Film Review: “MaXXXine”

Starring: Mia Goth, Elizabeth Debicki and Moses Sumney
Directed by: Ti West
Rated: R
Running Time: 104 minutes
A24

Our Score: 4 out of 5 Stars

“What is Ti West trying to tell me?” That was a thought that kept popping up during the brief and distantly scattered lulls in “MaXXXine.” If you didn’t know, “MaXXXine” is the conclusion to director/writer West’s Mia Goth horror homage trilogy. Just like in “Pearl” and in “X,” Goth plays an antihero that we sympathize with because she’s fierce. She’s an ambitious young woman looking to escape a humdrum confining life. She finds power in violence, but will she finally achieve the infamy and freedom that she so desperately wants?

Maxine (Goth) just landed a role in “Puritan 2,” the upcoming horror sequel currently being protested by…well…modern day puritans. Radicalized individuals picket outside Hollywood studios in the background as Maxine sees a bright future ahead for herself. After years of porn work, she believes she has her big break. She’s so starstruck by her own potential stardom, she seems to care less that the Night Stalker is terrorizing the surrounding hills. Yes, it’s the 80s. Every corner of Hollywood looks like Skid Row, the morality police are in panic mode and slashers populate cinemas across the nation. Maxine blends in with it all, but her dreams of being a star seem too good to be true. A mysterious individual leaves a tape at her front door. What’s on it? Her dark past.

West has already solidified himself in the horror community, but with “MaXXXine,” he may have solidified himself as a household name with the completion of this fascinating and wildly entertaining trilogy. Each film, while fitting neatly in different aspects of the horror genre, manages to feel magnificently different and fresh. However, “MaXXXine” is the most audacious and grandiose of the bunch. While “MaXXXine” features a thick cast, like Kevin Bacon’s old school magnetism, Giancarlo Esposito’s scene chewing, or Elizabeth Debecki’s commanding screen presence, Goth casually remains the focus from her first time on screen to her last.

“MaXXXine” is able to entertain without any knowledge of the other films, just like “Pearl” and “X,” but it is immensely richer if you have seen the other films. Not only does “MaXXXine” love being self-referential, to the point of being meta on its own meta, it builds upon its own mythos in subtle ways. Watching the trilogy will also help you understand Maxine even more during her long stares and daydream fantasies. Also, let’s be blunt, this trilogy is a true horror showcase for Goth’s range and power to maintain viewer’s attention over five hours.

Back to the opening question of this review…West looked to tie his main theme in ”MaXXXine,” simply by going to Hollywood and going big. “MaXXXine” hammers home its nuanced commentary on art imitating life and vice versa. In all these movies, we not only see how the power of cinema impacts Goth’s character, but we see how much the act of making films, both the fictional ones within the movie and the actual films, become the ultimate commentary on the power of storytelling. “MaXXXine” takes place during the 80s when crazed Christians thought the devil had infested pop culture, and lawmakers were considering regulations and bans on art because of that moral panic. It took about 40 years for history to repeat itself. West loves filmmaking, it’s very obvious from not only watching “MaXXXine,” but this trilogy as a whole. Hell, maybe West channeled his life and ambitions into Maxine. Or, maybe West wants us to know Hollywood is not only a fucked up place, but so is everyone in it.

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Filed Under: Film Reviews, Movies Tagged With: film review, horror, jeremy werner, maxxxine, mia goth, movie review, ...

Film Review: “In a Violent Nature”

Starring: Ry Barrett, Andrea Pavlovic and Cameron Love
Directed by: Chris Nash
Rated: NR
Running Time: 94 minutes
IFC Films and Shudder

Our Score: 4 out of 5 Stars

Is it possible to reinvent the slasher genre in the 21st century? I think there’s always a discussion about it, but I ultimately think it’s incredibly difficult, especially since some confuse reinvigorating with reinventing. It’s hard to transform the slasher genre because it’s solely built on the singular purpose of seeing people killed in brutal ways. I’m not saying it’s too simplistic, but I’ve rarely seen instances of films attempting to reinvent one of horror cinema’s greatest wheels. The most recent occurrence of reinvention is when Wes Craven unleashed “Scream” upon the world. That being said, “In a Violent Nature” comes pretty damn close.

I wasn’t sold immediately as “In a Violent Nature” opened on a deteriorating structure in the middle of a lush summertime forest. We hear a few men off-screen talking over the sounds of nature; birds, the rustling of trees in the soft breeze and the like. Then we see a locket necklace removed from a pipe shooting out of the ground. That removal is what causes our main character to emerge from the hardened, yet seemingly fresh dirt below. Johnny (Ry Barrett) crawls out of the Earth from his undead slumber and begins to shamble around the pristine woods around him. The cameras follow Johnny throughout “In a Violent Nature,” sometimes methodically, sometimes suspensefully, but ultimately with an unspoken purpose.

It’s easy to compare “In a Violent Nature” to a film like the remake of “Maniac,” where we see not only have a first person view of the killer’s world, but hear his internal monologue. “In a Violent Nature” is third person and we never get to hear what Johnny is thinking. You could almost say that we more or less see what happens during other slashers as our main killer lumbers towards an unspeakable goal or illogical destination. You can joke that in other slashers, the killer is generally just twiddling their thumbs or possibly checking their Instagram notifications as they await another teenage victim to slash and gash. Instead, we’re left to ponder for several long lapses what Johnny is doing. Revenge? Bloodlust? Boredom?

Come to think of it, I really wasn’t sold on “In a Violent Nature,” until the film’s second kill. The film juxtapositions these moments of brutality with Johnny calmly walking about. We see him as he encounters the stereotypical group of teenagers looking to camp in a place they shouldn’t be, and how he reacts. Johnny doesn’t necessarily react the way we’ve imagined Jason Vorhees or others before Johnny. Vorhees jump scares into the picture, machete in hand, and quickly mutilates his victims. Johnny just walks up. Is that what Vorhees, Krueger and Myers have been doing all along? Casually strolling up? Like slashers before him, Johnny seems focused on a singular notion, but what is that notion? What drives Johnny? At a certain point, does Johnny’s backstory answer our burning questions or merely attempt to explain the unexplainable? “In a Violent Nature” performs an autopsy and you’re left to wonder what all the different organs are and why some are disfigured while others aren’t.

The film checks all the slasher boxes, a memorable killer, creative and gruesome kills, the drowning feeling of isolation, and a pace that balances viciousness with quiet curiosity. Is “In a Violent Nature” a deconstruction of the genre, much like “Cabin in the Woods?” It’s difficult to say because the silence breeds speculation and ultimately makes the viewer deconstruct the film more than the genre. “In a Violent Nature” starts out as an homage and slowly becomes a social commentary like great slashers before it. Slashers have always tapped into societal trauma, like the breakdown of safe spaces, whether it be a pristine lake in the woods or the safety of a suburban community on Halloween. The main thing it tapped into was a fear of the unknown. It’s very human to be fearful or anxious of the uncertainty and unseen around us. It’s what made “The Strangers” so effective, murderers can come for you just because. So, in today’s digital age of data where we have access to a wide range of sources and information, we fail to remember one thing that “In a Violent Nature” reminds us of, some things will never be explained. Johnny, just like the universe, may just be random and cruel. While some may suffer fates worse than death, survivors will be haunted by its unanswered questions.

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Filed Under: Film Reviews, Movies Tagged With: andrea pavolic, cameron love, chris nash, film review, horror, ifc, ...

