Sleepaway Camp (1983) Review ​

 

Spoilers! 

A quiet young girl sent to a summer camp , the bullies become the least of her worries when the camp becomes site of a series of murders.

 Sleepaway Camp is well filmed by director Robert Hiltzik and has a fresh crisp feel thanks to Benjamin Davis’ cinematography. Hiltzik’s uncomfortable deaths and pedophile (Owen Hughes’ Artie) opening gives the film some weight even if skin crawling.

Hiltzik’s script also adds camp owner Mel’s (Mike Kellin) cover ups which gives it an air of eerie truth. The cast are primarily made up of adolescent actors, as opposed to adults portraying youth, that makes it different from its contemporaries, the theatrical offbeat acting (memorably by Desiree Gould’s as Aunt Martha) gives it a surreal quality, compounding its cult status. Notable is Felissa Rose as Angela. Along with Karen Fields’ Judy and Katherine Kamhi’s Meg. 

 Although comparable to Friday the 13th; mainly due to is setting, it’s closer to such slashers as Happy Birthday to Me (1981) and April Fool’s Day (1986) to name a few. Some may take offence at the underage relationships, foul language, unspeakable teen pains, anxieties, trauma and gender-bending story, but it is of its time, touching on a number of sexual taboos, debatably in some ways ahead of its time. 

For a low-budget slasher with a whodunit plot and solid makeup effects it hold up for the most part, there’s enough scalding, beheadings, stabbings and summer camp teenage antics and mayhem to hold interest. 

Overall, with its staple 80s pace there’s enough creative killings and interesting plot twists to justify viewing for sub-genre fans.

Pearl (2022) Review

Tending to her ailing father, under the watch of her overbearing mother,  Pearl hopes to change her life and fulfil her dreams, but her repression clashes with her ambition with horrific consequences.

Ti West’s cleverly realised tale oozes cinema, capturing the best of horror; but refreshingly fresh as he’s done in previous works. It’s not just Tobe Hooper’s alligator, farmhouses and slasher setups, there’s also echoes of a Lizzie Borden story too.

Both prequel and origin story to Ti West’s excellent X, Perl can also be viewed as a stand-alone film. With vibes of Psycho and the vivid colour of Wizard of Oz, Mia Goth controls every scene with an outstanding performance as damaged, chorus girl wannabe Pearl. Set on 1918 both West and Goth’s script reflects truths of a bygone era (without following paint by numbers expectation if you’d seen X). The cinematography, effects and score complement the dreams, delusions and murders as Pearl longs to escape her secluded farm and caring chores.

The locations and sets give it an edge of quality, it feels like an expensive period piece at times especially when Pearl visits the town. Amongst the farms animals and murder there’s effortless monologues, Goth is award deserving delightful. With plenty going on under the skin in amongst the horror and theatrics the small cast ensemble is perfect. David Corenswet as the likeable rogue projectionist is memorable, Emma Jenkins-Purro as prim Mitsy is fantastic. Tandi Wright’s Ruth, Pearl’s mother has screen presence, along with Matthew Sunderland as Pearl’s paralyzed father.

Ultimately, it’s worth viewing for Goth’s standout wicked performance alone, this coupled with West’s direction make’s for some murderous psychological screen gold.

Halloween Ends (2022) Review

Possible Spoilers!

Four years after her last encounter with masked killer Michael Myers, Laurie Strode finally decides to liberate herself and embrace life. However, when a young man ignites a cascade of violence Laurie and her granddaughter are forced to confront evil again.

Lapses in logic aside, a handful of writers and director David Gordon Green incorporates some supernatural elements from the disregarded sequels mainly IV through to VI. Even a smudging of the remakes. Those expecting more of Halloween (2018) and Halloween Kills (2021) maybe left soured and sorely disappointed. With a lesser kill count, even with a pre-credit babysitter shocker opening scene, it's arguably not as emotionally charged or as graphic as its predecessors. Nevertheless, there's plenty of slasher staple blood and gore setups to satisfy. While it doesn’t flow as well as Halloween and Kills, it finally brings closure, even if a little bumpy in places. What is even is throughout is John Carpenter, Cody Carpenter and Daniel Davies' great music score; along with moody cinematography from Michael Simmonds. Green delivers some solid jump scares, homages and call backs. 

