An evil apparition increasingly menaces an emotionally damaged family while itself apparently only clinging onto this Earthly realm due to its own unresolved trauma.
This sounds like the outline of countless other films. However, Mama really is fresh-feeling and impressive. This formula is refreshing by the use of this feral child motif which recalls the real case of Genie.
Good acting from all. Very creepy.
But there are some downers. Aunty only exists to be knocked off and never feels like a danger to the nascent family life of our protagonists nor as a fully fleshed out character. Also, the CGI is a little ropey, though not ruiningly bad.
a fairly standard hijacker flick with a horror movie twist.
A terminally ill mother boards a transatlantic flight with her son to get specialist medical treatment overseas. However, when the plane is hijacked by a group of terrorists, she is forced to take action and do something she hoped she’d never have to do.
Blood Red Sky is a fairly standard hijacker flick but with a horror movie twist. The horror spin gives the film something extra, but the basic hijacker story is thrillingly acted and directed.
Mother and child are played well by Peri Baumeister (Nadja) and Carl Anton Koch (Elias), but the movie is frankly stolen by supporting acts Kais Setti (Farid) and mesmeric Alexander Scheer (Eightball).
The movie plays slightly better if you don’t know the nature of Nadja’s mystery illness before watching it. Sadly, all of the publicity spills the beans. None-the-less, the film is still very entertaining. A slightly unoriginal story whisks us along in the wake of its taut hijacking.
a refreshing mix of familiar ingredients in a new form, the hallmark of much groundbreaking work
Jordan Peele’s feature debut as writer-director, Get Out, is the story of young African-American Chris (Daniel Kaluuya) and his Caucasian Apple Pie American girlfriend Rose Armitage (Allison Williams). They take a road trip to meet Rose’s posh WASP family for the first time. Chris is nervous, but Rose reassures him: “They woulda voted for Obama a third time if they could!”. Her family greets him with warm and open arms. But something’s amiss, and Chris just can’t put his finger on it. But as the hours and days go by, Chris begins to realise something is very wrong with the Armitages.
Get Out is a wonderful and surprising horror-mystery-thriller which keeps you guessing until near the end. It’s quite different: a refreshing mix of familiar ingredients in a new form, the hallmark of much groundbreaking work.
It’s thrilling and mysterious, and at times surreal and funny. I thought this worked well, but surrealism and comedy might be a discordant turn-off for some viewers.
Peele says it’s a “social horror”. And it’s certain that it’s on the back of this antiracist message that the film picked up four Oscar noms and one win. Indeed, the point he makes — that white liberals can have a racism every bit as dangerous if not more so than hillbillies can — is important and not often made in cinema. Sad,ly the message was undercut by the thoroughly surreal nature of proceedings; surrealism is a key part to making satire effective, but I feel things stretched too far in this picture. Frankly, this film is best viewed as a horror-mystery-thriller and not as some sort of satirical social commentary (although your Guardian-reading friends surely sold it to you as such).
The final twist seemed a step too far into absurdity to make its social satirical points. But worse, it isn’t quite consistent with what comes before. Although fair play to writer-director Jordan Peele: the ending wasn’t merely tacked on as so often is the case with the shock twist, but was clearly the direction we were headed in all along, with hindsight. Nonetheless, it doesn’t really work. And the biggest twist is revealed through something unbelievable (a scheming character just leaving something incriminating lying about).
Original, refreshing, thrilling, albeit with an ending that doesn’t quite work. Just don’t watch it as a serious take-down of racism.
is it too good to be true? (hint: it’s too good to be true)
A young married couple who are struggling to deal with a betrayal in their relationship decide to start afresh by moving into a newly renovated dream house in a new, shiny suburban neighbourhood. The dream home for the dream price, but is it too good to be true? (hint: it’s too good to be true)
Aftermath is fairly standard house invasion/freaky stalker living in the walls/is-it-a-ghost-is-it-a-squatter-is-it-in-her-mind schtick. But it’s thrillingly directed by Peter Winther, better known as a producer (of such flicks as Independence Day and The Patriot). This film is a mishmash of other films and the true story of a jealous home bidder. The main plot twists are clear a mile coming (any doubts on what’s going to happen to the family dog?), but the film was riveting.
There were a few melodramatic TV movie aspects, but Aftermath never goes overboard. The acting was also highly compelling. I really found myself lost in the world of the film, and that’s a testimony to all involved including young actress-screenwriter Dakota Gorman.
No classic, but this is thoroughly entertaining stuff.