Film Review: “Faceless After Dark”

Starring: Jenna Kanell, Danny Kang and Danielle Lyn
Directed by: Raymond Wood
Rated: NR
Running Time: 83 minutes
Dark Sky Films

Our Score: 3.5 out of 5 Stars

Has horror even been this meta? “Bodies Bodies Bodies,” “X,” “One Cut of the Dead,” and “Totally Killer” are just a few of the meta horror movies from the past couple of years that I can think of off the top of my head. It’s been an interesting subgenre for decades, but it seems to have crescendoed recently. However, have we ever had an actor or actress in a newly beloved horror film take on their own success through the meta medium? After several film festivals, “Terrifier” began making the rounds in 2018. Since then, and thanks to the highly successful sequel, “Terrifier 2,” Art the Clown is slowly becoming a household slasher name and Jenna Kanell’s career has taken off. I’ve seen Kanell once a year in one film or another and she has this dangerous, yet fun magnetism about her. This is basically what “Faceless After Dark” is.

Bowie (Jenna Kanell) is famous after starring in a film where she dukes it out with a sociopathic killer clown. It leads to more horror film offers, conventions on weekends and an internet buzz that seems inescapable. But it isn’t the boost to her career she was expecting. She doesn’t like the convention circuit, she doesn’t like being typecast as the final girl, she doesn’t like the lack of pay, she doesn’t like that her creative ideas and aspirations are ignored and she definitely doesn’t like the daily parade of older, uglier, fatter and hideous men sliding into her DMs. This frustration builds and builds until one night, a person imitating the sociopathic killer clown from Bowie’s famous film enters her home during another frustrating night of writer’s block. However, she may have just found her inspiration.

“Faceless After Dark ” blurs the lines so much between Kanell/Bowie, we’re unsure about quite a lot as the film progresses. We enjoy watching Bowie getting vengeance, but how much of this is entrenched in Kanell’s beliefs and existence within the artist and audience dynamic? There aren’t too many clues during Bowie’s blood rage to mine out a direct interpretation of Kanell’s attitudes. She might actually be a true sociopath if that was the case, but the film does have a very cathartic nature to it. We may not understand the strife on screen, but we understand how social media, the constant negativity it pours into our lives, and the contemporary world around us becomes more and more of a burden the more we allow our lives to bleed into social media. That’s when the mess of the world feels more tangible than other issues in our life that we can actually handle and change. It’s a human breaking point of needing to lash out when the world feels like it’s lashing you daily.

There’s a lot of pondering going on behind Kanell’s eyes, whether it’s while she checks her phone, edits video footage or stares with pure determination into the camera during a strobe light montage of violent imagery. On top of Kanell’s mysteriousness, “Faceless After Dark” makes a few interesting remarks about the slasher genre. The title slasher, whether it be Freddy Krueger, Jason Vorhees or even Art the Clown, always seems to be given the true love and adoration while the love and adoration for final girls like Bowie/Kanell may be at times genuine, but sometimes sexually motivated and overtly creepy. It’s also interesting that many slashers simply kill to kill, sometimes indiscriminately or, as it was stated for years, because they had sex. We still love those male slashes for it. In “Faceless After Dark,” it’s almost like Bowie needs an emotional excuse instead of indiscriminate slashing. Without that linchpin, we risk not liking her. Odd, isn’t it?

“Faceless After Dark” is a suitable slasher, but is way better as the meta slasher it angles to be. If you don’t know Kanell and the “Terrifier” franchise, I doubt you’d understand a lot of the film and I also doubt you’d be interested in this film in the first place.  Led by Kanell, who may deserve her own slasher series after this, “Faceless After Dark” is a vicious spectacle that will potentially have genre fans questioning their own fandom and what the film ultimately represents.

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Filed Under: Film Reviews, Movies Tagged With: art the clown, dark sky films, faceless after dark, film review, jenna kanell, jeremy werner, ...

Panic Fest Film Review: “New Life”

Starring: Hayley Erin, Sonya Walger and Tony Admendola
Directed by: John Rosman
Rated: NR
Running Time: 85 minutes
XYZ Films

Our Score: 3.5 out of 5 Stars

We don’t know who or what she’s running from, but we know it’s serious when we first meet Jessica (Hayley Erin). Jessica, with a splattering of blood on her face, is heading to the Canadian border through the mountainous west. Hot on Jessica’s tail is Elsa (Sonya Walger), an FBI agent who just received a crippling diagnosis that is immediately viewed as a death sentence. Both are resourceful, Jessica is scrappy while Elsa is calculating, but only one is willing to put humanity on the line in this pursuit.

“New Life” isn’t what you’d expect from a first-time writer/director and a group of producers who’ve made nothing but horror films. There are some horror elements, but “New Life” is a slow burning look at humanity from two different lenses. Jessica is relatively young, still views the world optimistically and is simply looking to start anew and live. Elsa, is towards the end of her career, views the world sardonically and is so-focused on her job of catching Jessica, that she ignores helpful advice from her friends, co-workers and doctor. The individual journeys are more entertaining than anything else in the film, even the end of the world possibilities aren’t as weighty, but that’s intentional.

After a slow start, “New Life” gets straight to the point, giving us that personalized view of the world from each character. Elsa is ready to nab Jessica, but she isn’t. She doesn’t want to face what comes next. She’d rather face a crisis that’s existentially awful for everyone, and do it her own way. Jessica faces a recent past that’s already caught up to her, but has decided that her life is still worth living, even if that means death for everyone else. As to what happens when the two finally meets, is the ultimate thrill of “New Life.”

The acting by Erin and Walger is nearly flawless as they play two sides of the same coin. We relate to Jessica so well, even when she isn’t saying anything. We can sense immediately that she’s a good person who has found herself in the middle of an awful situation. We relate to Elsa equally because she’s able to command everything and everyone around her through her words, not her action. Even though Jessica’s the one being chased, it seems like we’re able to be at ease around her, but on high alert with Elsa at first. The great thing about “New Life” though, is that as the movie goes, the ease and tension, flip flop throughout until the final act.

“New Life” is about being human and the ensuing complications. Because we relate so well with Elsa and Jessica, the ending almost serves as an emotional thump to the chest. We don’t know whether to be happy, sad or indifferent. Life isn’t as black and white, even with two characters and those two characters carry the nuance of life with them. For these two alone, “New Life” is a must watch, even if you aren’t into slow burns.

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Filed Under: Film Reviews, Movies Tagged With: apoclaypse, film review, hayley erin, jeremy werner, movie review, new life, ...

Panic Film Fest 2024 Rankings

Every year I try to watch as many films as I can at Panic Fest. It’s impossible to get to all of them in the brief week-and-a-half, but I get better at it every year. I managed to watch more films this year than last year, catching around 80% of the film’s offered in-person and virtually at the 2024 iteration. I haven’t done this in the past, but decided to do it this year because I don’t get the opportunity to write something on everything I see. I really don’t have the time or willpower to churn out 37 reviews. I figured the best way to encapsulate the films at Panic Fest is to write a blurb about each film and rank them compared to one another. So, without further ado, below is a ranking of this year’s films, so you can keep an eye out for them as they travel at other festivals around the country or hit theaters.

#37: Haunted Ulster: Live
-Not for me. I’m not sure how you define a film like “Haunted Ulster: Live.” It reminds me a lot of “WNUF: Halloween Special.” I appreciate the nostalgic nature of local live TV events, but “Haunted Ulster: Live” feels more like an inside joke than a found TV footage film.

