Us

Tags

2010's, Elisabeth Moss, Evan Alex, Horror, Jordan Peele, Lupita Nyong'o, Shahadi Wright Joseph, Tim Heidecker, Us, Winston Duke

Director

Jordan Peele

Starring

• Lupita Nyong’o
• Winston Duke
• Shahadi Wright Joseph
• Evan Alex
• Elisabeth Moss
• Tim Heidecker

A sophomore horror from Jordan Peele after the success of Get Out, Us may not reach the heights of its predecessor but it undoubtedly has something to say and is bolstered by fine acting.

As a child, Adelaide (Lupita Nyong’o) was traumatised when she wandered into the hall of mirrors at the Santa Cruz boardwalk. She encountered what seemed like a doppelgänger but was never able to bring herself to tell her parents what happened. As an adult, Adelaide is now married to the affable Gabe Wilson( Winston Duke) and has two children, daughter Zora( Shahadi Wright Joseph) and son Jason(Evan Alex). They are visiting Santa Cruz once more so they can see the wine-swilling and discontented Kitty(Elisabeth Moss) and Josh(Tim Heidecker), both friends of the couple. Adelaide has never confided in anyone about what happened all those years ago and is unsurprisingly apprehensive. While there, Jason wanders off which really terrifies Adelaide as it brings back bad memories and they return to their holiday home. A series of other coincidences alarm Adelaide and just as she is confessing to Gabe about her trauma , an eerie sight comes into view. To the horror of the Wilsons, they discover the figures outside are their doppelgängers . Menaced by their sinister counterparts, they are thrown into terror. And it appears that doppelgängers are not just for the Wilsons, but for many others too. Desperate to survive and protect her family, Adelaide must attempt to outwit the doubles and figure out their origins before it’s too late.

Jordan Peele is clearly going for something more ambitious here and displays immense talent too. Not every decision he makes is good, but he is largely at home with this kind of work. In relation to the highlight that was Get Out, Us falls short. But Get Out set a very high standard that it would be impossible to reach that level of success. On the praise front, Us most certainly keeps you glued with an unusual rhythm and the fact that we aren’t spoon fed information and is open to interpretation. Peele has you sympathise and get to know the Wilsons before all manner of hell breaks loose, which is commendable especially in the case of Adelaide. I don’t think Us will be a movie for everyone as it’s horror but with a difference. I’m firmly in the middle as of now, but I think the positives are outweighing the negatives.

Once you settle into the groove of the movie, Us begins to reveal its themes and message. And while it bites off more than it can chew, I was impressed by the allusions it made to the oppressive nature of society and duality. This is backed up by symbolism that eagle eyed viewers will eat up as it all means something. The humour gets a tad excessive and I would have appreciated Peele reigning it in a bit more. I found that some laughs overshadowed what Us was going for and didn’t really help. But the horror and off kilter imagery stands out for a start and continues throughout Us. It has been more than a bit overhyped, but definitely has its merits more than its faults. I feel that Us is one of those movies that will improve when watched again as there is mystery there and I’m sure parts that we might have missed. So watch this space as my mixed opinion may change in the future as I think more on it. There is some chewing the cud to do that’s for sure and certain.The score is pretty stellar at conveying the overall eerie and downright spooky nature of Us, while a well chosen soundtrack is in full swing too with many a highlight of juxtaposition.

The cast do wonders, especially considering each is playing two people. Lupita Nyong’o is the biggest standout with two fantastic and very convincing performances. While Adelaide is frightened but eventually strong, her doppelgänger is sinister and unnerving. She finely judges both roles and it’s simply amazing how much she puts into both, from the fierce look in Adelaide’s eyes to the skin-crawling voice of her double. It takes a strong actress to convince as two very different characters, but Lupita Nyong’o is more than up to the challenge. Nyong’o deserves nothing but praise for her accomplishment here which is two completely different performances executed handsomely. Winston Duke injects a lot of humour into the role of affable father and husband, he does get some of the best lines and runs with them with fine comic timing. He also provides a hulking presence as his creepy double. Usually kids in horror movies fall into two categories; believable and annoying nuisance. Thankfully Shahadi Wright Joseph and Evan Alex are in the former category and hold their own against more experienced co-stars. In a small but memorable role, Elisabeth Moss conveys the dissatisfaction and vanity of her character with ease and commitment. Then she turns it up a few notches as a nefarious but strangely tragic double. Tim Heidecker supplies good support too as her husband.

