sit well together and are never as jarring as they could have been due to the overall comedic approach.
By the final scenes I still find myself wanting more of Angel and her story as it feels left open for a sequel(s) or even a TV series, but unfortunately neither happened. Honestly, the reason is the unique talent of Sheryl Lee in movies and TV is always very welcome.
ANGEL’S DANCE cannot be claimed to be one of her best films and is not as substantial as it could have been, but her character is certainly up there with her best performances. When all is said and done if belief is suspended it is a whole lot of fun and its aim of entertaining was certainly achieved. A much-loved favourite that regularly I return to.
Fans of Sheryl Lee and Twin Peaks will find worth seeking out the rare out-of-print DVDs that can be found at reasonable prices and may even find it streaming, particularly in the US.
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BUT BE WARNED THERE ARE MAJOR SPOILERS
EVERY TEEN THINKS TERRIBLE THOUGHTS… HER’S ARE DEADLY!
A BLOODY ASYLUM SPOILER-FREE RETRO REVIEW
When her closest friend is a victim of a cruel prank after being manipulated by the popular crowd, quiet and bookish Rachel decides to get back at the guilty parties.
As sequels go over the decades there have been entries in countless franchises too numerous to mention in the horror genre, some better than others. Back in the 1990s, with some exceptions, they were on the whole limited to one, two, or possibly a trilogy. Many were sub-par or worse, adding nothing new or unexpected, or just a complete recycling of the first movie.
Having never been tempted to watch THE RAGE: CARRIE 2 until now after coming across a lot of positivity I decided to finally relent and was surprised to discover a buck to the trend. Admittedly it does not reinvent the sequel and has issues in quite a few aspects. Nonetheless, it certainly surpasses expectations.
Brian DePalma’s classic influential adaptation of Stephen King’s first novel CARRIE is an acknowledged horror masterpiece in many quarters. Therefore any sequel or remake is in all honesty going to struggle to match its cinematic mastery. So in many respects comparing THE RAGE: CARRIE 2 to it is extremely unfair.
Unfortunately, sequels do not exist in a bubble, and comparisons are unavoidable. The blame for it being tagged an artistic failure, which it certainly is not entirely, squarely lies with whoever thought it wise to retool THE CURSE, as it was initially known, to an ill-advised, contrived sequel.
Also bringing back Amy Irving as Sue Snell from CARRIE to bolster the connection further baits comparisons. To be fair though, she impresses with what she had to work with, occasionally adding unexpected emotional weight.
Sissy Spacek, who played Carrie in the original, giving it her seal of approval after watching an early cut by allowing footage of her from the original to be used highlights it as exceeding its negative reputation. Yet it has to be acknowledged inclusion of those scenes was another misstep as it further reminds us that CARRIE is a far superior movie.
Nonetheless, for all the hindrances it had to navigate, Katt Shea’s movie is more accomplished than it has any right to be and is one of the stronger King adaptations. As for the most part it is character-driven like his novels. Over the years since its initial release THE RAGE: CARRIE 2 has garnered acclaim amongst some horror fans for the themes and the way they are handled. Which is hard to argue against.
From a solid screenplay by Rafael Moreu, Shea created a film that intelligently explores toxic masculinity and bullying. Evermore relevant subjects. With themes of suicide, and dealing with grief and trauma sensitively depicted.
Many of the characters are little more than one dimensional, but Emily Bergl as Rachel is outstanding. Dealing with a traumatic childhood that sees her growing up with uncaring foster parents, as she along with her best friend Lisa, a standout Mena Suvari, are outsiders at high school. When Lisa comes to realise she is being cruelly pranked and shocking tragedy strikes. A sequence that had me gasping and stunned.
Special mention should also be given to Dylan Bruno as the main prankster who injects character substance into a few scenes depicting peer pressure. But unfortunately, his subplot is not fleshed out as much as it could have been. Similarly too is Jason London’s Jesse who falls for Rachel.
Yes, not unsurprisingly there are many similarities, and as events progress and escalate the narrative becomes more like CARRIE, but not so much that it is detrimental to the whole. Culminating in the expected, but inventive, set-piece final with kills more graphic than the original that inject some emotional weight in amongst the carnage and bloodshed.
In no small part, the subject matter and Bergl’s performance elevate what could have been mediocre to a horror of some substance that eclipses many a modern movie.