Kyle Richards' bar person Lindsey Wallace, one of the children Laurie babysat in 1978 appears again, but sadly isn't integral to the plot. The same can be said for Will Patton's Deputy Frank Hawkins. Halloween Kills is very much about Rohan Campbell's character Corey Cunningham and his struggles; along with Jamie Lee Curtis's Laurie Strode and granddaughter Allyson played again by Andi Matichak. Even if not focal, James Jude Courtney is once again on form as Michael Myers / The Shape and gets to shine in the last act. That said, while physically the infamous killer has less screentime, Myers shadows looms across the characters in some way or another. Ends is interestingly complex with a web of emotions and fears, more somber and less frantic than its predecessors, unfolding with a creeping finality. Curtis gives a gripping performance and finishes Strode's story. Even if it doesn't expand on Myers past that Halloween Kills did so well.

Overall, even though in-keeping with the Halloween franchise; with its change of direction, it's different and it may not go down well with everyone. A must see; but watch with caution.

Amityville 3-D (1983) Review

 After exposing an elaborate hoax at the infamous Amityville House where a series of murders took place, a sceptic reporter moves into the location. Soon supernatural events and mysterious deaths turn his life upside down when he comes face to face with evil.

Credit to director Richard Fleischer, Amityville 3-D drops an unscrupulous hoax seance, creepy photos and Meg Ryan in the first twenty minutes. Aside from some fake flies, theatrics and stage-like lighting this third overlooked instalment delivers enough chills not to bore, thanks to the setting, Howard Blake's score, with notable performances from Tony Roberts and Candy Clark. Ryan as Lisa gives a good innings in a small role. Reliable Tess Harper appears as Nancy with familiar face Lori Loughlin as her daughter Susan.

The scenes that aren't confined to the house lift the story and give more scope. The paranormal investigation aspect with the memorble Robert Joy as jargon jostling Dr. Elliot West offers echos of The Exorcist 2 (1977) and Poltergeist (1982). There's a few effective supernatural setups including orbs, ghouls in the basement, the mother following a spectre to name a few. Although many optical effects fall short, there's some solid FX, pyrotechnics and makeup in the final act. Also an effective car crash scene (even if the effects are a little shoehorned). The 3D gimmicks (that don't transfer well to 2D) littered throughout serve as a distraction; but there's enough surprises deaths in the story to stop it being all paint by numbers.

Essentially, with a cast of of new characters this third outing delivers enough things that go bump in the night shenanigans to make Fleischer's addition worth while.

Werewolf by Night (2022 TV Special) Review

 

A secret group of monster hunters compete for a powerful relic; but while going up against a dangerous monster things are never as they seem.

Award wind composer Michael Giacchino effortlessly turns his hand again to directing with and almost flawless TV special.

Werewolf by Night is debatably the first true comic feeling Marvel Studio production since 70s TV's Spider-Man or Blade. However, the Universal classic horror, black and white stylistic choice, given the colourful comic book seems unnecessary, whether to tone down the blood carnage or to give it a gothic vibe- it feels a little pretentious. Especially the use of red colour throughout; echoing Schindler's List (1993) and the Wizard of Oz (1993) in the closing. This aside; the simmering moral subtext, food for thought writing from Heather Quinn & Peter Cameron and Giacchino's visual flair and eye for details delivers a must see horror monster fantasy.

The cast are great, with some fine stunt work Laura Donnelly (who has an uncanny resemblance to Krysten Ritter's Jessica Jones) as Elsa Bloodstone has plenty of screen presence. Jack Russell / Werewolf by Night: played by Gael García Bernal is likeable fantastic in both forms along side fan favourite Man-Thing, brought to life with some impressive special effects. Al Hamacher is humorous as servant Billy Swan. The memorable supporting cast of monster hunters are great, namely Kirk R. Thatcher as Jovan, Leonardo Nam as Liorn, and Daniel J. Watts as Barasso. Notable is striking and imposing Eugenie Bondurant as Azarel. But Harriet Sansom Harris steals the show as commanding Verussa Bloodstone.