A bit overly ambitious but nonetheless creepy and with many messages among the horror, Us gets by on atmosphere and excellent acting, particularly from Lupita Nyong’o.

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Get Out

Tags

2010's, Allison Williams, Betty Gabriel, Bradley Whitford, Caleb Landry Jones, Catherine Keener, Daniel Kaluuya, Get Out, Horror, Jordan Peele, Lil Rel Howery, Marcus Henderson

Director

Jordan Peele

Starring

• Daniel Kaluuya
• Allison Williams
• Bradley Whitford
• Catherine Keener
• Lil Rey Howery
• Caleb Landry Jones
• Marcus Henderson
• Betty Gabriel

An auspicious debut from TV comic Jordan Peele, Get Out is horror/mystery with a socially aware slant and provocative examination of race relations that is both chilling and

Chris Washington(Daniel Kaluuya) is an African-American photographer who has been dating Rose Armitage(Allison Williams) , who is white. Rose invites him to meet her parents, but Chris is apprehensive of their reaction. They live in plush surroundings in upstate New York and Rose eventually persuades Chris to come with her. Upon arrival, things seem to go well with neurosurgeon Dean(Bradley Whitford) and psychiatrist Missy(Catherine Keener). But although Missy and Dean seem to welcome Chris , their attempts at being friendly and not bothered by his ethnicity come off as very heavy-handed. This is despite the fact they claim to be open-minded people and ones of culture. There is something decidedly off about them that only continues in the ensuing days. Chris was warned by his best friend Rod( Lil Rey Howery) about the way the parents might react but he thought his friend was being overly paranoid and over thinking things. Adding to this deep unease is that two of the servants,  in the house are African-American and act very strangely towards Chris. Rose assures him that her family is cool with him, but Chris is unable to shake off the vibe that something sinister is underlying him stating there. As the feeling of paranoia and terror increases(though he attempts to pass it off as Rose’s parents being shocked she is dating a black man), Missy at one point hypnotises Chris without him agreeing to it, Chris soon realises that he is at the centre of something very twisted indeed. He was mainly worried about how Rose’s parents and social circle would reacted to him dating their daughter, but that’s the least of his worries in this creepy horror flick with something to say.

As first time director, Jordan Peele infuses Get Out with a building tension right from the start. He’s clearly well versed in horror as he is in comedy, which both featuring throughout. It’s the confidence of Peele as a first time director that stands out here and impresses with how he takes the time to set up the story and pull you in on the horror that unravels. You’ll probably never look at bingo or the chiming of a spoon on a teacup the same way again after viewing Get Out. While being a very disturbing horror film with oodles of atmosphere, Get Out is also at times laugh out loud funny. It’s got a snappy wit that is best embodied by Chris’s best friend. He says outrageous things but they are often not far from the strange truth st the centre of the film. Wit also appears in the form of satire at people who claim to be open-minded, when in actual fact are very much prejudice. Peele’s writing, which won an Oscar, lampoons this and blends it with the unnerving sense of something being very wrong with the family Chris meets. Get Out is the kind of film I can imagine revisiting again, in order to discover things I may have not noticed upon first viewing. And that’s a compliment at least in my movie viewing book. A dissonant music score keeps you constantly on edge with screeching violins and occasional choral chanting. Also pervading the heavy atmosphere is a moody cinematography that’s also extremely complimentary to the story.

Heading the cast is the talented Daniel Kaluuya. He possesses a kindness, skepticism and realisation as Chris that makes you relate to him. His look of bewilderment at the events often mirrors our own way of approaching the unusual catalogue of creepiness that takes form. Put simply, Kaluuya is an impressive lead who is clearly going places. Allison Williams is also very good as Rose; who might not be what you think when you first look at her and is a testament to the talent of Williams. Bradley Whitford and Catherine Keener are sublimely excellent as the unusual patents whose privileged existence masks something extremely sinister. Both exude a certain level of menace but intelligence too, which is a dangerous yet effective combo. Further creepiness comes in the form of Caleb Landry Jones who has a very offbeat but worrying vibe to him, backed up by Marcus Henderson and Betty Gabriel who seem to have stepped out of The Stepford Wives and into the 21st century. Stealing the show in his appearances has to be Lil Rel Howery, who is an absolute hoot providing the social commentary and outrageous humour of the piece. He’s laugh out loud and heroic at the same time and I very much enjoyed his performance whenever he appeared.