Sadly THE RAGE: CARRIE 2 has fallen by the wayside due to being hampered as a needless, shoehorned sequel to a classic. Nevertheless, take that out of the equation, objectively viewing it as simply THE RAGE and a stand-alone film, as I did, and what we are left with is a fairly impressive, somewhat thought-provoking horror movie that deserves more love.
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MY THE BLOODY ASYLUM PICKS OF THE LAST 12 MONTHS
As has become the norm there are a few less obvious choices highlighted and some cannot be pigeonholed within obvious genres. All but one was released in the UK to stream throughout 2023.
In many there is much to admire and some just because they were a lot of fun and left a smile on my face.
Without further rambling here goes with my picks:
Season 6 of an anthology series that explores a twisted, high-tech multiverse where humanity’s greatest innovations and darkest instincts collide.
Writer/creator Charlie Brooker’s terrific Netflix series was finally back with a new season. And it was a return to form after a below-par, for what has come to be expected, Season 5. The most striking Season 6 installments number amongst the finest of the entire run to date:
LOCH HENRY
A young couple travel to a sleepy Scottish town to start work on a genteel nature documentary – but find themselves drawn to a juicy local story involving shocking events of the past.
Ingeniously subverting the mockumentary genre by instead focusing on the behind-the-scenes creation rather than the usual documentary style and in so doing becoming possibly one of the very best installments. A thought-provoking exploration of true-life crime documentaries. Unpredictable, scary, disturbing, with a vein of superbly pitched and placed black humour, with an unexpected shocking, emotional, gut-punch ending.
BEYOND THE SEA
In an alternative 1969, two men on a perilous high-tech mission wrestle with the consequences of an unimaginable tragedy.
A big hint is given in THE ILLUSTRATED MAN novel highlighted by a character that this episode is hugely inspired by Ray Bradbury, and it certainly does perfectly capture the feel of his work. Starring Aaron Paul, Josh Harnett, and Kate Mara who create absorbing characters that power an engaging story with a shocking denouement.
Along with LOCH HENRY, this showcases BLACK MIRROR at its very best.
Luca Guadagnino delivered quite the original horror movie with this take on a well-worn genre staple that I will not spoil here.
Maren (Taylor Russell), a young woman learning how to survive on the margins of society, and Lee (Timothy Chalamet), an intense and disenfranchised drifter, meet and join together for a thousand-mile odyssey which takes them through the back roads, hidden passages, and trap doors of late 1980’s America. But despite their best efforts, all roads lead back to their terrifying pasts and to a final stand that will determine whether their love can survive their otherness.
From a first-class screenplay by David Kajganich based on the novel by Camille DeAngelis, much like Guadagnino’s masterly reworking of SUSPIRIA, he brought a uniqueness of his inimitable style. Starring the exquisite pairing of Russell as Maren and Chalamet as Lee, with a phenomenal supporting cast including Mark Rylance, Chloe Sevigny, Andre Holland, David Gordon Green, and Jessica Harper.
BONES AND ALL is at its heart a character-centric coming-of-age drama in the mould of 70s road movies, particularly BADLANDS. In a similar vein, it has a poetic beauty with an unexpectedly touching core in amongst the sparingly placed shocking and disturbing sequences.
An oddball group of cops, criminals, tourists and teens converge on a Georgia forest where a huge black bear goes on a murderous rampage after unintentionally ingesting cocaine.
Another very divisive movie that I thoroughly enjoyed. An insane laugh-out-loud ride with blood, gore, splatter, and one of the most adorable dis-disembowelling ever. Unbelievably inspired by a true story, very, very, very loosely.
A starry ensemble of larger-than-life characters cross each other’s path and most meeting grisly ends at the claws of the real star – a coke-fuelled titular bear.
Director/co-writer Elizabeth Banks mines the absurd premise for all its comedic blood-soaked worth, proving herself once again a very assured crowd-pleasing, popcorn film-maker.
The Mantle twins, identical from head to toe, are on a mission to change the way women give birth.
Remakes and reboots over recent years very rarely have worked and I loving David Cronenberg’s 1988 masterpiece was less than enthusiastic about this new adaptation of the novel TWINS by Bari Wood.
That is upon hearing Rachel Weisz would be playing the twins Beverly and Elliot.