#36: Young Blondes, Stalked and Murdered
-Sometimes the title is the film. It worked in the 80s with films like “Sorority Babes in the Slimeball Bowl-O-Rama,” but for “Young Blondes, Stalked and Murdered,” not so much. It’s a promising film, but by the end, you wonder if it would have been better served as a short.


#35: NOCLIP
-You’ve heard of a microbudget, right? Well, “NOCLIP” is a nanobudget. While I didn’t like it, I commend the creators for their couch cushion change budget approach to a film about two stoners wandering around a mall parking lot in search of the creepypasta “Backrooms.”

#34: The Buildout
-I heard a lot of buzz about this during Panic Fest, but unfortunately all that buzz did not resonate with me. “The Buildout” is about two friends in the desert who have to come face-to-face with their emotional and spiritual issues, but by the time it happens I quit caring.

#33: The Hyperborean
-”The Hyperborean” is a comedy. I think. I didn’t laugh, but I found some of it amusing. It’s almost like “The Royal Tenenbaums” with mummies, aliens (once again, I think) and general family chaos. The only thing it’s missing was likability.

#32: Carnage Radio
-”Carnage Radio” reminded me a lot of “Below the Fold.” Both seem to take place in a small town community, both have an unsolved mystery at the beginning, and both are competently shot and acted. There’s just no meat on the bones.

#31: Killington
-Sometimes you watch a film that makes you think about your own years of making a movie or someone else’s. Maybe it was with friends on a phone or maybe for a college class. “Killington” feels like one of those movies, which means every positive is outweighed by the negative.

#30: Hippo
-I’m not going to pretend to know what “Hippo” is about. Multiple people have asked me what it’s about and I tell every one of those individuals that the title character is an obnoxious incel version of Napoleon Dynamite. That to me either makes or breaks your viewing experience.

#29: All Alone Together
-What happens when a filmmaker’s visions turn into real nightmares? “All Alone Together” attempts to answer that question in a very entertaining 15-20 minutes, but the longer it goes, the more you question the necessity of it being a feature length film.

#28: The Activated Man
-What does a creepy pale nightmare man with a black hat have to do with the spiritual war between good and evil? I’m not sure, but “The Activated Man” will either hit you right in your feelings or will leave you wondering what exactly you’re missing out on.

#27: Worlds
-Worlds uses other people’s Ring doorbell footage, along with cops and others, to create a mystery about its title character, a man in a white shirt that says “WORLDS”. The film ends up creating a mystery longer than its runtime, leaving viewers unsatisfied.

#26: All You Need is Death
-What happens when two people recording old folk music record a song they shouldn’t? Good question, because “All You Need is Death” may have been lost in translation. While some elements of the film are universal, others may need to be explained to my American mind.

#25: Kryptic
-A woman with no knowledge of who she is goes on a journey involving cryptids, cults and unsavory characters. The journey in “Kryptic” is fascinating at first, but it becomes clear as the film goes that the filmmaker should have worked a bit longer on a point.

#24: Psychosis
-Technically speaking, I enjoyed this film a lot. It felt very much like an early-90s student film delving into insanity. However, the script just doesn’t match the overall tone. Instead of exploring its themes, it just kind of presents them and hopes that’s enough.


#23: Hostile Dimensions
-What if existence is an endless stream of realities where each individual choice and thought spurs an entire next reality? That’s what “Hostile Dimensions” posits, but only uses that theory to spin a more personal story. It runs out of ideas, despite the notion of infinite possibilities.

#22: Spookt
-In small town Pennsylvania, an abandoned haunted house serves as the source for all rumors and evil. So it’s up to two Youtubers, a skeptic and a believer in the paranormal, to find out if something is indeed in the house. You’ll eventually find out the obvious answer, but you have an incredibly confusing plot to get through first.

#21: The Ceremony is About to Begin
-I find myself being indifferent towards “The Ceremony is About to Begin.” While starting off like a PBS documentary about a drug-fueled cult, and very few aren’t it seems like, the film evolves into something else as the director goes searching for the truth. The truth is apparent, but thankfully for the audience, the director is ignorant.

#20: Purgatory Jack
-”Purgatory Jack” is about what happens to our souls after suicide. It sounds like a dark premise, but it’s actually quite fun. Named like a western, shot like a bright noir mystery and acted like the insane idea it is, “Purgatory Jack” is entertaining even if it’s not great. It’s a comfort food for some and sometimes that’s really all you need.

#19: Blind Cop 2
-I actually thought “Blind Cop 2” would be the best comedy at Panic Fest, but it’s not. A film like “Wolf Cop” (a Panic Fest alum) understands what it is and never does more. “Blind Cop 2” understands it’s a parody of 80s action films, but it attempts to parody too much. While funny, it makes you wonder if the filmmakers were confident in the core material to begin with.

#18: Don’t Die
-It’s hard to write about “Don’t Die” because I keep thinking about how it’s “Get Out” without a Hollywood budget. The stories aren’t beat-for-beat the same, but the themes are very similar. That being said, it’s not a bad thing. “Don’t Die” still has its own story on race and classism, and was a passable watch at this year’s Panic Fest.

#17: Couples to Hell
-”Couples to Hell” is an anthology movie where the four stories are written and directed by the same director. The idea in this anthology is that it’s all about couples, even though it really isn’t. Anthology films are difficult to pull off for a variety of reasons, but this one at least has four interesting tales, even if there’s no connective tissue, wraparound story or sense of purpose.

#16: Jeffrey’s Hell
-Aaron Irons, who wrote, directed, acted, and probably did everything else, highlights the evil that can be found in the Appalachian Mountains through “Jeffrey’s Hell.” It’s a found footage film that doesn’t follow the rules of found footage. We’re not upset by this rule breaking because something paranormal is telling us, there are no rules.

#15: Never Hike Alone 2
-The “Never Hike Alone” fan franchise is built off the “Friday the 13th” studio franchise, probably one of the only successful cases of this happening. Successful meaning, on-par if not better than the source material. The latest entry not only has Jason being the stocky mass killing machine he is, but builds upon Jason’s mythology and its own fan mythology in the process.

#14: What You Wish For
-What’s Nick Stahl been up to? Not sure, but his latest film, “What You Wish For,” shows he’s still a talent for whomever rolls the dice on him. “What You Wish For” is thrilling and surprising enough to recommend, however, there are moments where it feels like someone watched “The Menu,” and wanted to make their own small budget version.

#13: Heiresses
-Oddly enough, this was my final watch for Panic Fest 2024 and I almost turned it off because I felt like it was going nowhere. The dialogue-heavy film takes a dramatic exit to shocking violence and ends up becoming an interesting metaphor on grief and our inability to deal with it. I’ll be honest though, if the third act never arrived, this wouldn’t be nearly as high on the list.

#12: Sheryl
-We all got stories about our own quest to find love, only to fail. Finding love is hard enough, but imagine finding the right one while finding out you have a new passion, murder. “Sheryl” is never what you expect. Even though I knew going in that the title character would be handling a break-up with a serial killer that introduced her to murder, I didn’t expect all that came after.


#11: Mother Father Brother Sister Frank
-It seems like every year, there’s a dark comedy at Panic Fest. What kind of genre festival would be complete without one? “Mother Father Brother Sister Frank” is about family and the parts of that family that you wish you weren’t blood related to. This tight winter comedy focuses on how a family deals with Uncle Frank, who isn’t bringing tidings and good cheer. The family isn’t dysfunctional, they just need some bonding time over what to do with Uncle Frank.