Splendidly unusual, darkly amusing and topical in themes, Get Out succeeds as a very creepy and unnerving horror that stands out indeed and comes highly recommended from me.

The Killing of a Sacred Deer

Tags

2010's, Alicia Silverstone, Barry Keoghan, Colin Farrell, Horror, Nicole Kidman, Psychological Horror, Psychological Thriller, Raffey Cassidy, Sunny Suljic, The Killing of a Sacred Deer, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Colin Farrell as Steven Murphy
• Nicole Kidman as Anna Murphy
• Barry Keoghan as Martin
• Raffey Cassidy as Kim Murphy
• Sunny Suljic as Bob Murphy
• Alicia Silverstone as Martin’s Mother

An unsettling psychological horror with the trademark Yorgos Lanthimos touch and reference to Greek myth, The Killing of a Sacred Deer is very disturbing but impossible to turn away from.

Cardiologist Steven Murphy has it all; a great career, a beautiful ophthalmologist wife Anna and two young, well-behaved children, Kim and Bob. His picture perfect life in the suburbs is seemingly here to stay, but there is a tiny and disturbing hitch too it. He has a friendship with a 16-year-old boy named Martin, who he meets and showers gifts upon. Although is friendly with Martin and introduces him to his family, there is something decidedly off about the whole arrangement that you can’t shake. And soon enough, the demanding Martin, when he’s not trying to set up Steven with his mother, becomes a thorn in side. He becomes more dependent and doesn’t seem to understand that his presence is not always needed. His obsession grows and starts to worry Steven, who mainly took interest in the boy after his father, who he treated earlier, died . Then, out of nowhere, Bob loses the use of his legs and is hospitalised. This is soon followed by Kim, which begins to have an impact on Anna who is in the dark on what is happening. Steven starts to unravel too as things turn worse for his idyllic family and he’s thrown into a tailspin. Yet as illness sets in, an increasingly menacing Martin reminds Steven of a past mistake of his that links to the young boy’s life. Soon everything is under crisis and  Steven’s existence is torn apart by his past actions and the boy who wants to even what he sees as the score.

With a catalogue of films that revel in dark subject matter, unusually black humour and an all round weirdness, Yorgos Lanthimos has really made a name for him. The Killing of a Sacred Deer is Yorgos Lanthimos working fluently and creatively to fashion a story of deep-seated revenge and culpability. He has this bubbling intensity and creeping eeriness that happens right from the startling opening of an open heart surgery. You know from that point on it’s going to be a disturbing movie, but what a movie it is. Lanthimos is in control here; cold and calculating in the style of Stanley Kubrick whose work clearly has an imprint. And while Martin is what seems to be the main antagonist of the piece, the other characters also sport unusual tendencies that mark them out as not as innocent or polished as they outwardly appear. For example, Steven is an arrogant man who can’t handle not being able to exercise control over things. This extends to his love life with his wife, who he has pretend to be under anaesthetic when getting intimate. The deadpan, almost robotic way of talking that has come to populate the work of Lanthimos is here, but does also allow for shadings of emotion and drama in there. And the uneasy and uncomfortable humour further sears itself on to the mind, as characters behave in ways that seem at once alien and yet so ordinary. It’s the kind of humour that you don’t know whether to laugh at or question, and is all the better for it. It sure keeps you on your toes as you navigate another weird world from the mind of Yorgos Lanthimos. And though some of it might sound familiar to lovers of psychological horror, it’s the execution that truly counts and Sacred Deer delivers with its own twist on things.