She was astounding in convincing that the two sisters are her alone and also in so doing giving empathy to both, equalling Jeremy Irons in the original, This adaptation of the novel is far removed from Cronenberg’s version, with the most inspired choice in changing the twins’ gender, which lends a far different dimension.
One of the best series and most original remakes of the last decade.
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While staying at an isolated island resort, James (Alexander Skarsgård) and Em (Cleopatra Coleman) are enjoying a perfect vacation of pristine beaches, exceptional staff, and soaking up the sun. But guided by the seductive and mysterious Gabi (Mia Goth), they venture outside the resort grounds and find themselves in a culture filled with violence, hedonism, and untold horror.
Brandon Cronenberg followed up his magnificent sophomore feature POSSESSOR with another confident piece of intelligent extreme cinema. INFINITY POOL explores varied themes, most notably around wealth, entitlement, and accountability. Many reveal themselves more clearly with multiple viewings, yet still leave an air of subjective ambiguity in its conclusion. All through a drug-induced, dreamlike, and ultimately nightmare lens.
Skarsgård, as only he could, portrays a not particularly successful writer on a seemingly glamorous holiday retreat with his wife played by Colman who meets an infatuated fan in Goth’s Gabi. But all is not what it seems as Goth again delivers another unhinged character in her inimitable style, and this time out far more disturbing for her never overplaying it in grounded realism. Again showcasing herself as one of the best actors of her generation.
Cronenberg’s movies may seem inspired by his father David Cronenberg, but he has his singular voice.
POSSESSOR is probably my favourite of his movies, yet INFINITY POOL is still leagues ahead of, with more substance than, most mainstream offerings.
Be invited into some very different and enigmatic No.9s, where the ordinary and mundane rub shoulders with the extraordinary, macabre, and comedic in this genre-mixing anthology series.
One of the most consistently high-quality series of the last 30 years. Steve Pemberton and Reece Shearsmith never fail to throw up many surprises in the mould of the classic British series of the 70s and 80s TALES OF THE UNEXPECTED, intelligently and entertainingly mixing up genres with each new episode. The title is in actual fact an homage to the 1944 movie GASLIGHT starring Ingrid Bergman, where the murder and manipulation takes place at Number 9 Thornton Square, as does happen in many episodes.
This penultimate season was the most horror-centric to date. It is nearly impossible to pick out highlights, but the most memorable was the inventive spin on the game show in 3X3 and the M.R. James inspired 2022 Christmas special THE BONES OF ST. NICHOLAS.
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M3GAN, or MEGAN is without a doubt one of those movies that will either be loved or hated.
When Gemma suddenly becomes the caretaker of her orphaned 8-year-old niece, Cady, Gemma is unsure and unprepared to be a parent. Under intense pressure at work, Gemma decides to pair her M3GAN prototype with Cady in an attempt to resolve both problems. A decision that will have unimaginable consequences.
While there is not one iota of originality, quite simply this Blumhouse film, one of my favourites of their productions, was an absolute blast! B-movie-inspired hokum with heart, action, humour, and laugh-out-loud death scenes, particularly in the more bloody unrated cut.
An exiled anxiety-ridden homebody must battle an alien who’s found its way into her home.
Writer & director Brian Duffield delivered one of the most inventive and entertaining genre movies of the year. An inspired wordless sci-fi horror with a superb lead performance from Kaitlyn Dever as a young woman fighting for survival.
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A young man murders women, using a movie camera to film their dying expressions of terror.
No apologies for including this Michael Powell directed masterpiece as many may not have even heard of, much less seen it. Originally released in 1960 to huge controversy and was pulled from cinemas very soon after.
PEEPING TOM was rediscovered after it was thought lost forever until nearly 20 years later in 1979 when a print was found for Martin Scorsese who financed a restoration. Yet in those 40-plus years, it was near on impossible to watch in the US even though it had UK home video releases. Finally, getting to watch it for the first time, and on the big screen in a stunning 4k restoration, was an unforgettable experience.
A still disturbing, realistic depiction of a psychopath that still retains the power to shock.
Struggling to find his place at Oxford University, student Oliver Quick finds himself drawn into the world of the charming and aristocratic Felix Catton, who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten.
Emerald Fennell followed up her acclaimed debut feature PROMISING YOUNG WOMAN with my best film of 2023. A satirical gothic psychological drama with horror undertones and dark humour that surpasses it on every level. Barry Keoghan commands the screen with a beautifully multi-faceted portrayal of an Oxford student who wants to fit in with the rich entitled.