A troubled couple, Ray and Joanne (Sam Worthington, Lily Rabe), stop at a petrol station where their daughter’s arm gets Fractured in a fall. They rush to the nearest hospital, but something is terribly amiss. Pushy staff keep mentioning organ donation. And when daughter Peri (Lucy Capri) and Joanne disappear during an MRI, the hospital deny they checked in — or even exist at all. Ray must fight to save his family and prove his sanity.
A kind of horror Flightplan, we are kept guessing until the end: abducted family, or imagined family?
Unsettling, thrilling, but slightly shlocky. A good romp.
a very standard movie … [but] never felt staid or boring.
Daniel (Rodolfo Sancho) and Sara (Belén Fabra) lead an itinerant life: they buy houses, do them up, sell them off, and then move on to the next project, but in the meantime they live in their worksite. This has caused their son Eric (Lucas Blas) some emotional problems as he can never embed himself properly into the local community — until the most recent community, that is, which Eric has been traumatically ripped from. So when Eric begins to hear voices, his psychologist thinks to look no further, but the source of the voices is far more disturbing.
Don’t Listen a.k.a. Voces (‘Voices’) is, in a way, a very standard movie of its kind. Old and possibly haunted house, evil presence, kid picks up on it first, bad stuff starts to happen, the terrorised family turns to an “expert” in pseudology or whatever, final showdown, etc. However, Don’t Listen never felt staid or boring. The presence is genuinely disturbing, the signs of a person affected by the presence are also disturbing and believable — and this is sold wonderfully by first victim (played by Beatriz Arjona).
The twists and developments never feel forced. The reactions of the characters are believable. Just when you fear the film may fall apart by Hollywoodising in the final act, the movie triumphantly soars.
the characters didn’t feel like cut-outs waiting to be killed, but like real people.
Six strangers from very different backgrounds have been invited to take part in an escape room together. Escape rooms are a chance for people to come together, build social skills, be creative, and have fun — win or lose. But it soon becomes apparent that when it comes to this particular escape room, losing is not an option.
A strong concept piece featuring a motley assortment of characters, Escape Room felt like a horror movie in the model of a classic Twilight Zone episode, an exciting mystery. It had shades of movies I’ve enjoyed so much, such as Cube (1997) and Saw (2004), but very much did not feel derivative. Escape rooms themselves are all the rage now, probably because, as one of our players Danny (Nik Dodani) enthuses, they’re like real life computer games. And so this feels a very 2019 twist on those older movies.
Escape Room had plenty of well-judged humour, scares, moments of real tension interspersed with genuine mystery and a sense of the marvellous, and the characters didn’t feel like cut-outs waiting to be killed, but like real people. This definitely elevates Escape Room above most other examples of the survival game subgenre where character, motivation, and plot are so often very much secondary to the creativity of the games and the kills.
The movie began with a bang and then slowed right up in order to introduce all of the characters and the setting. But then the pace kicked back in and didn’t let up. Thrilling. I particularly enjoyed this playing with pacing and also of realism; the movie stretches and snaps back like a rubber band, never breaking nor going too far, but pushing the viewer to the limit.
Escape Room isn’t the first movie based on this concept — for example, we have the confusingly named and dated Escape Room (2017) dir. Will Wernick and, err, Escape Room (2017) dir. Peter Dukes –, but it’s the best so far. It really felt like I was watching this generation’s Saw. And like Saw, there were twists and turns — although, admittedly, none as shocking as that twist from the original Saw. Just as in Saw, each room / trial is brilliantly imaginative; you almost feel yourself “playing along” at home. And just like Saw, I felt myself thinking, “This could easily be a franchise. I think they could make more! I hope they make more! Although any sequel would be milking this concept dry” As it happens, the films ends not with the hint, but the definite confirmation, of a sequel. I felt excited, but also a little sickened by the self-assuredness of this film: gone are the days of teasing the audience and hoping for the box office receipts to make a second movie profitable, now are the days of the five film Netflix deal. None-the-less, the set-up for the sequel looks anything but milking the concept: it promises to be a thrilling and wonderful development, and it’s to be released in 2021.
A great concept, entertaining and real-feeling characters, thrilling, horrific yet fun, Escape Room was both familiar and yet refreshingly different. I loved it, and I cannot wait for the sequel.
A film that the critics will wax lyrical over … but which actually doesn’t live up to its promise.
Bol and Rial Majur (Sope Dirisu and Wunmi Mosaku) had fled the brutal civil war in Sudan and fared a treacherous passage across the sea to the UK. After being given temporary leave to remain in Britain, their life looks bright–er. That is, until a menacing presence in their new home begins to interfere with their new lives.