With long corridors of scrubbed white, cavernous interiors and a zooming, voyeuristic camera, The Killing of a Sacred Deer also deserves praises for what it visually gets across to the viewer. It’s a sinister and slithering atmosphere of increased dread as evil and retribution combine and you feel the hairs on the back of your neck stand up. Credit must go to the cinematographer that is Thimios Bakatakis for imbuing The Killing of a Sacred Deer with such an impending aura of doom and inevitable woe. We often observe characters from a distance or from a looming height; neatly edited and giving the impression of spying on events as they take shape.  The whole psychological aspect of having to make a horrifying decision for something you’ve done is creepy and more than makes its mark on you as the gears of tension continue turning. Discordant strings telegraph that something is not right from the word go and the addition of opera accentuates the tragedy here. The film is influenced by a Greek myth that gives the movie its title and accordingly, the swelling and rumbling of music heralds the approaching agony of loss and blame. Those looking for a comfortable viewing experiences better check those expectations at the door as The Killing of a Sacred Deer is not one for the easily frightened or spooked.

Colin Farrell, who was so good in The Lobster, plays someone spineless and full of themselves here. His character’s  life is so meticulous and to his liking that it’s given a royal kicking when horror unravels. Sporting a bushy beard and his real accent, Farrell is extremely watchable as the cardiologist haunted by the past. Equally as good is the ever dependable Nicole Kidman, who’s been on a roll recently with her performances. With her face that silently projects inner turmoil and frazzled intensity, she’s ideal for the role here that could have easily just been a throwaway part. With Kidman in it, it’s impossible for it to be anything less than stellar, particularly when she comes into her own in the latter half of the film and everything gets laid bare. The Killing of a Sacred Deer is my first introduction to young actor Barry Keoghan. And if the rest of career is as good as his work here, great things await him indeed. He has this naturally mysterious and sinister presence, complimented by how he speaks the dialogue in a halting but intimidating way. It’s enough to set you on edge and Keoghan knocks it out the park as a vengeful teen, dishing out his brand of justice to an idyllic family. Raffey Cassidy plays the daughter of Steven and Anna; who is drawn to Martin even though he’s the one out to ruin her family. Young Sunny Suljic portrays the son, who is the first to fall ill and crank up the eeriness. And it’s nice to see Alicia Silverstone back on screen again with a very memorable one scene performance. She gets the movie’s best line after she is rejected by Steven for putting the moves on him. Everyone gets in to the mindset of the film and the unusual demands of it.

A spine-chilling, deeply unnerving and memorable horror/thriller with psychological terror at the centre, The Killing of a Secret Deer is a haunting movie that is hard to shake off.

The Company of Wolves

Tags

1980's, Angela Lansbury, David Warner, Fantasy, Horror, Micha Bergese, Neil Jordan, Sarah Patterson, Stephen Rea, The Company of Wolves

Director

Neil Jordan

Starring

• Sarah Patterson as Rosaleen
• Angela Lansbury as Grandmother
• Micha Bergese as The Huntsman
• David Warner as Father
• Stephen Rea as Young Groom

A visually arresting and thematically rich dark fairy tale from the pen of Angela Carter and immense craftsmanship of Neil Jordan, The Company of Wolves sucks you right into its world of haunting dreams and metaphors that will be impossible to shake once you’ve viewed them.

The Company of Wolves takes place almost exclusively in the dreams of a young girl by the name of Rosaleen. She dreams of living long ago in a village, surrounding by a foreboding forest. Her older sister is killed by a wolf, sending the village into shock. Her Grandmother, who is wise and filled with stories, arrives and begins informing the sheltered Rosaleen on dark subjects. She explains that her sister wasn’t taken by any wolf, but a werewolf. She goes on to warn her granddaughter of not straying from the path in the wood and keeping distance from men whose eyebrows meet in the middle. Grandmother also gifts Rosaleen with a red shawl, which she almost always wears. At this time, Rosaleen is fascinated by the stories, which include one about a husband going missing. When he returns, his wife has remarried and his rage comes flying out in the form of a transformation into a wolf. Despite the warnings from Grandmother about wolves and that many of them are hard to tell in human form, Rosaleen can’t help but be curious about the opposite sex and alternates between running from growing up and grasping for it. One day, she is sent to visit Grandmother meaning she must take the path through the forest. Let’s just say things get interesting and many things Grandmother told her come into fruition once she meets a mysterious and most unusually seductive Huntsman.

