Tag: General Horror

Totally Killer (2023)

I was a bit skeptical concerning TOTALLY KILLER mostly out of loyalty to the fine film that is THE FINAL GIRLS (2015) which it seemed to be aping. In reality, it probably owes more to the HAPPY DEATH DAY flicks and I gotta say it eventually won me over due to its sense of humor and commitment to not caring if I bought its flimsy time travel logic or not. (Ultimately I preferred it to the more tedious HAPPY DEATH DAY films but it can never touch the magic of the aforementioned THE FINAL GIRLS). SABRINA’s forever teen Kiernan Shipka stars as Jamie Hughes, a gal who travels back to arguably the most eighties year in the eighties, 1987 with plans to thwart a slasher serial killer in a mask that resembles Max Headroom. Doing so will hopefully prevent the eventual Halloween night murder of her mother (Julie Bowen of AN AMERICAN WEREWOLF IN PARIS ). Bloodshed ensues along with choice tunes by New Order & Bananarama. Much fun is had with Jaimie being consistently shocked by just how casually politically incorrect everyone was back in the day, particularly her beloved parents. Personally I wouldn’t have minded if this bubbly BACK TO THE FUTURE meets (pick an eighties slasher) lark had the gumption to explore darker territory (had more gruesome kills) but it’s got more than a couple twists that keep you guessing and the cast is obviously having a blast with the material. Plus, there can never be too many horror movies that take place on Halloween as far as I’m concerned so I’ll happily add this to my yearly October watch pile.

Pet Sematary: Bloodlines (2023)

I love the idea of a PET SEMATARY prequel that explores the town of Ludlow’ Maine’s past, the legend of deceased soldier Tim Baterman, the Native American origin of the cursed gravesite and the youth of cautioning oldster Judd Crandall. I’d certainly prefer it offshoot from Mary Lambert’s beloved take on the material rather than 2019’s misguided remake (I’ll never get over how they were somehow able to strip legendary traumatizer Zelda of her power to terrify) but I'm game to give it a shot. Unfortunately, PET SEMATARY: BLOODLINES frustratingly buries its endless potential along with its notable cast (David Duchovny, Henry Thomas, Pam Grier, Samantha Mathis and likable newcomer Jackson White) in muck both figuratively and literally (the climax degenerates to an underground mud wrestling match). Worse still, there’s an ever prevalent vacuum of actual horror; the undead look merely peeved, zombie cats are AWOL and the audience is inexcusably never assaulted by an actor attempting an irksome Maine accent. In fact, nothing new is offered besides the highly unwanted left field assertion that the reanimated will only die if you destroy their eyes. Lambert’s original take on King’s novel may have been off-kilter (and even courting campy) but at least it was colorful, unpredictable and unafraid to get weird, this true step backwards is just plain toothless.

Woodchipper Massacre (’88)

Here is a reminder that a movie doesn’t have to be technically brilliant to be entertaining. WOODCHIPPER MASSACRE cost a couple hundred bucks to make, was filmed on video in Connecticut in 1988 and is highly flawed (every hokey line is SCREAMED to assure it is recorded) and yet is a surprisingly fun black comedy. It’s sorta a cross between THE CAT IN THE HAT (kids getting into trouble while the authority figure is away) and LITTLE SHOP OF HORRORS (inadvertent murderers make matters worse while attempting to hide their crime). Highly obnoxious Aunt Tess (Patricia McBride), a Halloween-wigged grating cross between “Billie” (Adrienne Barbeau) in CREEPSHOW and Momma (Anne Ramsey) in THROW MOMMA FROM THE TRAIN, is tasked with caretaking her nephews (writer/director Jon McBride, pipsqueak Tom Casiello) and niece (eye-rolling sarcasm queen Denice Edeal) while their father is away on a nondescript business trip. Aunt Tess is a veritable harpy who when she attempts to confiscate young Tom’s recently acquired RAMBO-knife is accidentally stabbed and killed by it instead. Grim humor abounds as the three resourceful siblings eye the Woodchipper Pop rented out for the weekend to take care of any evidence and an unplanned visit from Tess’s psychotic son complicates matters further. I’m not going to lie, I snickered throughout this movie during a time that I really did not wish to snicker at anything and for that I’m forever in its debt. If you have a sick sense of humor and love to see awful people who beg for a comeuppance get the one they richly deserve, I highly suggest tracking this hilarious homemade treat down (look no further than Tubi).