#10: New Life
-For those who experienced COVID-19, the pandemic will never not be a thought during film’s like “New Life.” On paper, it’s a movie that’s about two women. Both are battling with the idea of mortality, but only one is looking to put a stop to the potential apocalypse. “New Life” shows us that dramas can have horror, tangible and fictional, sprinkled throughout. Our two leads elevate “New Life” to levels that wouldn’t be possible on the script alone.

#9: Sting
-Two spider movies? At least this one didn’t scare the hell out of me. “Sting” is the kind of spider film that people with intense arachnophobia might be able to handle, much like “Eight Legged Freaks.” The scares aren’t as serious as the peril our characters find themselves in, but “Sting” is a 21st century B-movie creature feature. It is what it is and you’re either going to have a great time, nitpick it to death or avoid it at all costs.

#8: Off-Ramp
A road-trip movie with its tongue planted firmly in its cheek, “Off-Ramp” was one of the films I was looking forward to immediately based on its premise and didn’t disappoint. Two stoner juggalos find trouble and some unexpected new family members on a journey to the “Gathering of the Juggalos.” When the film isn’t having fun or throwing us into the middle of chaos, it’s showing how the juggalo lifestyle isn’t as maligned as you might think.

#7: Ghost Game
-Combine social media challenges, a potentially haunted house, and a cast of characters more ludicrous (in a good way) than the next and you’ve got “Ghost Game.” The film handles multiple themes and threads seamlessly during its brief runtime. Panic Fest has become the premiere festival for various Kansas City voices over the years. With a breathtaking pace, fun characters and a wicked story, “Ghost Game” might just be the biggest premiere of them all.

#6: Sleep
-What would you do if your partner was a potential threat to your newborn? Intentionally or not, “Sleep” not only examines that question, but flips all your preconceived notions during the first hour on its head during a creepy second half. “Sleep” is the best foreign language film to hit Panic Fest 2024. “Sleep” is the kind of film that would have newlyweds and other couples reconsidering the prospect of bringing a new life into the world.

#5: Livescreamers
-Video games that kill you while you play aren’t the most successful of horror genres. “Livescreamers” might be the first successful film in this niche genre. While still a low-budget and small scale film, “Livescreamers” utilizes a unique camera set-up and the Unreal Engine to craft a timely film about how society hasn’t fully learned its lesson since #MeToo. It’s also an insider look and discussion about how damaging internet culture has become, even when it’s all fun and games.

#4: Azrael
-If “Azrael” never sees the light of day, I’ll consider myself fortunate for watching one of the more unique genre films of the past decade. Without uttering a single word (I lied, maybe several in an obscure language), “Azrael” winds its way through a post-Apocalyptic wasteland inspired by “Revelations” and “Left Behind.” Samara Weaving nails her performance and once again has a knack for finding diamonds in the rough scripts to exercise her acting skills. This is a film I’m hoping to watch again, if the studio doesn’t leave it on the shelf.

#3: Oddity
-Something supernatural is afoot in “Oddity,” a tense thriller about a murdered wife and her sister who is attempting to find her real killer. “Oddity” utilizes shadows, a digital camera, a wooden mannequin, and other innocuous inanimate objects to elicit terror. As the mystery unravels, the supernatural forces at work begin to reveal themselves in menacing fashion. While the premise didn’t seem all that promising, it only took a few minutes into “Oddity” for it to unsettle me and keep me on the edge of my seat for the rest of its runtime.

#2: Cannibal Mukbang
-Little did I know the first great romance film of 2024 would be “Cannibal Mukbang.” I was just expecting some fun and gore, but I got way more than that. This genre roller coaster is at times, cute and rom-comish, while at other times is brutally horny and dementedly gory. From the script to the acting to the practical effects, “Cannibal Mukbang” is unforgettable. The director, Aimee Kuge, who worked on several episodes of “The Last Drive-In” with Joe Bob Briggs, has made one of the more mainstream exploitation films I’ve ever seen.

#1: Infested
-It was very difficult to pick a favorite film at this year’s Panic Fest and I feel like I could make a case for the top four on this list, but after much consideration, it has to go to “Infested.” This isn’t only the best film at Panic Fest 2024, but may be on its way to one of the best of 2024. This is a movie that will crawl under your skin at a frightening pace. At one point during the film I felt like something was on me and freaked out. Even well after the film, I was avoiding dark corners and anywhere spiders are lurking. This film is a must-see for horror fans.

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Filed Under: Commentary, Misc Tagged With: all alone together, all you need is death, AZRAEL, blind cop 2, cannibal mukbang, carnage radio, ...

Panic Fest Film Review: “Oddity”

Starring: Carolyn Bracken, Gwilym Lee and Tadhg Murphy
Directed by: Damian Mc Carthy
Rated: NR
Running Time: 98 minutes
Shudder

Our Score: 4 out of 5 Stars

At the 2021 Panic Fest, “Caveat” was one of the many films I missed. It wasn’t until last year that I gave it a watch on Shudder and couldn’t believe I had missed this film, and waited so long to watch it. Looking not to make the same mistake again, I saw that director/writer Damian Mc Carthy’s second film, “Oddity” was coming to this year’s Panic Fest and it’s another high recommendation.

Darcy (Carolyn Bracken) is home alone at her and her husband’s fixer-upper country home. The reconstruction process is so intense, the couple sleep in a tent in the living quarters while repairing it. Well, she at least sleeps alone at night because her husband, Ted (Gwilym Lee) works nights at a mental hospital. Settling in for another lonesome night, Darcy hears a frantic knock at the door to find one of her husband’s former patients warning her in the dead of night, “Someone is in there with you.”

Cut to one year into the future, Darcy is dead, believed to be murdered by that patient, but that story doesn’t sit right with Dani (Carolyn Bracken again), Darcy’s twin sister. However, Dani is blind and takes care of the family’s oddity shop. She serves as a medium for the store, seeing the power and spirits behind every object in the store. Dani, believing something is up, visits Ted’s rural home with one of the most horrifying wooden mannequins you will ever lay eyes on.

In lesser hands, a film like “Oddity” would have failed. The story would have gotten in the way of the spook house scares or the spook house scares would have overwhelmed the developing mystery. Either way, Mc Carthy is a master with this winding thriller. He has an extreme knack for effective and claustrophobic settings. Most of “Oddity” takes place at the rural renovated country home and you never feel comfortable any moment you’re there. Even when the sun is up and the lights are on, you constantly sense that something angry and vengeful is there.

Bracken turns in a fantastic performance as the twins. While we don’t get too much screen time with Darcy, we get plenty of it with Dani. Bracken is able to make Dani menacing even if she can’t see and is at times helpless. Her ferociousness is comedic, relatable and sometimes unnerving. Dani, as a character, is flawless. Complimenting Bracken’s performances is Lee, who plays a healthy skeptic, even if everything happening in the house is beyond any explanation he can think of.

All the haunted house thrills are scattered throughout “Oddity,” so you never feel comfortable, but you’re always being thrilled in some capacity. That’s why I believe the storytelling in “Oddity” shows how much Mc Carthy has grown as a writer since “Caveat.” While “Caveat” was hard to follow at times, “Oddity” is all red meat as it will make you laugh, peek between your fingers, and keep you on the edge of your seat. “Oddity” is sure to end up on some best of lists this year.

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Filed Under: Film Reviews, Movies Tagged With: Carolyn Bracken, caveat, damian mc carthy, film review, Gwilym Lee, jeremy werner, ...