Neil Jordan is the perfect director for The Company of Wolves, due to his skill with visuals and also haunting atmosphere. Both are very much in evidence here as is his wise decision to focus on story rather than just scares. Don’t get me wrong, The Company of Wolves is most certainly an adult horror, but it has more thoughtfulness going for it than you’d think. In short, Jordan is at his best with this movie. The Company of Wolves chock full of symbolism and Freudian overtones, plunging us further into the mind of a young girl who is both excited by and terrified of her own burgeoning sexuality. Carter, adapting from her own spin on fairy tales that was entitled ‘The Bloody Chamber’ and collaborating with the visually inclined Neil Jordan, are a dream team at incorporating the sense of innocence being lost and the feverish emotions of puberty, when the world seems alien to a person. As a viewer, you are taken on quite the experience that slowly intensifies and gathers staggering momentum in terms of thematic material and. The sexuality angle and subject of changing is never far from the screen, with lycanthropy standing for the body altering as you grow up and the way that Grandmother warns of not leading the path( in other words, straying into sin).  It’s not a movie for everyone as the narrative and structure may confuse certain viewers. But for those willing to see a dreamlike horror fantasy that covers curiosity, sexuality and darkness, you should be in for a treat. The effects, mainly in the transformation scenes, use animatronics which might not have the smoothness of CGI, but at least have something more unusual and downright creepy to them. I found myself getting very unsettled as people morphed into werewolves and screamed out in pain as their bodies underwent a severe transformation, which contains all member of messages and interpretations. The eerie sets resemble something from a Hammer Horror and are accentuated by a red heavy colour palette, combining danger, passion and death into an already heady cauldron. A spooky and bubbling score from George Fenton further amps up the unsettling nature of the stories and the dreamlike way they are presented to us.

Young Sarah Patterson possesses a radiant innocence and naivete that is played well and you can see her mind in overdrive as the temptation of adulthood comes calling to her. With her soft voice and angelic face, she is an ideal vision of Little Red Riding Hood in this passionate and very dark fable. Angela Lansbury is on scene stealing duty; capturing a loving kindness and uneasy creepiness of the wise Grandmother who is full of story and warning. Lansbury is a pro in every sense of the word and I loved her eccentricity and slightly off kilter appeal in The Company of Wolves. Micha Bergese has this downright slippery and creepy vibe that is employed to fine effect as he slinks his way around Rosaleen and tempts her. It’s all in the voice and the eyes with him. David Warner is the young girls father in a supporting role, while Stephen Rea makes his story undeniably unnerving and spine-chilling. But by far the biggest star is the atmosphere of it all.

A dark and menacing variation on Little Red Riding Hood and a commentary on reactions to coming of age, The Company of Wolves spins a compelling web of creepy fairy tales and evocative material that you’ll find yourself thinking over for a long time.

Doghouse

Tags

2000's, Comedy, Danny Dyer, Doghouse, Emil Marwa, Horror, Jake West, Keith Lee-Castle, Lee Ingleby, Neil Maskell, Noel Clarke, Stephen Graham, Terry Stone

Director

Jake West

Starring

• Stephen Graham as Vince
• Danny Dyer as Neil
• Noel Clarke as Mikey
• Lee Ingleby as Matt
• Keith Lee-Castle as Patrick
• Emil Marwa as Graham
• Neil Maskell as Banksy
• Terry Stone as Sergeant Gavin

A horror comedy that has as much blood and chaotic antics as it does salty and sometimes questionable aspects, Doghouse never fails to entertain in what it provides.

Vince is feeling low after his recent divorce. His friends- cocky Vince, geeky Matt, henpecked Mikey, harangued Patrick, Graham, who is openly gay and lay about Banksy – organise a lad’s weekend in the English country for him to help him get over it mainly through booze. Neil is the main organiser who likes to think he’s irresistible to women and he has heard through Mikey that the village they are to visit has a large population of women. On a mini bus, the group travel, though is late and has to make his own way. Things could be looking up for Vince, but that is soon not the case once they arrive in the sleepy destination. A biological weapon test has caused every woman to turn into a vicious, man-eating predator who attack on sight. It’s becomes a race of survival as the lads are joined by an army sergeant who knows about what’s going on. Now they are faced with the marauding town of zombie women who all want a piece of them, just not in the way many of them would have hoped.