A superbly constructed movie that takes in myriad inspirations and wrong foots at every turn.
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A HORROR MOVIE UNLIKE ANY OTHER
A BLOODY ASYLUM SPOILER-FREE REVIEW
The prequel to 2021’s X is unequivocally one of the best and most original horror films of the last decade. Ti West’s PEARL is an all too rare follow-up that is warranted, adding layers to, and improving the original.
In 1918, Pearl, a young woman on the brink of madness pursues stardom in a desperate attempt to escape the drudgery, isolation, and lovelessness of life on her parents’ farm. Lusting for a glamorous life like she’s seen in the movies, she finds her ambitions, temptations, and repressions all colliding…
Set 60 years before X, PEARL is an eye-popping throwback to golden age Hollywood movies of the 40s and 50s, including a huge dose of THE WIZARD OF OZ; and quite early on what feels to be an homage to Tobe Hooper’s EATEN ALIVE. Which sets out the juxtaposing tones that throughout meld perfectly.
Mia Goth as Pearl, the brutal killer she portrayed in the first film, is quite simply sensational. An unbelievably committed performance, immersing herself in the character with wonderfully sublime nuances as she slowly morphs into the older Pearl we first met in X. Taking mannerisms, etc back to the younger version of the character similar to Robert DeNiro in THE GODFATHER PART II.
By the third act as much as you feel you should be repulsed by Pearl the empathy she endows the character with makes heart-rending moments almost unbearable to watch.
West along with Goth in actual fact conceived and wrote the script for PEARL during enforced lockdown before filming of X commenced not knowing if it would be greenlit by the studio. Yet writing it was all the more straightforward as Pearl’s back story was already fleshed out to give Goth a foundation to create the older Pearl in X.
Goth’s standout scenes, among many, are the heart-wrenching audition scene, a 7-minute monologue in the third act, and an astounding final sequence over the closing credits that focuses entirely in close up on her face; going from funny to disturbingly excruciating.
Incredibly this shot was not planned and came about on the spur of the moment during filming. West originally envisaged a freeze-frame shot to match and bookend the opening but thought it would be interesting to see what would happen if Goth just held the look as long as she could. And inspired a choice it was too as it is unforgettably haunting.
PEARL thus far is West’s best film, but with anticipation high for the trilogy’s closing final chapter MAXXXINE after Goth declaring it to be the best script of the three that may not be for much longer.
A striking achievement of inspired film-making with Mia Goth at her most captivating, unhinged, and heart-breaking best.
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ANNE RICE’S CLASSIC NOVEL REIMAGINED
A BLOODY ASYLUM SPOILER-FREE REVIEW
One of the most unexpected surprises of recent years is this spellbinding re-imagining of Anne Rice’s classic novel that was made with her full involvement before her sad passing.
Based on the iconic novel, the first of THE VAMPIRE CHRONICLES, it follows Louis de Pointe’s epic story of love, blood, and the perils of immortality, as told to the journalist Daniel Molloy.
When hearing of this new adaptation, and being a fan of the novels and Neil Jordan’s Tom Cruise starring 1994 film, I was less than enthusiastic and had no intention of watching. Yet upon hearing a lot of positivity, especially from our own Rachael was convinced to check it out as in the UK it is now available to stream on BBC iPlayer. US horror hounds can watch it via AMC.
The changes made, that seemed unnecessary, work beautifully. The casting is spot-on. Sam Reid is an absolutely perfect Lestat, straight from the pages of the novel. Jacob Anderson while a significantly different take on Louis is superb and matches Reid all the way, with some wonderful interplay between them. However, Bailey Bass as Claudia, this time made a teenager, comes close to eclipsing her co-stars and injects zest into proceedings and laugh-out-loud dark humour among the bloodletting. Although sadly she has had to drop out after completing Season One.
Superbly written and excellently balancing being faithful to the source while delivering plentiful surprises for those who have read the novels and seen the film. Praise also needs to be heaped on the stunning production design, cinematography, effects work, and music.
While maybe not bettering the original movie it is certainly on a level after this opening season. If the promise is met in the coming years the seasons that follow they could well see it becoming the definitive adaptation.
For fans of the novels, the film, and the vampire genre it cannot be recommended enough.
Roll on 2024 and the highly anticipated Season 2 that is currently in production.
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MR GEEKY 