Panic Fest Film Review: “Cannibal Mukbang”

Starring: April Consalo, Nate Wise and Clay von Carlowitz
Directed by: Aimee Kuge
Rated: NR
Running Time: 104 minutes

Our Score: 4 out of 5 Stars

Have you ever seen a film title and it’s way too good to be true? My first thoughts are “Snakes on a Plane” or “The Man Who Killed Hitler and Then the Bigfoot.” So, when I saw “Cannibal Mukbang,” I thought, “Here we go. Another film that’s more title than anything.” Welp. “Cannibal Mukbang” is a genre roller coaster that not only pays off, but makes the title seem tame compared to what happens in the film.

When we first meet Mark (Nate Wise), he’s loveable in a sad puppy kind-of-way, but there’s something about him we can’t quite shake throughout the film. Mark’s self-doubt is apparent as he constantly compares himself to his brother, scrutinizes his body as if he was a Youtube comments section, and ignores when he’s lovestruck. Literally. Ash (April Consalo) hits Mark with her car by accident, and it’s love at first sight. Ash’s day job is filming mukbang videos. Mukbang is a South Korean video trend that’s gone global, highlighting people eating massive amounts of food while talking to their fans. Mark doesn’t judge and wants to know more. At night, Ash turns into a predator as she hunts down sexual predators to devour because she has an insatiable appetite for human flesh. Mark doesn’t judge and wants to know more.

What’s ultimately fascinating about “Cannibal Mukbang,” is that this initial sappy love story premise stays a sappy love story even as the blood, gore, human body parts, and sexual innuendo with the blood, gore and human body parts, amplifies. For every moment of hardcore horror, flesh munching and being crazy horny, there are these very human moments of Mark and Ash unveiling their emotional wounds to each other. In a macabre way, it’s understandable that Ash doesn’t want to get too close to someone. If you had a compulsion to eat human flesh, you wouldn’t necessarily be the most extroverted individual. As for Mark, his self esteem is non-existent because he constantly focuses on how someone like Ash could ever fall in love with a “loser” like himself. This is one of those scenarios where you recognize that they’re not necessarily the best thing for each other, but they oddly fit perfectly together.

In her directorial debut, Aimee Kuge has written a near modern exploitation masterpiece. I say masterpiece because she has taken a lot of the plot elements of exploitation films and funneled them into a mainstream dramatic rom-com. If the horror elements didn’t exist, we could only assume that a happy ending is around the corner for Ash and Mark, but because this is a film where picked clean bones keep piling up, we know it’s about to come crashing down in a horrific fashion. In some ways, we’re conflicted because we do like these soft, tender moments between the two while the cannibalism sits on the back burner. For a first film, Kuge’s vision and writing is not only impressive, but it’s reminiscent of other great first time horror directors like Stuart Gordon or Ana Lily Amirpour.

Not only is Kuge a director to keep an eye on as her career advances, but “Cannibal Mukbang” might end up being a word-of-mouth hit. The film brilliantly handles gruesome sexualism with genuine heartfelt love in a way that must be seen to be believed. It’s hard to not get wrapped up with the characters and story to the point you need to devour the movie again and again. “Cannibal Mukbang” has a near perfect list of ingredients, and while it satisfies any hunger you have before entering the film, only time will tell if it’s an acquired taste or a smorgasbord for all.

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Filed Under: Film Reviews, Movies Tagged With: aimee kuge, April Consalo, cannibal mukbang, cannibalism, Clay von Carlowitz, exploitation, ...

Panic Fest Film Review: “Infested”

Starring: Theo Christine, Sofia Lesaffre and Jerome Niel
Directed by: Sebastien Vanicek
Rated: NR
Running Time: 106 minutes
Shudder

Our Score: 4 out of 5 Stars

It’s interesting that Panic Fest 2024 is bookended by spider movies. The first being “Sting,” a fun B-movie about an adorable spider that gets bigger and bigger, while menacing an apartment complex. The second is almost a shade similar, but first you need to take out the B-movie fun and replace it with midnight terror. As for the adorable spider, go ahead and replace that with terrifying spiders that come in all shapes and sizes. Now you have the Shudder instant classic, “Infested.”

“Infested” takes place at a rundown, urban French apartment complex. The 14-story building appears to only be maintained by a short, frail Asian woman and inhabited by impoverished young adults. Kaleb (Theo Christine) struggles financially, making very little off the high-end sneakers he sells, while living with his sister Manon (Lisa Nyarko) who is prepping their inherited home to sell. The two are constantly bickering, but their differences percolate while we watch Kaleb buy an illegal spider from one of his shoe supplies. Kaleb is a creepy crawler lover, so he doesn’t suspect much about the spider. He’s going to add it to his growing collection which features a scorpion, centipede, and other multi-legged bugs and creatures. But as soon as he turns his back, the spider escapes. He simply thinks it’s taking refuge in his apartment, but it’s about to turn the apartment complex into it’s new nest. But first it’s got a lot of breeding and growing to do.

“Infested” throws us into a fresh new arachnophobia hell, as the few spiders that are spotted in the background begin to double in number and size. Soon the spiders become emboldened and we see them in all their detailed horror. While our characters bicker amongst themselves over past issues, their current situation is rapidly deteriorating, but they don’t know it until it’s too late. Every moment someone in the apartment complex peers into the dark, sticks their hand in a hole or generally does something they shouldn’t, the jump scares come fast and heavy. It may be my own arachnophobia speak, but every scare is earned and unique. The movie implements the creepy crawling speed and ferociousness with a heart pounding soundtrack. It’s the kind of film that might even scare the biggest of spider lovers.

While the spiders pick off the tenants, a growing sense of French society begins to come into focus. While they could just leave the apartment, the government has barricaded everyone inside, most likely finding out a spider infestation of apocalyptic proportions is happening. But the police quickly reveal their hand, showing they don’t care if everyone dies inside. “Infested” is also a movie about societal failure, and how the poorest of society are forgotten and easily disposable. That theme isn’t a big factor though because most of the time our heroes are attempting to escape the grasp of thousands of eight-legged freaks.

Sebastien Vanicek, the director of “Infested,” has already been tapped for the next “Evil Dead” movie and it’s easy to see why. “Infested” is the kind of film that gets your adrenaline pumping, your heart racing, and your fears running high. It also manages to squeeze in some hearty laughs, even as you know death and terror are right around the corner. If you aren’t seeing “Infested” in a crowded dark theater, not only are you doing yourself a disservice, but you risk feeling the spiders on you as you watch one of the best horrors of the year at home.

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Filed Under: Film Reviews, Movies Tagged With: evil dead, film review, infested, jeremy werner, Jerome Niel, movie review, ...

Panic Fest Film Review: “Boy Kills World”

Starring: Bill Skarsgard, Famke Jannsen and Jessica Rothe
Directed by:
Rated: R
Running Time: 111 minutes
Roadside Attraction/Lionsgate

Our Score: 3.5 out of 5 Stars

It’s very hard to pull off an action comedy that’s been punched up with different genres like sci-fi and horror. It’s definitely possible, Simon Pegg and Nick Frost basically pulled it off three times. But there are other films that pull it off by going balls to wall with bone crunching kung-fu fighting, deranged, yet hilarious violence, and creating a world of Looney Toons absurdism. Those are films like “Boy Kills World.”