Jake West has a quickness of pace that speeds the film along while leaving time for outlandish enjoyment to be had. Along with his skills in editing, the laddish banter and camaraderie shines as the often idiotic characters have to survive a living hell that is something of payback at the same time. What’s noticeable is how Doghouse manages to incorporate some thoughts on sexism into the prism of a horror flick. Doghouse may not be going for making massive sweeping statements on society and attitudes towards women, but it definitely and in a satirical manner has a blast with the zombie version of the battle of the sexes. It sails close to being misogynistic, but the canny script steers the ship and allows for things to be subverted a little more than usually permitted in some genre outings. And on the gore front, Doghouse delivers by the bucket load as the outnumbered blokes fear for their lives as limbs and blood go flying. It’s an imperfect film and doesn’t rival Shaun of the Dead for the zombie horror comedy crown, but it’s still a blast.

The main group of guys are good at playing somewhat idiotic but amusing men st the mercy of their worst fear. Stephen Graham is the most subdued in a surprising performance, that gathers steam as it goes along. He’s probably the most relatable guy here and the one who shows the most common sense, though the others have their moments. Danny Dyer is his usual cheeky geezer self as the main lad of the group, who believes women are simply there for his pleasure. The rest of the guys all have good personality and the way they interact is very fun in the long run.

While it won’t be to the tastes of everyone, Doghouse is a diverting way to spend an hour and a half with gory thrills and humour to boot.

Don’t Breathe

Tags

2010's, Daniel Zovatto, Don’t Breathe, Dylan Minnette, Fede Alvarez, Horror, Jane Levy, Stephen Lang

Director

Fede Alvarez

Starring

• Jane Levy as Rocky
• Dylan Minnette as Alex
• Daniel Zovatto as Money
• Stephen Lang as The Blind Man

Don’t Breathe is an economical home invasion horror with jolts of terror throughout. Best watch this movie with the lights off for the full effect.

In Detroit, a trio of teenagers are perpetrating a number of robberies. They are Money, Rocky and Alex. Each of them does it for different reasons. Money is a major hothead with a chip on his shoulder , whereas Rocky wants money so she and her sister can escape her mother and Alex is something of a tag along. When their latest heist and the things they procure don’t sell or bring in a profit, they think it’s time to step it up. Money hears of a possibly lucrative heist that should be easy enough. A former army veteran, who was blinded in conflict, supposedly got a big cash settlement when his daughter was killed by a driver some time before. Although Alex is resistant to the idea, he ultimately goes along with their plan. Once they get through the locks and evade the snarling dog, their plan seems to fall into motion. Just as quickly, the Blind Man wakes up and shows how deadly he can be by murdering Money. For Rocky and Alex, things have gone from bad to worse. What ensues is a terrifying night of attempted survival as the remaining two realise that the Blind Man is really not the person they should have taken for an easy target.

Fede Alvarez brings us an unrelenting ride of tension and heart-pounding horror. He is clearly a student of the genre who knows exactly the buttons to press to get a reaction from the audience. Alvarez gets that silence is golden and wisely limits dialogue, to really stress the situation if the character and how the tiniest noise will alert the Blind Man to their presence. And though there have been a whole host of home invasion movies in the past, (some good and some bad), Don’t Breathe is definitely in the former category. And by having the people invading the house being the unwitting victims who are terrorised, the usual formula is flipped and the power goes to the antagonist. And speaking of antagonists, one could argue that the larcenous trio who  break into his house are just as bad as the man himself. Though once they reach the basement, things switch rapidly and you’re back on their side. Night vision plays a big part in creating the claustrophobic setting for the film, particularly when the teenagers are forced into darkness with barely a light for them to follow. It functions to show that the Blind Man more often than not has the upper hand on them which they come to discover.  Don’t Breathe can get really nasty when the occasion rings for it and in one instance, it’s very unexpected ( and this is coming from a seasoned horror viewer.) Those who have seen Don’t Breathe will know exactly to which bit I refer, but I won’t spoil it for those who haven’t viewed this twisted cat and mouse game of a movie. All I’ll say is twists come in plentiful fashion here. Sound design is heightened to coincide with the acute senses of the Blind Man, so every little creak of a floorboard or scurry of a footstep reverberates with maximum scares. The music of Don’t Breathe blends beautifully with the sound effects to create real ambience.