With the short run time unfortunately the first act House on Haunted Hill (1959), 1985's Clue-like mystery isn't played out a little longer. This is one Marvel outing where a longer run time would be have been most welcomed. From great FX including creepy animated dead Ulysses Bloodstone (voiced by Richard Dixon) to the action setups and showdowns; helmed by Giacchino Werewolf by Night is wonderfully executed. Highly recommended.

The Munsters (2022) Review​

 

A prequel to the beloved 1960s sitcom; two ghouls Herman and Lily fall head over heels for each other; but unfortunately things don’t go all plain sailing. 

 With the original Munster high jinx and shenanigans, mixed with the vibe of Disney’s Haunted Mansion Rob Zombie offers more fun horror gags than you can shake stick at. 

 With a zombie, mummy, Nosferatu, werewolf all thrown into the first few minutes of this Herman Munster origin story of sorts— you can’t go wrong. There’s enough going on for both children and adults in Zombie’s script and on screen offerings. The original beloved characters are given a new lease of life and brought back to screen with the characterisation, costumes music all hitting the note. Jeff Daniel Phillips nails lovable Herman, Sheri Moon Zombie goes out of her way to pay tribute to Lee Meriwether’s Lily. Daniel Roebuck’s nonchalant The Count steals the show along with the excellent Richard Brake as Dr. Henry Augustus Wolfgang. Both Lily and Herman’s ‘l got you babe’ is scene and Creature from the Black Lagoon montage memorably hits every funny bone. 

 With fantastic sets, it pays homage to Hammer Horror and Universal classics, the camera work occasionally pays homage to The Munsters era, from zooms to split screen techniques; but with a modern twist. It also offers origins to other Munsters characters, while echoing the original films, specials (pilots) and TV series’. 

 The puns mesh together wonderfully, but oddly it has (albeit a fitting) DTV feel— far removed from Rob Zombie’s usual gritty filmatic look. The visuals are so neon drenched, think the late Joel Schumacher on Batman acid, that the plot sometimes gets a little lost in the contrasting colours on darkness. 

 Overall, Zombie balances nostalgia and modern expectations; leaving us with a surreal offering boiling over with ideas.

The Lord of the Rings: The Rings of Power (2022-) Review

 

During the Second Age of Middle-earth, thousands of years before The Hobbit and The Lord of the Rings, after Dark Lord Morgoth the Rings of Power follows rise of the Dark Lord Sauron and the plight of the inhabitants of Middle-earth.

Despite being a little plodding and overwrought at times it’s exceptionally well made, particularly when practical and visual effects are seamlessly sucking you in. However, there is the odd occasion when they falter along with the editing and logic taking you out of the action and drama. The costumes, props, locations and production overall are first rate.

The performances are on point, notably Morfydd Clark as a young Galadrie and Robert Aramayo as Elrond. However, the monsters, especially the Orcs, Ismael Cruz Córdova as Elf Arondir and Owain Arthur as Durin IV: the Prince of the Dwarven steal the show. When it’s fresh Middle-earth story building and in keeping with the feel of the films, you can buy Clark and Aramayo are younger versions of their characters especially as the production is intended to evoke the movies using similar production design; but as good as Maxim Baldry is as Isildur, he doesn’t feel like a younger version of Lord of the Rings Isildur. Daniel Weyman has plenty of screen presence as The Stranger who falls from the sky in a flaming meteor; giving a memorable performance; but his story is frustratingly drawn out. Also Charlie Vickers as Halbrand for the most part feels too similar to Aragon.

Although a little bumpy —mainly the editing, pacing and some characterisation, the cinematography, visuals and musical score are outstanding. With some fine performances along with a few surprises The Rings of Power is highly recommended.

Season 2 has more scope and is a little more dynamic. While it's great as a streaming show, given its cost, it still lacks a consistent cinematic look throughout. The Forest of the Dead and battle scenes are memorable, but at times, it feels a little repetitive, revisiting the same plot points and reiterating goals through the dialogue. That aside, there's some good acting from the supporting cast, including Orc Glûg (Robert Strange) and Sam Hazeldine as Adar, replacing Mawle. Markella Kavenagh's Harfoot character 'Nori,' Aramayo, Cruz Córdova, and Charles Edwards are particularly notable in this second season.

