Change Your Image
Becks_Hush
Ratings
Most Recently Rated
Reviews
The Tangle (2019)
Intricately woven story.
There is one word that's been mentioned multiple times regarding The Tangle, that word is lyrical. Few words can describe a film so succinctly and yet this one word does exactly that.
The Tangle is lyrically beautiful, a poem in prose, a story simple yet effectively told that flows on screen thanks to the sharp writing, intriguing characters and narration that weaves a rich tapestry.
Synopsis: In an interconnected A.I. world where crime has been eliminated, an agent is murdered in mysterious circumstances and it's up to a select group to find the culprit behind the crime.
It draws the audience in immediately by honing in on the sole focus of their interrogation, Carter; his, is the first face you see, you hear the voices of those questioning him but for several minutes they remain that, voices, disembodied. And so in many ways this story is Carter's, yes other prevalent characters ebb in and out, all have their parts but we see this through his eyes, his perception, more than any other.
And it's to the credit of Joshua Biton who plays Carter, that this film begins so strongly. The emotion plays taut lines across his face and he balances that indignation and worry very well. Whilst at the beginning we don't know all the puzzle pieces leading to its conclusion, Biton does enough to convey the confusion he and the audience will be feeling. He's a strong element to the script and I hope I see more of him in the future.
Ever since 11:59 (2005) I've also been following Christopher Soren Kelly closely and seeing his progression as an actor has been fascinating, be it the beautiful fantasy of Ink or the quiet brilliance of Infinity Chamber, even the delectable wit of Murder Made Easy he has proven to be a sorely underrated actor and now with The Tangle he's gone a step beyond, not merely an actor but equally the writer, director too and it's an astonishing effort.
As Edward he excels on screen, bringing a charismatic albeit hard front to the character; there's something legitimately unnerving about his character, be it in the silent glances he gives to the anger he's quick to but you share often in his frustration and the rapport between him and Laurel (Jessica Graham) sizzles on screen.
Graham as mentioned is also an excellent addition to this film, she imbues a classic note to her character. Seductively spoken, charismatic, she's the softer counterpart to Edward and the voice of reason where one is needed. In many ways this is my favourite role of hers yet and I don't say that lightly.
In fact the core strength of The Tangle lies predominantly in these characters and their fates, lies in the acting talents of all involved and to that end alone this shines brightly. Kelly, Graham, Biton & Da Silva all bring a balanced gravitas to the film that ultimately serves it well.
Regarding it's noir elements.. I know this is something that's been loved or disliked but I loved it; the costume aesthetics are pleasing, the heavy dialogue has some fantastic unique phrases that feel in line, the noir does neatly blend with the sci-fi without being overbearing or too subtle, it combines them very well in my opinion.
Now I hate treading familiar beats per review but if I don't mention the cinematography, the sheer look of this film I'm not sure I could forgive myself because HOLY MOLY this - IS - stunning! Muratore did an outstanding job.
Whilst The Tangle spends much of its time in one setting, that doesn't mean it stays there indefinitely and when we get glimpses of the world beyond that room, the absolute look is beyond breathtaking. The crisp strands of colour, the way it plays with technology and its surroundings, the landscape of this film drips with pure beauty and visually it is an absolute treat to sit through; combine that with O'Brien's eloquent, subtle score and these images will sit quietly in your mind long after the credits have rolled.
You will notice that I've treaded very lightly when it comes to the plot because the less one knows about this, the better.
So the real question is will this appeal to everyone and that's a difficult area to traverse because it depends on a lot of things. Ask yourself this: do you like dialogue heavy, slow burners? Do you enjoy true blue independent cinema? Do you want loud, over the top or nuanced stories with layers that build to a crushing crescendo?
This might be the rare time where I think watching the trailer will better indicate where you fall and if it will be to your taste.
However objectively from my point of view alone, from what it made me feel.. this was an achingly gorgeous film that suckered me in and held my attention right to the end. A devastatingly beautiful film that ticked every box I was hoping it would tick in terms of acting, story, visuals, mood and emotion. Kelly you are a visionary and I hope this is only the beginning of your directing debut as talent like this deserves a bigger platform, kudos.
I can only hope that somehow this finds a way to a physical format as I would happily purchase it in a heartbeat ❤
9/10.