Boy (Bill Skarsgard) is being trained by a mystery hobo ninja in the woods surrounding a post-Apocalyptic “Hunger Games” matriarchy-run city. Boy, when he’s fully realized his potential and goal as the ultimate weapon, is to beat the Van Der Koy family (Famke Janssen, Michelle Dockery, Brett Gelman and Sharlto Copley) to death with his crackling fists. He thirsts for Van Der Koy blood because his family was murdered at their hands, including his best friend, his little sister, who still talks to him, and dog him like little sisters do, as a guiding spirit. Oh, and because Boy is deaf and mute, and doesn’t remember his voice, his inner voice is H. Jon Benjamin.

While starting a little slow, like a warm-up jog, the film goes full slugfest, shootout bonkers when Boy realizes it’s time to fulfill his goal. While it could be visually taxing to wrap yourself around the the sweat, blood-covered Skarsgard dispensing bad guys with horrific weapons like a cheese grater, with Bob Belcher’s voice, the movie cleverly uses them separately and together throughout the film to let the action remain thrilling and the comedy to remain uproarious. As a viewer, we do end up admiring Boy because his emotional layers are peeled back through Skarsgard’s commanding eyes and his spirit ghost sister that pops up at inopportune times.

As for the action scenes, the majority hit the sweet spot between brutal believability and video game logic where you can kill people with a singular upper cut or have to spend 10 minutes bludgeoning your opponent to death. The film creates several traditional and bizarre set pieces for the Boy to play in, such as a weapons manufacturing warehouse and a candy winter wonderland of death populated by murderous sugary cereal mascots. While never worrying about how goofy the premise is, the film is serious about it’s fighting and choreography. In fact, the final fight scene is mapped out so well and pulled off with such high stakes fun, it’s worthy of “John Wick.”

The film does have some pacing issues here and there, and the plot sometimes gets in the way of the action. That wouldn’t be a problem if the plot was a little bit more straightforward because the twists and turns it makes don’t feel as satisfying. However, if you’re uncertain about what kind of film “Boy Kills World” might be, it’s important to note that Sam Raimi produced it. So even if “Boy Kills World” isn’t on par with a crazy action comedy orgy like “Kung Fu Hustle,” it is the kind of film you could fall in love with and watch over and over again.

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Filed Under: Film Reviews, Movies Tagged With: bill skarsgard, boys kills world, Brett Gelman, Famke Janssen, film review, jeremy werner, ...

Panic Fest Film Review: “Sting”

Starring: Ryan Corr, Alyla Browne and Penelope Mitchell
Directed by: Kiah Roche-Turner
Rated: R
Running Time: 91 minutes
Well Go USA Entertainment

Our Score: 3.5 out of 5 Stars

Very few times can I describe a film with these words: heart-warming, funny and skin crawling. “Sting” is the story of a peculiar preteen girl, Charlotte (Alyla Browne) who makes friends with a spider, at least what we think is a spider. You see, on a snowy, icy night in New York City, a tiny meteorite smashes through a window at an apartment complex. The rock cracks open, revealing the dime sized spider that quickly makes friends with Charlotte. Since we know up front that it’s from space, we know that this isn’t an ordinary spider, but of course no one else knows this. Charlotte doesn’t even seem to mind too much that the spider doubles in size in hours, and suddenly requires more than just apartment lurking bugs to devour.

I’d say the majority of “Sting” hinges on the likability of Charlotte as a character and Browne’s acting abilities. It’s a difficult character to tackle because Charlotte is dealing with the loss of her father and isn’t as emotionally connected as she once was with her mom. It doesn’t help that her stepdad is a little bit aloof when it comes to Charlotte, talking to her but not actually listening to her. So when Browne interacts with her new pet spider, we truly understand why and actually believe it. I actually believed it, especially since I feel like people who own spiders are pets are sociopaths. As for everyone else who encounters the spider, it’s like midnight at the drive-in.

Part of the inherent cheesy fun of “Sting” is watching all the characters come into focus, while figuring out who’s going to be eaten first. There’s a baby, some elderly ladies, an exterminator who hates coming out to the apartment, a yappy dog and plenty of other tenants that could potentially become spider food. It’s the same formula as the a lot of 80s slashers, but instead of a knife wielding maniac, it’s an eight legged monster.

There is a sense that “Sting” is lacking something. It’s lacking a cast of characters we should all care about, but there’s inherently nothing wrong with watching the spider pick them one-by-one. “Sting” is more of a comedy than a horror first, but it’s not consistently fun. What I’m trying to say in so many words is that “Sting” isn’t perfect, nor is it great, but I admire that it seems like everyone knows they’re making a modern creature feature with chuckles and a cast that will put a smile on your face.

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Filed Under: Film Reviews, Movies Tagged With: Alyla Browne, film review, horror, jeremy werner, kiah roche-turner, movie review, ...

Panic Fest Film Review: “Azrael”

Starring: Samara Weaving, Vic Carmen Sonne and Nathan Stewart-Jarrett
Directed by: E.L. Katz
Rated: NR
Running Time: 85 minutes

Our Score: 4 out of 5 stars

Movies being shelved is nothing new. However, the legend and infame of those films remains. Depending on the genre, that movie can spend years being whispered about before it ever sees the light of day or is shown beyond secret Hollywood home screenings. The latest potentially shelved and never to be seen again (I’ll get to this later) film is “Azrael,” a post-apocalyptic film that uses Biblical theology to tell a wordless story splattered in blood and shockingly delivers unexpected supernatural thrills without a single syllable of discernable dialogue.

Samara Weaving plays the titular Azrael, who roams the woods dodging mud covered looking creatures with disfigured twitching torsos and milky zombie eyes, and other humans looking to sacrifice her to those previously described creatures. All the humans we encounter, except for one, have removed their vocal cords, leaving a cross as a scar over their throat. You see, this film takes place after the Christian rapture, the supposedly end-of-times day where all of God’s believers are taken to Heaven before good and evil lay waste to the Earth in battle. So, as the movie goes, you automatically know nothing is off the table in terms of supernatural shenanigans, morality, and what happens to the pregnant villain of the story. That being said, nothing is officially known.

You will learn nothing as the film goes along and at times it’s almost like watching someone choose their own adventure based on knowledge they’re not telling you. Besides onscreen text, the magnificent facial acting of the entire cast (especially Weaving) the privileged few who attended a director screening of the cut (Me!), you will not ever 100% (maybe even 50-90%) know what is actually going on. It’s entirely possible that multiple people with different theories as to what is happening aren’t wrong. Even at the Panic Fest screening, the film’s writer, Simon Barrett, was mum on the more specific plot details and ideas.

“Azrael” deserves a proper autopsy if it is never released, but right now, it’s an unseen circus act I’m guaranteeing is worth the price of admission. It’s difficult to glow about a film that may never see the light of day because, as Barrett also stated at Panic Fest’s “Azrael” screening, the movie is currently in limbo. Just a little after it’s SXSW premiere, the distributing company for “Azrael” seems ready to do what other distributors have done recently, just like with “Batgirl.” Whether it’s because shelving the film will save “save money,” “trim fat,” or whatever potential lie the millionaire powers to be are claiming, it’s frustrating. Even if someone disagreed with me about “Azrael,” they deserve the opportunity to watch it. “Azrael” is more than a silent gimmick, it’s an experience you’ll never forget. Buoyed by Weaving’s face, the film is relentless, even as it blows past questions it’s never going to answer.

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Filed Under: Film Reviews, Movies Tagged With: AZRAEL, e.l. katz, film review, jeremy werner, movie review, panic fest, ...