His House begins with a wonderful premise that sees our characters trying to make a new life in a dilapidated council house on, perhaps, the worst council estate in England. The visuals are stunning and it’s genuinely scary — at first, that is, until the jump scare trick gets repeated once too many times. But there is some beautiful visual poetry.
This is a movie which, both for thematic and artistic reasons, I desperately wanted to love. Sadly, the wonderful premise and promise fall away rather quickly as the film really seems to fizzle out half way through act two. There is never enough threat to our main characters, nor mystery about what is going on. This is a real shame.
A film that the critics will wax lyrical over–it’s currently 100% fresh on Rotten Tomatoes, but believe me, it’s not that good–but which actually doesn’t live up to its promise. A visually-engaging albeit ultimately hollow movie.
imagine a Scary Movie where the wonderful Anna Faris and Regina Hall actually thought they were giving solid dramatic turns.
A baby-sitter finds herself trapped in a house playing cat and mouse with a masked serial killer. Sound familiar? A Stranger Outside is standard ’90s Scream-style shlock, albeit without the self-awareness. But it wins points for some interesting plot ideas. For example, the baby-sitter is really a nurse who has taken the gig as a way of getting some easy cash after suffering a career and confidence crisis due to the death of a vulnerable child in her care.
The first half of the movie was trite, and the acting was a little over-the-top, although our lead Brittany Underwood was giving a decent turn. The less said of the performances by her co-stars Mark Grossman (boyfriend Jeremy), Michael Chandler (incompetent Dr Mixer), Jet Jurgensmeyer (baby-sittee Toby), or best friend Kaci (Shanica “No Relation” Knowles), the better. Things really fall apart in comedy style when the killer starts a-killing. The Scary Movie-like knife thrusts, slicing through pieces of paper, cowering beside counters, and hysterical screaming were beyond absurd; imagine a Scary Movie where the wonderful Anna Faris and Regina Hall actually thought they were giving solid dramatic turns.
This film is also oddly disjointed. The first half, a 90s throwback cliché, albeit mildly entertaining. The second half, a spoof movie not realising it’s a spoof movie. Indescribably awful, but in its awfulness, thoroughly enjoyable nonsense. A jumble of decent scenes and terrible scenes, passable acting and insanely awful acting, make for a diverting 90 minutes.
surely ranks as one of the most terrifying examples of the genre that I have ever seen.
I am a huge and borderline obsessive Game of Thrones fan. I mean, I don’t dress up and go to the conventions. And my bookshelf doesn’t boast a crumbling copy of David J. Peterson’s book Living Language Dothraki. But it certainly can’t be healthy for a 35 year old man to be repeatedly kept awake at night by an almost endless stream of fantasies where he inhabits the Game of Thrones universe as a key protagonist. How would I react if my dragons—-Wake up, Bryan, you pathetic manchild, and smell the early onset midlife crisis!
Given that context, it is very surprising to me that I somehow missed 2014’s Honeymoon starring as it does GOT‘s very own Ygritte, a.k.a., the ridiculously lovely Rose Leslie.
Leslie and co-star Harry Treadaway play head-over-heels-in-love newlyweds, Bea and Paul, who just can’t keep their hands off each other. We join them as they start their honeymoon in Paul’s family cabin in the woods. Our leads give believable albeit slightly off-centre performances, but their quirkiness brilliantly foreshadows the disturbing story to come. Paul wakes up to find Bea sleepwalking alone in the woods. Things start to fall apart quickly for the young couple as it becomes clear that something very bad happened that night.
But what happened in the woods that night? And what is happening to them now? The film never fully spells the answers out. There are many possible interpretations. Mine is extraterrestrial rape. And I think when read as an alien abduction film, Honeymoon surely ranks as one of the most terrifying examples of the genre that I have ever seen. Indeed, if alien abductions really do happen, this film paints a deeply convincing picture of the literally alien / otherly horror of that experience. Although I repeat: the interpretation of what happened is very open.
However, don’t get bogged down in the specifics of what actually happened to Bea. The events, alien rape or otherwise, are merely an incidental device to explore what can happen to a healthy and seemingly rock solid relationship when one partner is violated in some way. The actual violation could be viewed as unwanted pregnancy or perhaps the loss of one’s self to an illness such as Alzheimer’s. But I think this film pretty clearly had rape in mind. None-the-less, I don’t wish to suggest that this film was meant as an allegory of rape or some other specific traumatic violation. But merely that it examines a relationship after having undergone a (any) traumatic violation.
A brilliant and deeply unsettling film that gave me repeated goosebumps and made me shiver endlessly.