Halloween (1978)
Halloween (1978): A Perennial Classic
The perennial classic. The film that kicked sluggers back into gear and gave the genre a boost. The idea recarved years on by Mr Zombie and the one everyone knows even if they are not a horror fan.
Any reviews that exist for Halloween are by the dozen. Everyone tends to have an opinion and are not shy in expressing it.
There are copious reviews that cover it and certainly on every individual horror site that exists - in a way that makes it hard to write a review that hasn't been done before and probably to greater effect but it doesn't hurt to try!
Halloween is, on its own merits, a great effective chiller with strong performances across the board and a fun final twist that still is adapted and used today.
Synopsis: Michael Myers, a disturbed child, on a stormy, gloomy night kills his sister in a frenzy of blood and is promptly put away. Years on he escapes and makes his way to Haddonfield where Laurie and her friends are anticipating Halloween. Only this year the screams will be their own...
Jamie Curtis Lee, what can be said... this was her moment without doubt; one of the defining points of her career. And yes she plays it to beautiful, undercut effect.
As the shy, residing and intelligent soul from High School she's never too obvious, never too reclusive and because of this Curtis creates one of the best female antagonists in horror. Someone who becomes stronger and more self assured as the film builds and equally someone we genuinely will to survive. Curtis does not disappoint.
By the same stroke Dr Loomis played finely by Donald Pleasance is one of my favourite characters in this film. There's no overbearing nature to Loomis yet he's sharp eyed, quick witted and very personable.
His genuine concern feels honest which means you worry that something COULD happen to him and that's why Pleasance does a blinding job with the role.
In spite of the 18 certificate the gore, blood is not that prominent. More closer styled to Psycho in this regard than the more overt splatter fests we've seen.
Anything you do see happens by the shadow of night so we fill the blanks with our own fervent imagination
Actually I like the lack of any visible blood, a lot of films rely too heavily on the gore and scale back on story whereas Halloween combines both elements succinctly and that's something to be cherished.
Having spoken of many aspects; acting, story... I'd be remiss to ignore one of the most beloved aspects: the score! Always enjoyed, often emulated, never bettered.
It's partway creepy, that kind tickle of the ivory in the background, a treat to the ears. Even now the subtle beauty of the score can still make goosebumps shudder against our skin, that's how simple and powerful it is.
There's a real reason this film has stood the test of time: the characters are likeable, the story is simple and paced gorgeously and of course the now iconic...
Michael Myers. That soulless mask with no visible expression but one and the slow, confident walk toward his victims with no fear of what's to come, how easy it is to see why he earned a space beside Jason, Freddy in the horror annuls.
To anyone new to the genre, Halloween is one I'd highly recommend not least because it's a subtle film that uses suspense, tension to maximum effect. If you want Hitchcockian style thrills rather than the usual blood, guts and glory this fulfills that need perfectly.
It's effective, chilling; storytelling with soul accompanied by a truly unsettling score, Carpenter proving why he is and always will be a visionary in this field.
For a true slice of a real slasher, watch this. A gem.
Kaidan (1964)
Horror in its most subtle, pure form.
When I began watching this I admit I wasn't bowled over by the first story, The Black Hair, credit where it's due the cinematography is gorgeous; near to the end the disarray and weathered conditions look fantastic and adds to the unsettling nature and whilst I knew where it was going the execution is worth it come the ending. Though abrupt it's a decent story it just didn't grab me.
However my opinion really began to shift once The Woman of the Snow began.
What an utterly beautiful story with some stunning scenery to boot, the way the sky shapes around the plot with those colours, the snow... initially the way the snow looks threw me as it had a sandy quality but then I realised the brilliance of why. The way it spirals and moves against the blizzard is poetically stunning, the subtle way it dances in the air is, to me, captivating.
Add to this I really liked this story. It's a simple notion that plays as a morality tale and while it has some creepy spells it's also surprisingly heartfelt with a poignant, heartbreaking conclusion. This for me was where I started to fall under the spell of this film.
The longest story is certainly Hoichi, the Earless but it's also one of the most enjoyable and I admit a lot comes down to Katsuo Nakamura who plays the titular character. Not only is Hoichi likable but there's a certain beguiling charm about him that makes him a character you both empathise and care about. And while the ending has a bittersweet quality it is by note perhaps the most uplifting ending there is in comparison to the others and the final story is actually somewhat funny with a fairly grim ending.