Panic Fest 2024 Review

Panic Fest, like any great idea, has gone from being that great weekend of horror in Kansas City to a national audience wanting to learn more because they saw it on social media or on someone’s T-shirt at the airport the Monday after the main events. Last year I noted that Panic Fest was beginning to become a recognizable gem in the Midwest, but this year felt like it’s now a recognizable gem from coast to coast, and amongst the right group of friends overseas. To quote what I said last year, and other years prior, if 2024 was any indication, Panic Fest continues to boldly grow without losing its indie charm.

Thursday could have been a harbinger of things to come. For nearly a month, Panic Fest had hyped up the return of Joe Bob Briggs and Darcy the Mail Girl with a presentation of “Night of the Comet.” On April Fool’s Day, just days before the start, word came down that Joe Bob Briggs was sick. As to not soil night one, Joe Lynch, Director/Panic Fest Ambassador/Honorary Kansas Citian, stepped up to take Joe Bob Briggs role introducing the movie. Joe Bob Briggs was kind enough to send a snarky, yet comedic slapdown of Joe Lynch for the crowd and even gave his iconic drive-in totals over the course of 14 glorious, digital minutes. After the 80s pajama party movie, it was time for the 21st century B-horror, “Sting.” Night one is something I’ve never felt in bigger cities on bigger stages, a feeling of “Panic Fest” and Screenland Armour doing things on their own terms despite the immense pressure for perfection.

On Friday, I started off my day with the Nick Stahl culinary thriller “What You Wish For,” followed by “Hippo,” a film where the title character can only be described as an obnoxious incel version of Napoleon Dynamite. “Livescreamers,” which was attended by the director, who also wrote, produced, and did damn near everything outside of acting in the film, was a blast, made even better by the creative ways in which it was filmed. Even a filmmaking newbie could see how much time and effort went into creating “Livescreamers” world. The finale of Friday was a film I hope you get to see even though you may never, according to the writer. The post-apocalyptic Christian, but not really Christian, muddy demon horror film “Azrael” is easy to describe, but impossible to fully explain.

Per usual, Saturday serves as a big night for special guests. First up was the premiere of “Ghost Game,” a social media challenge mixed with a haunted house that will have you guessing about what’s going on until the final few minutes. Next was the 4K restoration, and 40th anniversary of “A Nightmare on Elm Street,” with horror royalty Heather Langenkamp in attendance. It was clear in the following Q&A how much she still adores the movie and the journey that it started her on. But the Q&A of the weekend, and maybe for all of Panic Fest’s history, was not Langenkamp. Instead, it followed the 25th anniversary screening of “The Blair Witch Project.” Having not seen the film since renting it at Blockbuster in 2000, I watched the film with a fresh pair of eyes and ears, appreciating the do-it-yourself with nothing to lose tactics this revolutionary film implemented. I could probably listen to co-director Eduardo Sanchez and Mike “I kicked that fucker into the creek!” Williams talk about the filmmaking process for “Blair Witch” for hours. The night ended with “Mother Father Sister Brother Frank” about an adorable family who hilariously deal with their shithead uncle Frank through deadly means.

The hangover cure for many on Sunday was “New Life,” a film that feels all too real even as we get farther and farther away from the COVID-19 pandemic. For newcomers, the hefty drama is a reminder that Panic Fest is more than blood and guts. “New Life” was followed up with the spiritual horror about good versus evil, and dealing with the loss of a four-legged companion, “The Activated Man.” It was hard to keep a dry eye during the film, much less during the director Q&A. The evening ended with the Irish folk horror, “All You Need is Death” and the juggalo road trip to the promised land (the Gathering of Juggalos) film “Off Ramp.” I can fully and happily report that Faygos and laughs were had as Sunday came to a close.

Like every year, the weekend feels like a blur. For me, it was the films. There’s nothing like experiencing cinema with like minded strangers. While everyone felt that it wasn’t the ultimate experience, like mine. For others, it was the connections in the lobby over mixed drinks and beers. For some, it was the mutual love of a local podcast and meeting a fresh face, or new fan. So, while my experience feels like the highlight of 2024, for some, it’s the highlight of a lifetime. That’s the beauty of Panic Fest, it’s great no matter which way you enjoy it.

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Filed Under: Commentary, Misc Tagged With: AZRAEL, DARCY THE MAIL GIRL, GHOST GAME, jeremy werner, JOE BOB BRIGGS, JUGGALOS, ...

Blu-Ray Review: “Lisa Frankenstein”

Starring: Kathryn Newton, Cole Sprouse and Lisa Soberano
Directed by: Zelda Williams
Rated: PG-13
Running Time: 101 minutes
Focus Features

Movie Score: 3 out of 5 Stars
Blu-Ray Score: 4 out of 5 Stars

I’m not really one to talk about the qualities of feminist horror. Not because I don’t like it, but mainly because I’m a man and I’m more than likely going to miss the point. For example, I probably dismissed “Jennifer’s Body” in 2009, solely for its similar feel to the “Twilight” films of the time. Now it’s considered a feminist cult classic. I guess I should re-watch and re-evaluate my attitude towards it. So, I approach “Lisa Frankenstein” cautiously, enjoying the elements I liked and questioning whether or not my dislikes are merely a viewpoint that I’ll need to re-evaluate in 15 years.

When we first meet Lisa (Kathryn Newton), she seems like a modern-day Lydia Deetz, with a wardrobe consisting solely of black-on-black and spending her free time at an abandoned cemetery with her nearest, dearest and deadest friends. We’re uncertain if she’s always been the gloomy outcast, but she explains that her more morose attitude is because of the death of her mother, at the hands of a serial killer slasher. Her father quickly remarries Janet (Carla Gugino), a less than caring stepmother who seems to believe Lisa is the embodiment of every cautionary 80s and 90s PSA about teenage drug use, sex and violence. On the flip side is Lisa’s new stepsister, Taffy (Lisa Soberano) with a personality brighter than the sun.

Taffy, always looking to please her stepsister, doesn’t question anything when Lisa joins her at a house party. Lisa’s intention? Hoping to connect with the cute boy at school who may or may not have a thing for Taffy. During the course of the night, Lisa partakes in a spiked drink, gets incredibly loopy, struggles to get a creep off her and ignores the Biblical lightning storm that resurrects a young Victorian man (Cole Sprouse) in her favorite headstone hangout. The man, simply referred to as the Creature in the film’s credits, goes straight to Lisa who has spent who knows how much time opining about love and loss at his gravestone. The rest of “Lisa Frankestein” involves watching Lisa and the Creature, copy and pasted from Tim Burton’s universe, as they stick out and get in trouble in this John Hughes-esque world.

Despite its glorious goth nature, the film never capitalizes on the 80s aesthetic. There are actually more Gen X vibes in the film’s promotional material than there is in the actual film. While it’s not necessarily a bad thing, it makes you wonder how much more visually stylish and eye-catching “Lisa Frankenstein” could have been. What it lacks in, it makes up for in dark humor, high school hijinks, and Newton’s magnetism as the lead. The film is also surprisingly energetic, a course of electricity runs through everyone, living and dead. The audience also has to see how it all plays out as Lisa loathes the living to the point that she begins creating her own reality through the Creature.