The trio, specifically Dylan Minnette and Jane Levy, show that their characters while committing crimes, are not all necessarily bad people. In particular, Levy stands out for her work as the terrified and determined Rocky, who realises she must fight a hell of a lot in order to survive. But it’s the main source of tension and terror that takes the acting plaudits. Stephen Lang, although he barely speaks, resonates with deep rooted menace and surprising agility. There is even some pity that he evokes in the central threat, but he works best when showcasing his keen senses and viciousness that won’t give up.

With a high load of tension and credible atmosphere on show, Don’t Breathe is a lean, mean horror perfect for this time of year in the run up to Halloween.

The Shallows

Tags

2010's, Blake Lively, Horror, Jaume Collet-Serra, The Shallows, Thriller

Director

Jaume Collet-Serra

Starring

• Blake Lively as Nancy Adams

An energetic, nail-biting horror thriller, The Shallows is entertaining in many ways. Originality is checked at the door and we are vibes a fun and at times terrifying fight for survival between woman and beast. This is the first entry into my Month of Horror.

Nancy Adams is a medical student who has traveled to Mexico in the wake of her mother’s death. She goes to a beach she knows her mum loved in order to honour her memory and avoid dealing with her father, who it seems is distant from her. She takes to the surf and is relaxing in the sun. After encountering a dying whale, a monstrous Great White Shark attacks her. Nancy’s leg is injured, but she manages to clamber up onto some rocks. Being a medical student, she treats her wound the best she can as terror sets in. Being miles from land and knowing that the tide will soon wash her away and her safety, she has to embrace an inner toughness and fight back in order to live in the face of the shark. The question is, just how long can Nancy survive as the tide turns and the shark comes looming?

Building on a simple prestige of the lone female being menaced by something horrible, Jaume Collet-Serra ratchets up the tension from the start. He drip feeds smidgeons of foreshadowing that something bad is going to happen among the glorious cinematography. The Shallows deserves kudos for its visual appeal, especially in the lighting and scenery. The lush surf is rendered gorgeously as a paradise before the predator comes calling for food. Plus, the technique of showing us the time and connecting Nancy with others, in this case a videophone, leads to some wonderfully nifty shots. Added to this are frequent close-ups on her face that display her resilience and terror in the face of horror. Now The Shallows isn’t a perfect movie, some areas lag, but it isn’t trying to be the best movie out there. What it wants to do is scare and excite, which it does with ruthless efficiency. It’s a B-movie with a little bit of that something extra. And it has touches of humour in the form of a Seagull that gravitates to Nancy and earns the nickname, ‘Steven Seagull’. The score is excellent at slowly carving out scares and the perilous journey that Nancy attempts to go on in order to survive the shark that is menacing her.

One of the best things in The Shallows is Blake Lively. Getting to grips with the physicality of the part, she also displays courage, heart and fierce steel as she does battle with the shark. Lively is a beauty and often her acting gets overlooked, but she shows here that she’s definitely more than a pretty face. In the hands of someone else, the part could have been just eye candy, but that’s not the case with Lively. It’s a commendable piece of work because the film largely rests on her athletic shoulders. Luckily, she is up to the task of it.

A tense and thrilling survival horror with a fine lead performance and terror at almost every corner, The Shallows is a movie that truly entertains and scares in equal measure.

My Horror Movie List

Tags

Horror

As I’m reviewing mainly horror this month, here’s what I will cover;

• The Shallows
• The Company of Wolves
• Hatchet
• Bram Stoker’s Dracula
• Prom Night
• Pet Semetary
• Demon Seed
• When a Stranger Calls
• The Babadook
• The Faculty
• Wind Chill
• Lake Placid
• Lifeforce
• The Believers
• Don’t Breathe
• Saw
• Doghouse

What does everyone think of what I’ll be covering?

Month of Horror

Tags

Horror

As it’s October and Halloween is approaching, I knew I had to do a month largely dedicated to horror movies. There will be some exceptions, but the vast majority of reviews will be of horror. Hope you enjoy.