I began this film with no expectations, it started with me thinking it's just okay to eventually being completely and utterly enthralled. The visuals are some of the most impressive I've seen, usurping much since and putting others I've seen honestly to shame.
The scores are beautiful with the music adding to its unsettling nature. And heck the atmosphere is rich, burning from the beginning to its end but what I loved about Kwaidan is it's not a black/ white film, it has that grey area; we feel sympathy for those who might not deserve it and vice versa.
It's not just grand in scale but in its ability to make us feel compassion to all the characters represented, all of whom are well rounded because of how they are portrayed. Gorgeous film, excellent stories, I loved this!
Onibaba (1964)
Poetry in motion, evil in our own humanity.
This was an interesting film to say the least and one that leans heavily toward drama with undertones of horror until the stunning conclusion.
Onibaba is a story about a younger woman and her mother in law, waiting the return of the younger woman's husband ; in a time of uncertainty where civil war rages, they eke out a living by killing soldiers that stray into their territory, stealing what they wear, dumping the bodies in a pit and selling the items in exchange for food. Until one day a neighbour, Hachi, returns bearing bad news, the husband, Kichi, has died. Against the mother in law's wishes, the younger daughter begins an affair with Hachi. But when the mother in law manages to get a hold of a demonic mask she plots to separate the two unaware of the lasting consequences.
What jumps to attention quickly is the cast, which because of its small group, feels very intimate and comes across in the film too. You come to like/ care/ hate these characters and are moved by how they deal with life on a daily basis.
In black and white the cinematography possesses this gorgeous, ethereal quality. The way the camera leans in on the reeds, the softly breeze that makes it dance in several shots is crisp, vivid and with the music used alongside it... just lush. All those subtle moments are heightened and as a result this film looks and feels beautiful.
For me what served Onibaba well is similar to what I liked about Kwaidan and that is the overall simplicity of the story- a timely tale of lust, greed, what we want and oftentimes can't have as well as the morals the story raises.
Tonally there is a thin layer of dread that permeates the film and certainly thickens on its finale. To say anything about the ending would do it a disservice but it's a stunning outcome that still lingers uneasily in my mind now.
I do think Onibaba is a cinematic piece of poetry; the demonic mask is truly creepy and does add to its horror element.
Fairly be warned however Onibaba is a quiet thoughtful film that will not appeal to a lot of people, if you need a good kick of pace this likely won't appeal to you and I get why this doesn't appeal to some as is.
Me? Honestly I began this film with a slight trace of trepidation but it got its hooks into me and under my skin. I actually could see myself watching this film many times over, hell I already want to re-watch it!
Adored the human element, loved the build up and that ending. Definitely ranks as a new favourite of mine
Altered (2006)
Alter Your Perceptions
There's something altogether creepy about this sub genre. A foreign entity invading your life without warning and no way of knowing how to kill it. And probably why, in my opinion, this is one of the strongest sub genres in horror. Yes it can oftentimes be overly campy but get the right ingredients and it's an experience like no other.
Altered (2006)
Being honest the first time I watched this I wasn't bowled over by it, only on a second viewing did it start to worm under my skin and ever since it's become a personal favourite of mine.
Synopsis: Fifteen years ago, a group of men's lives were forever changed by a strange occurrence. Now, the same group of men will spend a night together... in terror.
What I really enjoy about this film is that it's not the same old "hunt, be killed" scenario as it begins much differently from usual alien fare, suffice to say this is a film that for a large portion is more character driven.
Both Brad Henke as Duke and Paul McCarthy-Boyington as Cody in their respective roles do a fantastic job with special emphasis on Henke: a typical tough man yet there's both a warmth and sense of intelligence to him.
But ah Adam Kaufman... eagle eyed viewers of Buffy will recognise him as Parker from season 4, an egotistical driven idiot; so seeing him in this was odd not least of all because he's really the soul of Altered. As Wyatt he's outstanding. Both jaded after a dark past and the voice of reason on many an occasion.
The actors are truly the driving vehicle of this film and do a stellar job I feel without being ridiculously hammy.