Oy vey, the missteps, miscalculations and missed opportunities in THE EXORCIST: BELIEVER are legion. It would be nice if an, “Oh well, at least you tried” sentiment were applicable here but I’m not sure this movie even earns that much faith. No late in the game tacked on, finger waving speech about love, understanding and the power of community can diffuse the air of insincere opportunism that permeates throughout this picture. It looks and acts like a movie but it’s hard to see it as anything other than a device built to snatch money from the pockets of the converted with as little effort as humanly possible. I’m sure all involved are fans of the OG so why does this reboot feel like a creaky-wheeled medicine show cart rolling into town steered by a wax mustached charlatan barking, “Two for one sale on possessed girls, today!” The good news is that the blameless saintly duo of Ellen Burstyn & Linda Blair are guaranteed to selflessly hand over their paychecks to worthy causes.

Leslie Odom Jr. plays Victor Fielding, a man who once had to choose between the life of his wife and unborn daughter during a bad-timing, pregnancy meets Haitian earthquake mishap. The ordeal, like many a Sophie’s choice, douses Victor’s belief in a higher power. Thirteen years later, his decision seems clear as he is now raising a spirited teen daughter named Angela (Lidya Jewett) who grieves her mother enough to try to contact her via seance with bestie Katherine (Olivia Neil). Depending on your outlook, the girls are either really good or really bad at communicating with the dead because they go missing for three days and are found in a barn suffering from every lazy writer’s favorite ailment, amnesia (depriving the audience of the film’s potentially most frightening scenes) and (too) slowly escalating demonic possession. Luckily (by the grace of God), Victor lives next door to critic-bait character actress Ann Dowd (whose character is also named Ann) who is not only a nurse at the local hospital but a lapsed would-be nun who eventually orchestrates a potluck-style exorcism that dominates the second half of the film. In order to (try to) insure proceedings are taken seriously, legacy character Chris MacNeil (the always welcome Burstyn) is dusted off for a Ted Talk about how possession and exorcisms are an important part of many religions (and a balanced breakfast) and by the way, Catholics don’t own the corner on them, thank ya much.

David Gordon Green’s scattered collage approach combined with cinematographer Michael Simmond’s makeshift homegrown honeycomb hideout aesthetic previously fit hand in glove with HALLOWEEN’s plucky indie roots (albeit to diminishing returns). The idea though that a monolithic religious epic like THE EXORCIST would work well shoved into the same grungy sausage wrapping is bizarre at best and just plain thoughtless at worst; the result resembles a soap box race car. The contraption is able to periodically stroke the universal fear of sickness befalling a loved one and the innate anxiety of guardianship but it feels more inadvertently dredged from the environment (forever yikes to hospitals) than truly earned. To be fair, every once in a while, a demonic image or two strikes a nerve but they are few and far between in the “see what sticks” barrage. Perhaps there is some campy fun to be had here but it’s the kind that comes almost automatically with a snarling possession film (I mean who doesn’t enjoy freaked-out mortals being roasted by a trolling demonic spirit who thinks it’s Don Rickles) and I'd like to think one of the very few critically lauded horror masterpieces deserves more (at least EXORCIST II: THE HERETIC had tap-dancing). It should go without saying that if you ever have the honor of working with Ellen Burstyn that the least you do, is not saddle her with cringey lines like, “In the name of my beloved daughter Regan…” or have her endure crucifixes being shoved into her eyes. The woman is a horror legend for God’s sake.

Your standard home invasion is frightening enough but what if you learned the “invasion” in question went far beyond your own home to include say, the entire planet? That’s basically the plight of poor Brynn (Kaitlyn Dever) who, when she’s not wrestling with progressively intimidating alien life forms, builds a scale model of the town that scorns her while mourning the loss of a childhood friend she accidentally killed.

This PG-rated sci-fi horror hybrid could easily crash and burn but thankfully it’s written and directed by our ever reliable buddy Brian Duffield who previously directed the outstanding SPONTANEOUS (2020) and penned such personal faves as LOVE AND MONSTERS (2020) and the highly underrated UNDERWATER (2020, I shall die on this submerged hill). Two standing ovation worthy choices were made by Duffield right from the starting gate. First of all, the aliens are blatant, upfront and in your face rather than stingily kept in the dark until the final curtain and secondly there is no dialogue (except perhaps a line at the beginning). As someone who easily tires of chin music, it’s a refreshing relief and I gotta say, it really works within the film to create an atmosphere of pure urgency. There’s not much else to do in Brynn’s unfortunate situation than shut up and run!