House of the Dragon (2022) Review

 

Set about 200 years before the events of Game of Thrones, the era of House of the Dragon follows the trials and tribulations of the House Targaryen during the period of a tenuous peace.

Thankfully the American fantasy drama House of the Dragon is more of the Game of Thrones same. The writing, directing, and cast performances are notable. Although the fantasy elements are off the bat, it by default loses it’s build up and reveal that its predecessor had, the dragons effects are done well for the most part, there’s plenty of realistic gore and blood throughout. Credit to the casting director, the young cast portrayals of the later older characters are uncannily fitting, Milly Alcock is particularly memorable. Paddy Considine gives a breakout performance, Matt Smith at last gets to show off his acting chops. Rhys Ifans oozes screen presence.

While the foul language and sexual depictions have lost their edge with every TV show trying to shoe horn it in, it services the story to some extent. Still, there are some wince inducing gratuitous scenes which seem to go out of their way simply to shock.

It’s a tight production, and even though it feels smaller in scale and scope when compared to its predecessor, there’s enough twists to keep you hooked. Recommended.

X (2022) Review

 Spoilers to follow! 

To cash-in on the emerging video market a small cast and crew go to an elderly couple's rural Texas property to a make a pornographic film, but find themselves fighting for survival.

Written, directed, produced and edited by Ti West X as with his previous offerings hits all the right horror notes. The cast are all memorable right down to the supporting roles. The leads, Mia Goth shines, excellent Jenna Ortega, notable Martin Henderson, outstanding Brittany Snow, likeable Owen Campbell, made-up Stephen Ure, and memorable Scott Mescudi. However, Goth steals the show with a surprise duel role as the players are picked off in true slasher style.

The humanity even from the killers offers a fresh spin on the genre. With echos of The Texas Chainsaw Massacre, Psycho and subtle nods to other 70s horrors throughout; X feels fresh and original, thanks to West keen eye and smart writing.

It's wonderfully directed with great camera work offering suspense and chills. X doesn't pull any punches, the gore effects, violence and alligator are well executed. The on location feel, makeup and production values adds credences to the setups. The sound track plus Tyler Bates and Chelsea Wolfe's music score adds to the groups plight, in contrast to the tension and chills.

Overall, another outstanding rounded horror from West.

Nope (2022) Review

 

After a mysterious family death, a brother and sister; residents of secluded California piece of land try to capture on film a chilling discovery.

Director, writer, producer Jordan Peele realistically out grounds the likes of Close Encounters of the Third Kind and avoids the War of the Worlds, Independence Day spectacle, prowess and bravado.

In the original setups we see everyday heroes with a touch of humour. The solid performances sell it. Daniel Kaluuya's understated OJ plays against movie tropes, Keke Palmer's likeable Em is notable. Both steely cinematographer Michael Wincott's Holst and likeable store worker Brandon Perea as Angel Torres are memorable. Peele includes plenty of UFO high jinx and shenanigans with great special effects, horrific edge of your flashbacks (which Steven Yeun’s character sells perfectly) that reflect the unpredictability of nature and the UAP. Rewatch longevity value maybe limited, but it's still a must see.

Overall, Peele delivers a well made, low key movie, that just like the title plays against expectations, offering up one of the most unique, intriguing, unnerving, aliens put on film for a long while.

Fire City: End of Days (2015) Review

 

Vine, a disillusioned demon, is forced into a choice to save his brethren or an innocent human girl when the misery his kind feeds on is diminished.

Director Tom Woodruff Jr. (special effects maestro, know for Aliens) offers a surreal neon monster demon film packed with makeup and special effects. Ryan Leach score enhances the vibe in this overlooked tight budgeted film with few locations. Although big on concept but small in scope and budget it has a comic book feel, and visuals echoing likes of Nightbreed, with touch of Hellboy.