And that isn't to say this isn't creepy! During the second half of this film, the tension ratchets up considerably and with plenty of dark hollow spaces; dimmed rooms... you feel as helpless as the characters.
The effects are FANTASTIC and nicely old school, especially the main creature. Could it have been shown a little less? Perhaps, yet it doesn't detract from how gooey, disgusting and deliciously outstanding the SFX are with a killer ending that's blackly humorous.
Eduardo Sanchez has neatly crafted an alien film that's packed with gut wrenching intensity, good characters and a quiet unnerve that burns throughout the entire of Altered.
I can't praise this film highly enough, it marries all the elements needed to make a good horror and does so neatly, deserving a much coveted spot in the alien sub section of horror.
Let Us Prey (2014)
The sins of many will not go unpunished
On first viewing I liked this film a lot but Let Us Prey is that film you have to watch on more than one occasion to pick up on the subtle nuances you miss the first time around. It's a cleverly structured film that plays with a simple concept and executes it extremely well.
The plot follows Rachel, a rookie cop on her first shift in a small police station. Everything seems normal but with the arrival of a strange man who no one can identify strange things begin to happen around Rachel that she can't explain. The night is going to be a long one...
It's a gentle beginning with some beautiful shots that accentuate the crawling beauty of fear that lies in this film: the scenes of the waves crashing and then receding, the flock of ravens that sail against the sky. When you combine it with the heavy beat of music, it's a hypnotic opening that immediately draws you in. One of my favourite parts of the film near to the start is when Rachel awakens and picks up the raven feather lying on her pillow- an understated moment that sets up what's to come.
If there is anything that sometimes is missing from a horror film it can be a lack of characterisation, a lack of depth to the main leads in this film and certainly those around them. This however is an inherent strength when it comes to Let Us Prey.
These characters are not caricatures, they aren't surface creations. Rather we learn through the course of the film about them, the face they put up for the world to see and the real one behind closed doors. That we empathise with them or dislike them lies in how the characters are brought across and it's a trait of Let Us Prey that I genuinely liked.
Ultimately there aren't many characters that are likeable but if there was one who we genuinely feel for it is the lead of Rachel played by the excellent Pollyanna McIntosh, although she portrays the character with a cold edge as the story develops and we learn of her past it's hard not to ache for her and understand why she is that way. It certainly adds a tender touch to the ending in my opinion.
And then there's the EXCELLENT Liam Cunningham as Six. As the villain in Dog Soldiers he's a lot of fun but here he's really so much more. I loved his entrance into the film, the quiet air of his character and the gentle roll of his voice. He's a revelation in this and absolutely steals every scene he is in.
Atmospherically this film is something to love; it uses desolate surroundings to heightened tension and the score is a thing of beauty especially to the end climax.
I will admit this film won't be for everyone. For a good spell of the film there is little in the way of gore, though that picks up later and it's a finely drawn out idea that's not really fast paced. If you like a film that runs at a quick pace this might not suffice, it requires patience and careful attention to detail.
If however it sounds like your type of film I will argue this is among the few of 2014 that is a must see. It's a fantastic film that runs a clever idea deftly and keeps the audience hooked. I absolutely love this film myself. What originally was an 8 out of 10 has since risen to a 9 out of 10.
Superb film, great characters, wonderful execution: Let Us Prey is a thing of joy.
You Better Watch Out (1980)
A Psychological Portrayal of a Fractured Mind
In many ways Christmas Evil aka You Better Watch Out is an underrated film that still hasn't gone the praise it deserves as much focus still centres on Silent Night Deadly Night. Where the latter is a grimy, sleazy but altogether fun film Christmas Evil is really a psychological film about a character under duress who finally snaps. It's a dark film but it builds on the main role of Harry incredibly well and gives us a snapshot into an unsettled mind so we know how he feels and to a degree even sympathise with him despite his actions.
The plot focuses on young, impressionable Harry who accidentally catches his dad dressed as Santa in a compromising position with his mother. Years on he works in a job that holds no aspirations, where he is pushed around by those around him - as his fragile state of mind teeters on the brink, Harry assigns himself as Saint Nick, deciding on who has been naughty and nice and for those who've been bad... Christmas is going to be a very bloody affair.