It

Tags

2010's, Andy Muschietti, Bill Skarsgård, Chosen Jacobs, Finn Wolfhard, Horror, It, Jack Dylan Grazer, Jaeden Lieberher, Jeremy Ray Taylor, Sophia Lillis, Stephen King, Wyatt Oleff

Director

Andy Muschietti

Starring

• Bill Skarsgård as Pennywise
• Jaeden Lieberher as Bill Denbrough
• Sophia Lillis as Beverly Marsh
• Finn Wolfhard as Richie Tozier
• Jeremy Ray Taylor as Ben Hanscom
• Jack Dylan Grazer as Eddie Kaspbrak
• Wyatt Oleff as Stan Uris
• Chosen Jacobs as Mike Hanlon

A very successful adaptation of the Stephen King classic, It has great development in characters alongside the horror that makes it both a coming of age tale and a creepy horror.

It’s the 80’s and in the town of Derry, Maine, everyone is shocked when youngster Georgie is taken and presumably killed by an unknown evil. His brother Bill feels guilty about it as he was too sick to go out and play with his brother the day of the horrible event. Bill finds some comfort in his group of friends; loudmouth Richie, quiet, skeptical Stan and hypochondriac Eddie, who are all outcasts in a way. Summer vacation begins and Bill is still refusing to believe that his brother is dead. But as summer continues, soon something sinister takes hold and begins tormenting him and his friends. Add to this that numerous children are going missing much in the way that Georgie did and the gang are spearheaded into investigation. Around this time, Beverly Marsh( who is derided by others for alleged promiscuity, but in actual fact is being abused by her father), becomes part of the group . The group is later joined by two other lost souls in the form of loner Ben and orphaned Mike. They become known as The Losers Club. All of them are plagued by terrifying visions; making them vow to unearth what it is that causes these terrifying occurrences. Along with this, each has a variety of issues of a personal nature to deal with on a daily basis. What they discover is that the thing that took Georgie is in fact a manifestation of fear, that often takes the form of an evil clown called Pennywise. It feeds on fear every twenty-seven years and it’s targets are children. It’s all a matter of if these seven kids can defeat such evil before it’s too late.

Andy Muschietti is an accomplished director and his effective and sturdy direction that gets to the heart of the battle to overcome evil and fear is one that truly captures the imagination. He makes the film a fun but frightening ride that has the time to invest you with the people populating it and can be emotionally in tune too. From the start, this manages to carve out its own triumph and stand out . It was previously adapted as a mini series that is held in high regard and at first I wasn’t sure whether this would work. But happily, it does work and marks itself as something excellent and different. Whereas the series had two timelines, this version sticks to a setting of the 80’s. The era proves very effective as a certain level of nostalgia is very apparent thanks to many pop culture references and the visuals. With strange angles and fine lighting, there’s a genuine atmosphere to It right from the start. The visual side is a major string in the bow of an impressive film and one I highly enjoyed. Quite a lot of scenes really stand out, particularly the ones of the fear inducing variety, such as Beverly being assaulted by stands of hair down the plug hole, an intense confrontation with the creature and a sensational finale in the sewer where battle commences. Crucially, It is just as much a coming of age story as it is one of horror. The kids all have their own issues to deal with along the way. From controlling mothers to abusive fathers and being an orphan, these tribulations can often be just as frightening as the approaching evil. I appreciated this approach that deepened the pre-adolescent characters and had me rooting for them. Which isn’t to say the horror moments aren’t effective, quite the opposite in fact. It all builds gradually, showing us Pennywise and other visions at first slowly and then with great momentum and maximum scares. And while CGI is employed, it never overshadow proceedings at all, if anything it enhances the terror at play. And Pennywise is a seriously eerie thing to behold it must be said. With a stomach churning voice and seriously terrifying appearance, he’s the stuff of nightmares. A sensational music score and sound design underline everything with creepiness and soul, largely stemming from how chilling it is and how amazingly it employs sonic trickery to unleash horror. The only niggle I have with the film is that it runs a bit too long. Other than that, I’m a massive fan.

The cast make for a fine ensemble, with the biggest impacts being made by Jaeden Lieberher as the leader of the club and Sophia Lillis portraying the only girl who captures the attention of all. But there is seriously no weak link in this talented cast of youngsters who each have a moment to shine. I really enjoyed all of their performances as they fleshed out their troubled characters brilliantly.  And of course there is Bill Skarsgård; ably stepping into Tim Curry’s shoes as the nightmarish Pennywise. He’s super disturbing and enthralling, relishing the sheer evilness of the part.

An accomplished and convincing horror, with a lot of humanity in it and characters you root, It is exemplary horror movie making with a heart.