While the film’s flaws don’t derail the whole thing, they do eat at the back of your brain. There’s a lot of dangling plot threads, like the masked serial killer who killed Lisa’s mother, Taffy connecting with her stepdad, and the fact that as people begin dying, no one seems to be concerned or curious about it. In that regard, it feels a bit like “Heathers.” The absolute lunacy of these situations seems to be like everyday disturbances and the characters at times struggle to state why these issues are minor inconveniences. I’m not sure if the issue is Diablo Cody’s script, Zelda Williams direction, or a combination of the two. It could also be that the studio kneecapped the film, demanding a PG-13 to better sell tickets. I can only imagine the macabre ideas that could have been with an ‘R’ rating. However, I honestly don’t think any of my issues haunt the film. “Lisa Frankenstein” is a late night, teenage popcorn flick. I imagine the film is best viewed in pajamas at a sleepover.  Maybe 15 years from now, I’ll see if it is a midnight masterpiece.

For big fans of this film, the “Lisa Frankenstein” blu-ray is loaded. First off, it has a fantastic feature commentary with Director Zelda Williams. That being said, I’m not the biggest fan of solo commentaries, but Williams holds her own as she dissects her first film. The blu-ray also comes with deleted scenes and a gag reel that highlights the onset shenanigans. The other features serve as behind-the-scenes peeks that feature interviews with Williams, writer Diablo Cody and others. 

 

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Filed Under: DVD/Blu-Ray Reviews, Movies Tagged With: bluray, Cole Sprouse, diablo cody, film, jeremy werner, kathryn newton, ...

Film Review: “Camp Pleasant Lake”

Starring: Jonathan Lipnicki, Bonnie Aarons and Andrew Divoff
Directed by: Thomas Walton
Rated: NR
Running Time: 90 minutes
Deskpop Entertainment

Our Score: 1.5 out of 5 Stars

The slasher genre is no stranger to parody. 2023 ended with “Totally Killer,” the “Scary Movie” franchise was built on slasher tropes, “Club Dread” was Broken Lizard’s follow-up to their smash hit “Super Troopers,” etc. The examples are endless. So, while “Camp Pleasant Lake” might have an interesting concept, an understanding of the slasher genre, and a cast that’s more than willing to slop it up with blood, the film barely tickles the funny bone and barely offers up anything remotely new or fresh.

“Camp Pleasant Lake” is about the titled summer camp, the site of an infamous murder from decades before, reopening under new management. The new owners are interested in cashing in on Camp Pleasant Lake’s horrific history by serving as an immersive horror attraction. Attendees are brought in on school bus, ready to see some fake blood and guts. What the owners aren’t expecting is an actual killer to show-up, who starts butchering camp workers and attendees. What follows is all promise and no payoff.

The biggest issue with “Camp Pleasant Lake” upfront is the cast. There are way too many characters and none of them are the lead. We don’t get any alone time with any and most of the time when they do talk, it’s awkward, forced, wooden and unfulfilling. The only time where “Camp Pleasant Lake” feels like a film with living breathing characters is in a flashback to the infamous incident that made Camp Pleasant Lake so…well…infamous. Even then, that flashback basically tells you who the killer is, quite easily. The only way you wouldn’t notice is if you were asleep.

Like I stated earlier, the movie just isn’t funny. The jokes are one note. If characters thinking an actual murder is fake because it’s a fake camp causes you to have giggle fits, I’d recommend this movie. For everyone else, you’re going to be wondering how many times characters can see this happen and still think it’s all staged. In fact, at one point, the killer goes to a group of remaining attendees and workers, at least 20 or more, and begins stabbing indiscriminately. At no point does a victim let out a “oh no, this is real” or anything to alert everyone living that the killer is a real killer. Nope, this just happens over and over again until the credits arrive.

All-in-all, “Camp Pleasant Lake” is empty on laughs, empty on suspense, and sometimes empty on gore despite the killer slashing his way through 30 people throughout its runtime. It’s really unfortunate because the idea behind the film is fantastic, the look of the killer is great for being low budget, and the killer’s origin story could easily be built into a franchise, but it never blossoms. Since you’ll have an unpleasant experience with “Camp Pleasant Lake,” I’d recommend a film like “Hell House LLC” or “Ruin Me,” because they do a much better job with the premise of a fake horror experience going awry.

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Filed Under: Film Reviews, Movies Tagged With: andrew divoff, Bonnie Aarons, camp pleasant lake, club dread, deskpop entertainment, film review, ...

Film Review: “Zone of Interest”

Starring: Christian Friedel and Sandra Huller
Directed by: Jonathan Glazer
Rated: PG-13
Running Time: 106 minutes
A24

Our Score: 2 out of 5 Stars

Watch Nazis raise a family. Watch Nazis play with their kids. Watch Nazis tend to their garden. Watch Nazis get short with their Jewish house servants. Watch Nazis plan a children’s party. Watch Nazis discuss their career paths in the war machine. “Zone of Interest” is a lot of watching Nazis do mundane things while the unthinkable genocide at Auschwitz takes place just over the hedges, over the fence, in the background, or just upstream from children horsing around. That’s “Zone of Interest” for 106 minutes, nothing less, and unfortunately, nothing more.

“Zone of Interest” is visually disgusting because the family, made up of Rudolf Hoss (Christian Friedel), his wife, Hedwig (Sandra Huller), and their five children seem to live this simple life. The children are oblivious, even when they sift through prisoner possessions, to the atrocities happening next door. Of course, if the kids did know, could they fully comprehend the extent of what’s happening?

Rudolf and Hedwig know good and well about the insufferable cruelty and mass death. Rudolf is one of the architects, but he views this simply as his work duties. Hedwig knows of her husband’s work, and what’s happening, but she’s enjoying a somewhat extravagant life with a vast, adorable cottage to raise her family with an army of trembling servants constantly cleaning, cooking and washing. So, we have to ask, do Rudolf or Hedwig care?

As I stated, Rudolf appears to have the nature of Adolf Eichmann, simply doing his job and unfortunately, being damn good at it. We never get a vibe for his feelings on it all. It’s possible he’s simply doing it because that’s what society, his government, and his wife expect him to do. While this may be horrifying, the worst part is that Rudolf never seems to reflect or realize the Holocaust he’s perpetuating. Ultimately, this makes Hedwig worse because she is personified privilege. She lords over the servants with threats of sending them to the crematorium herself or upset that her idyllic perspective and life isn’t as lavish as it could be.

What are we supposed to take away from a film like “Zone of Interest? That evil isn’t necessarily evil, more than a mass number of individuals doing a horrific thing to serve their own self-interest, whether it’s career goals, enjoying the benefits of new life, or reaping benefits from chaos? Is it that this can happen again because family responsibilities can force the average worker to become a cog in a sociopathic machine? “Zone of Interest” is actually so banal in discussing the banality of evil, it fails to deliver anything meaningful or even lasting.

I wanted to like “Zone of Interest” because it was telling an untold story of the Holocaust. When the final solution is discussed, it’s always the major players, the big wigs and Hitler. Never is it discussed or talked about how often average people did horrible things in seemingly quaint areas. Years and years ago, I visited the concentration camp Dachau and the biggest impression left on me wasn’t the crematorium where countless bodies were burned, the showers where people spent their last minutes on Earth in terror or the vast dormitories used to store thousands of starving, hopeless humans. It was how this camp of misery and death sat nestled in such a picturesque town. Dachau was in operation for over a decade and I could only imagine the people at home nearby who eventually became used to this horrific sight and went about their day. That kind of horror and shock isn’t in “Zone of Interest.”

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Filed Under: Film Reviews, Movies Tagged With: christian friedel, film review, jeremy werner, jonathan glazer, movie review, nazis, ...
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