I have to praise Brandon Maggart as Harry. Where in so many films it is easy to write the character off as crazy as we don't know much about them, Brandon gives a beautiful descriptive performance that shows the disturbed state he's heading toward. Certainly the fractured way he interacts with others shows a character with very little in the way of social skills. The slow draw of his character combined with the flashbacks lend an heavy weight, it's those eyes that are key though and when he finally does snap, dare I say it but darn it's a thing of beauty.
Much like SNDN, this is gritty; grimy, it's not polished, nor do the colours appear as pronounced as in some films, but what it lacks in those it makes up for in an unpalatable tension that just won't let up; combined with Joel Harris, Julia Heyward and Don Christensen's score, it oozes with menace.
The only disconcerting thing about Christmas Evil is too often you actually ROOT for Harry which shouldn't be the done thing. Sure some people don't deserve the carnage he raises but a good majority are shown as arrogant, cruel, pretentious and extremely unpleasant- characters with so little likeable traits are hard to care about in the long run and it's a shame there wasn't more of a variety to make us feel for those caught in the crossfire. But to add a nice touch, it is deeply satisfying to see some of them get what's coming. A little bloody horror for those who deserve it, why not!
Simply put though the lack of love for certain characters is why I rate it a 8, with a bit more variation I've no doubt this would be in the 9/10 area. Yet rest assured I still genuinely like this film a lot.
Harry is a complex, compelling character who elicits a range of emotions from the audience. Setting the theme around Christmas gives it this wholesome, macabre edge- the gore, blood isn't as prevalent as one might expect but it's not a huge issue and Christmas Evil definitely has one of the most out of left field endings I have ever seen.
Gritty it might be, seedy in parts yes but a darkly disturbing film with an EXCELLENT performance by Maggart and a deep subconscious story that isn't just about Christmas itself but about anxiety, social inequality and the commercialisation of this holiday.
It's no Silent Night but that's never a bad thing, this is a different breed of Christmas horror and if you like it peppered with just a slight more meaning I recommend this yuletide story.
For this it earns an easy 8 snowballs out of 10.
Night of the Living Dead (1968)
Its Influence Runs Deep
If ever the term "classic" seemed more appropriate then Night of the Living Dead is the perfect example of what classic really means.
A film laced with fear, dread, social commentary and layered with atmosphere so thick it could smother the air.
Night of the Living Dead follows Barbara as on a trip to her father's grave she and her brother are attacked by a listless person who seems to move awkwardly and destroys everything in its path. Eventually she holes up in a farmhouse with other survivors including Ben as they work together to survive the terrifying events surrounding them.
Whether you like this film or not does not diminish the fact that this rightly deserves its place in history as one of the finest zombie (or ghoul depending on your preference) films there is.
The pace is admirably quick: from the beginning with Barbra and Johnny at the graveyard, the ghoul/ zombie it sets a consistent pace that grips the audience and keeps you hooked.
The acting is decent, though Judith O'Dea does, to a degree, let it down slightly with a character that's just too emotionally wrought to oftentimes care about.
But where she lacks Duane Jones compensates entirely with a performance of outstanding brilliance. The quiet intelligence of his character; how he thinks through many of scenarios placed before them - Jones is a joy to watch time and again.
The ghouls/ zombies look fantastic and act it too; the shambolic way in which they move, the slow pace that persists, they feel and come across as genuinely terrifying.
And it must be said that the small trace of a score is beautiful. When it's not present we hear the smooth notes of birds whistling on high, the natural sounds proving as unnerving as the gentle strum of notes in the background that precipitate the altogether disturbing sequences especially that cellar scene!
Maybe it's talked about too often but I can't mention NOTLD without discussing that end!
Even to this day it leaves an hollow emptiness in the stomach at what happens to Ben and the impact it courts upon the viewer never quite fades - yet despite my desire for a semi happy ending I have to concede it needed this dark, bleak ending to leave that impression.
If you love horror and haven't yet seen this, do so, it's one that I feel is mandatory viewing. So turn off the phone/ computer/ laptop, put down the shades and embrace Romero's outstanding low budget film.
À l'intérieur (2007)
An Inside Look at Outward Obsession
It's always fun when a particular sub genre falls at your lap that you love and here is mine: Home Invasion.