The cast do a great job, nonchalant Tobias Jelinek is notable giving a standout performance as Jack Nicholson-like Atum Vine. Danielle C. Ryan Is memorable as Cornelia. Both Kimberly Leemans as succubus demon Amber and young Sara played by Keely Aloña deserve a mention.

Overall, it may not have the budget of the aforementioned, but with its premise and makeup effects Woodruff delivers enough horror ingredients to make it worthwhile.

Hellraiser (2022) Review

 

A former drug addict must confront a sadistic, supernatural group of beings behind a dangerous mysterious puzzle box when her brother disappears.

Writers Ben Collins, Luke Piotrowski and David S. Goyer offer an intriguing reboot, reinterpretation of Clive Barkers Hellbound Heart delivering a remake of sorts of 1987’s Hellraiser. Director David Bruckner offers a high value looking production, thankfully this is not another direct-to-video instalment.

The pace of the first act allows breathing space to build up the story; with a payoff introduction to the androgynous Priest (Pinhead) fittingly cast and wonderfully played by Jamie Clayton.

The cast are solid enough, from likeable Adam Faison’s Colin; to the excellent Centobites; in unsavoury Barker fashion the rest of the characters including lead Odessa A’zion as Riley, a recovering drug addict, are pretty flawed. Although Clayton and Goran Visnjic’s unscrupulous Roland Voight have limited screen time —- both are notable. Hiam Abbass as Serena Menaker is memorable as Voights lawyer. The supporting cast do a good job including Riley’s brother played by Brandon Flynn, Aoife Hinds as Nora and Drew Starkey as Riley’s bad boy boyfriend Trevor. 

The effects, music, props and sets are first rate. With striking makeup and organic-like costume design the Cenobites: Weeper, Asphyx, Gasp, Masque along with Chatterer; and Clayton’s Pinhead steal the show. A’zion holds center court even if not a stereotype lead.

Things become more nightmarish in the third act with echoes of Hellraiser II, a touch of III and a welcomed twist in the tale. To Bruckner’s and the story writers credit it really tries hard to start a fresh while giving viewers the Hallraiser feel. Some standout practical special effects, Eli Born’s cinematography coupled with Ben Lovett’s score seal the deal.

Without making comparisons to the original theatrical films there’s enough sex, hooks & chains and bloody horror to reignite the franchise for a modern audience, old fans and/or complete new comers.

Overall, a sequel beckons even if to expand the universe and the backstories of the Cenobites as they have such sights to show you. Recommended.

Girl on the Third Floor (2019) Review

 

A man with a shady past begins to renovate a rundown mansion, however, the house with its sordid history has other plans for the new owner and his pregnant wife.

Director Travis Stevens offers a well made moralistic horror tale, while it echoes the likes of Stir of Echoes, The Amityville Horror, Hellraiser and The Shining to name a few; it has plenty of its own ideas to give Girl on the Third Floor its own identity.

The cast are on form, troubled Phil 'CM Punk' Brooks and wholesome  yet feisty Trieste Kelly Dunn are notable; but steely Sarah Brooks and the special effects steal the show. Stevens' direction along with the whole production is tight and slick with a traditional filmatic look and feel. It builds up intriguingly slow and has some well executed jump scares, gross out effects accompanied by an effective score.

Overall, a solid addition to the haunted house genre.

Dead for a Dollar (2022) Review

 

With the help of a solider a bounty hunter takes a job to search for a businessman' wife who has been kidnapped by a deserter.

Walter Hill returns to directing delivering a bitter sweet Western. Hill offers tension, twists, whippings and shootouts with a great cast including Christoph Waltz, Willem Dafoe, Brandon Scott, Warren Burke and Benjamin Bratt to name a few. Waltz and Defoe are on form; but Scott is a screen stealer. 

Writers Matt Harris and Hill's story has all the Western high jinx you'd want from a genre piece. However, considering Hills past work, the camera work is lacklustre, shaky, the sound design, the scene transitions and colour timing is off, giving it a rough low budget TV feel. This sucks the life out of the great locations sets and costumes that not even the fitting traditional score can lift.

Overall, if your expecting the grandeur of great Western's you may be left disappointed, however, Dead for a Dollar offers top performances and a good old fashion western yarn.