The title NO ONE CAN SAVE YOU works just as much as low key friendly advise as it does a gloomy observation. Brynn’s clearly battling her tragic past as much as the startlingly varied varmints that pursue her. Dever’s expressive mug and girl-next-door demeanor does much to ground the film’s more fantastic elements and make them as creepily believable as an extravagant nightmare. Few action stars endeavor as much as fast on her feet Brynn, and the I’m betting the sight of the imposing alien creatures alone would break the spirit of most. Although Brynn is of few words, while witnessing her ordeal I could not follow suit; I often muttered things like “Oh shit”, “no way” and of course a direct quote from John Carpenter’s THE THING (’82). “You gotta be fucking kidding.” My poor brain was trained to expect shy twiggy ectomorphs who sneak peaks from behind doors like in COMMUNION (’89) or those inquisitive surgery-happy abductors who are happy to ghost you post-examination like in the infamous traumafier FIRE IN THE SKY (’93). I wasn’t ready for giant spider-beings clawing over houses, parasitic throat-dwelling jellyfish and what can only be described as TIK-TOK-baiting intergalactic Vogue-ing.

As eye-popping and over the top as NOBODY IS GOING TO SAVE you is willing to go, it impressively remains a lean, clean, straight forward machine, an apocalyptic character study that expertly juggles both the personal and the infinite. Better still, unlike my own too numerous alien encounters, the events depicted here are memorable enough that I won’t have to resort to expensive hypnotherapy to tearfully recall them! What better praise is there than that? Bonus points are rewarded for the film’s ultimate conclusion that asserts that defiant denial in the face of horrific reality is the key to happiness. I couldn’t agree more.

Ever since my very first kindertrauma watching SATAN’S TRIANGLE (’75) on TV as a kid, I’ve been especially partial to horror films that take place on a boat. THE LAST VOYAGE OF THE DEMETER seems crafted to appeal specifically to me because it’s not only boat-bound but also takes place in 1897 and concerns none other than Dracula systematically taking out a trapped crew as if privately mentored by ALIEN and THE THING (The only way this film could get any more up my alley is if at some point it snowed). Based on the seventh chapter of Bram Stoker’s all time classic novel Dracula and directed by non-slouch Andre Ovredal (THE AUTOPSY OF JANE DOE, SCARY STORIES TO TELL IN THE DARK), DEMETER further sweetens the gothic pot by presenting what might be the scariest vision of vamphood since SALEM’S LOT (’79). Frequent creature performer Javier Botet (the [REC] franchise, MAMA, the crooked man in THE CONJURING 2) is perfectly cast as the most visually alarming version of the Count yet, an unholy amalgamation of Max Schreck’s NOSFERATU and that pesky pterodactyl from JURASSIC PARK III. I’m talkin’ double yikes with a side of yikes.

Probably the most thankless job a person can have is being a crew member of the merchant ship Demeter, taxed with transporting the deadliest of cargo from Transylvania to London. Perils abound as a hideous stowaway savagely feeds upon any hapless soul that crosses its path. Sure, practical onboard doctor Clemens (Corey Hawkins) may be able to elongate your existence with a blood transfusion or two but it’s more likely you’ll end up with a neck ripped to smithereens, pupil-free eyes, and exploding into flames when the sun rises. It ain’t pretty. Like the aforementioned ALIEN & THE THING, DEMETER does a slick job of introducing a group of doomed individuals whose different personalities clash as their numbers dwindle. A nearly unrecognizable David Dastmalchian (who recently creeped about in THE BOOGEYMAN) is especially good as Captain-to-be Wojchek, a paranoid instigator who buts heads with the hero doc. Aisling Franciosi is similarly sharp as Anna, the tougher than she looks lunchable Drac snuck onboard in case he gets the munchies. I’m actually looking forward to all of the characters gelling further upon inevitable future views; these aren’t one note screamers, some of them get to ponder the nature of evil and our helplessness in the face of death before they kick the bucket.

I suppose my favorite aspect of DEMETER (besides its dense atmosphere, air of doom & gloomy demeanor) is its commitment to being absolutely brutal. Although it’s patient as hell getting to the point of no return, when it’s time to get the gruesome work done it really goes for the throat (so to speak). Nobody is safe here, in fact, nobody is likely to survive and Dracula is truly dead and loving it. In fact, the sadistic ghoul is like a kid in a candy shop. It’s like somebody finally took off this classic character’s reigns. Director Overdal wisely shows the beast in shadowy flashes at first but eventually he’s on full display and the make-up effects and design work are splendid and even awe-inspiring at times. The cinematography is wonderfully dank and murky adding to the feeling that you never know where the abomination might emerge from next and who isn’t thankful for a score by good ol’ Bear McCreary ( HELL FEST, FREAKY)? All in all, I couldn’t ask for a better cinematic escape on a nightmare summer day than to be plopped down onto a creaky vessel during a fierce rainstorm with a murderous entity clawing and flapping about. I suppose its poor box office performance (mostly thanks to its unwieldy title I suspect) is likely to sink any chances for a sequel which absolutely bites if you ask me.