Why does this area of horror get to me?
Probably because at its very core this is something we all fear; something that could easily happen to anyone at any point. The notion of our security and comfort being invaded is an unsettling idea and one that horror plays beautifully on.
And better yet it poses a very real question: if your safe haven was invaded, what would you do to save yourself and those you love...?
Whilst there are plenty I could have chosen and plenty I've yet to see, I was drawn back to one of the most disturbing films I've seen. To say À l'intérieur is an harrowing experience is actually to undercut how intense this film really is.
Synopsis: Pregnant Sarah is involved in a car accident that kills her husband, a few months later on Christmas Eve she prepares for the festivities and arrival of her child when there is a knock on the door. But the woman on the other side doesn't want help she wants something else and she'll go to whatever lengths to get it...
The beginning prelude with the crash and then the quiet aftermath is the perfect build up, the quiet swell; the serenity (of sorts) feels off. You can tell something isn't quite right and then...
It has to be said Béatrice Dalle as La Femme is fantastic! Her unnerving calmness as she goes about systematically intruding on Sarah's life is thoroughly disturbing; the chill that permeates her scenes are as atmospherically creepy as it gets.
Yet although this begins with an Hitchcockian feel once Femme manages to get past those walls, the change is palatable.
The scene I still struggle to watch happens early on but is probably one of the simplest scenes to affect the viewer. Sarah in bed, Femme over her, the blade against her pregnant stomach... for anyone who is or as been this is an untimely reminder of how vulnerable we can be.
The score by François-Eudes Chanfrault is outstanding, it sets a trembling beat that moves at a steady relentless pace adding tension at precisely the right points.
The gore is shed in droves, it doesn't shy away from the bloodshed so if you're a gore hound this will easily suffice.
And the ending... whilst this film is, in my opinion, the definition of an excellent home invasion it's the final that seals it.
I'm a fan of both the happy ever after and the bleak yet for this it's the depressing nature that leaves an uncomfortable, unpleasant impression on the viewer. And makes this a film deserving of such status. If you have yet to see it, do so, this is horror simply put, at its finest.
Lobos de Arga (2011)
A Solid Entry in the Werewolf Sub-genre
Foreign horror - it's always somewhat less regarded against the Hollywood machine and yet when we think of films from other shores there's a recurring theme: they are, for the most part, FANTASTIC. And thankfully are growing an ever faithful audience. Whether it be a comedy horror, a splatter fest or an hardcore horror there's something for everyone.
Werewolf films, certainly good ones are not always easy to find and Game of is easily one of the best, beautifully fusing humour and horror into one.
Synopsis: After 15 years, Tomas, a not very successful writer, comes back to the village in Galicia where his family comes from, Arga, apparently to get an award. But he doesn't know the real reason why he is there, until it's too late...
Immediately what springs to mind is that the three main characters: Gorka Otxoa, Carlos Areces and Secun de la Rosa are fun, interesting warm characters with heart and soul. A rarity since some characters in horror you delight in their grisly deaths -
These guys aren't those. As funny as they are, clearly there's a real bond between the actors/ characters that comes through and makes them joyful to watch.
Equally the setting of the film based in one small place means there is ample opportunity to create long dark spaces, dimly lit chambers with golden candlelight as a guide and atmospherical surroundings. All of which are done to blistering swell effect,
Speaking of effect/s I'd be remiss to forget the creature make up. How nice it is to see largely practical effects. Yes I don't mind CGI but there's something altogether more charming about practical old school effects, sure there's some CGI but it's really not that noticeable I feel.
The humour is fantastic, there's so many moments that are laugh out loud; the finger scene is ridiculously funny and it never tries too hard to make us laughing coming across with a natural flair.
And it must be said the final twist is a fun howler!
I dislike reviews comparing this to Shaun of the Dead this is both different and interesting without the need for comparisons.
Want a good werewolf flick? Check this out and as far as foreign horror goes this is an hilariously Spanish jab at the werewolf sub genre.
O'Hellige Jul! (2013)
Santa is coming to visit, HIDE!
Well that was... WOW. O'Hellige Jul! aka Christmas Cruelty is pretty much an apt title for this film especially toward the end. Though I cannot dismiss the beginning which instantly goes for the jugular and is likely one of the most harrowing openings I've seen. Not much is seen except for one key part but just the suggestion and what you do see is enough to have you on edge.
It's partway slasher but also seems in my opinion to be character driven; we're not given just a bunch of random people where we don't connect, no in fact a good portion of the film is us rather cruelly (see!) seeing three friends and a small glimpse into their lives. Which means when things go south of the border you sympathize and care for them and that itself is the real torture.
With what Per-Ingvar Tomren had in term of a budget really isn't evident in my opinion, everything about this seems to show how flawless the direction is.
The golden hue that lingers through the film has a Christmas touch to it and other than a few shaky moments of the camera, it's smooth and therefore the eye isn't take out of the moment.
The humour is bang on and actually there were many moments where I did laugh, not simply because of the jokes between the main three but because it felt natural. Eline, Magne and Per have a beautiful rapport between them despite how they often speak to one another, especially Magne towards Per. Not to forget this but all three actors do a great job, I actually came to care for Per and the plight of what he endures.
The killer is interesting in how normal and unassuming he seems. Tormod Lien who plays serial Santa is the perfect choice I'd argue merely for the intensity of how he plays the role. The sadism he is capable of, it shows in those eyes.. and the confident arrogance of his character, which you see in several scenes, is staggering. He doesn't take any shame in his actions whatsoever so he is a character you love to hate.
With that said Per does something very interesting when it comes to his scenes to set them against the three main characters. And that's to have his scenes specifically with the camera zooming in, out, in, out - focusing on items scattered about. It feels disorienting at first but smartly it shows a fractured mind; a parallel between his sadistic nature and the seemingly normal family man. It's a glimpse into two minds clashing together.
I did love the nods to several other horror films from Jaws to Wolf Creek to The Shining and so forth.. if you're a horror fan and seeing that those who watch this will be, you'll adore the glimpses toward horror that others might not necessarily see.
I apologize for the length however we need, NEED to discuss the gore when it finally does erupt. A cavalcade of blood gushes against the screen, broken limbs, knifes into.. anyway. The practical effects are fantastic and exceptionally well done. And god that soundtrack is EPIC.
So this leads to a question mark of whether I'd recommend it. I'll admit it depends on your taste and if you don't mind a lull between. The beginning establishes a ruthless character, then gives us a bit of time to build up the three characters we will follow, whilst at the same time HE is focusing on them before a climax that doesn't shy away from its intentions.
Mostly though it depends on how you feel toward the main characters, if you can't connect then it might fall flat, if however you can then holy f*ck this is worth the wait!! I loved this, I loved how it uniquely presented the characters and a Santa you DON'T want paying you a visit.
A gem of a film for me and easily one of the most harrowing Christmas ones in helluva long time. I award this 8 snowballs out of 10 😊
Grotesk (2015)
Bonneman's Promising Debut
What a strange time this was but helluva lot of fun too!
Taking into account this was Peter J. Bonneman's directorial debut what he manages on a low budget is telling.
The camera/ cinematography seems to filter/ show everything in a greenish hue except for the cast/ gore. I'm 50% sure, not absolute, that this was deliberate to put focus on the heart of the story.
The characters are a lot of fun & definitely sleazy, the fantastic Mr. Jack Jensen has a scene that's interesting and his death scene is a lot of fun so hats off to him and Heine Sørensen is excellent as Frank. Pretty twisted in his own way but ultimately likable.
The creature looks fantastic it has to be said and genuinely feels creepy as he goes after the local populace. Interestingly the camera-work near the start is a little jerky which I expected but during the course of the film it smooths out considerably; showing a director who knows his art.
For its short 64 minute run time it never lags and keeps you sufficiently entertained.
But if there's one thing I loved about Grotesk is its clear love toward Jackson as the gore really took me back to Bad Taste. Tue Sprogø's score btw is a heady delight of synth and classical, the classical composition particularly is a treat to listen to.
And of course it's the beautiful practical stuff we know and love and oh how sweetly the stuff gushes! From caved in heads to stomach shot gun blasts and more, the red stuff is deliciously on display and shown with gusto.
You have to like/ appreciate independent low budget horror and a some shakiness in camera work for a spell but if you want something that's a shout back to the gory delights we've known and love, this is definitely worth at least seeing once.