Tag:

horror

EntertainmentEventsFeaturedFilmThe Latest

A24 Horror Film ‘Talk To Me’ Boldly Re-Energizes the Genre

by Ishan Wankavala
written by Ishan Wankavala

When I was conducting my mental list of my favorite movies of 2023 so far, I did not expect to place among the top spots a horror flick. I consider myself a horror aficionado, but it has recently felt like every scary movie has seemed derivative, devoid of creativity, and just…not scary. Talk to Me by the Australian Philippou brothers finally broke me out of the horror slump and presented me with a fresh, genuinely scary concept that has been the best scary movie, for me at least, since 2018’s Hereditary, also an A24 film.

Looking back at Hereditary, I can draw similarities between the two that make both hallmark horror films. For one, while we get the blood, guts, and ghouls in each film, the primary contexts that each establishes is one of conflicts within the family. To this end, Talk to Me is wonderful in its depiction of main character Mia’s (Sophie Wilde) trauma after losing her mother to an accidental suicide, which becomes her primary motivation for the remainder of the film. She encounters a group of teens that have come across an embalmed hand that allows them to haphazardly summon spirits of the dead for laughs and social media posts, and while they enact a strict 90-second limit to talking with the dead, Mia frantically surpasses this when the spirit that responds is that of her deceased mother. This is where the distinctions between this film and other, lesser films in the same genre begin— while another film may have attributed her “breaking the rules of the game” to teenage stupidity, as many do, this film has real, grounded motivations that frankly any of us would fall victim to.

Of course, surpassing the 90-second mark leads to a door to the spirit world opening, and all hell breaking loose. Once again, relationships serve as the main focus of the plot, with Mia’s relationship with her mother highlighted as she comes closer to finding out the secret of her death, her strained interactions with her father as she realizes he has been hiding something, and her guilt towards putting her friend’s brother in the hospital in a dilapidated state after her own selfish actions. The way these three threads are woven together is masterfully done, and leaves the audience on the edge of their seat almost constantly. This also very much gives credence to how a movie needs the “human factor” to satisfy, as without relatability and depth of character, little is impressed on the viewer’s mind other than cheesy scares.

While the story is absolutely brilliant, that isn’t to say that the special effects have been undermined with this film. The blood and gore are absolutely fantastic, and even while knowing that what I was seeing wasn’t real, my stomach lurched and a certain queasiness enveloped me. Almost all of the effects are practical, with CGI only used sparingly and invisibly. This creates a sense of realism that is exceedingly rare in modern cinema, and adds to the feeling that this is something that happened to someone, somewhere in the world (probably Austraila). There is one scene in particular involving Riley (Joe Bird), Mia’s best friend’s brother, that was particularly harrowing.

With all of this film’s intense successes, it’s hard to believe that the directors, Danny and Michael Phillipou, started off on Youtube posting homemade skits and special effect videos. This film marks their feature directorial debut, but watching the movie, it feels like they have been directing for decades. To direct for the first time and have the film immediately stand with other greats in the genre is an incredible feat, and this really speaks to the Phillipou brother’s talent that was honed over the years, as well as their dedication to all the endeavors they set their mind to. It gives the idea that greatness can really come from anywhere, and the brothers completely deserve the high reviews, the intense bidding war for rights to the film, and the eventual A24 purchase for rights to distribution. This is the birth of another defining directorial pair, and I for one cannot wait to see what they have in store for us next.

‘Talk to Me’ Theatrical poster, courtesy of A24

0 comment
0 FacebookTwitterPinterestEmail
EntertainmentFilm

Film Review: Dark Sky Films’ 4K release of “The Texas Chainsaw Massacre” is as gritty as it is stunning

by Joshua A. Guttman
written by Joshua A. Guttman

The Texas Chainsaw Massacre needs no introduction

Tobe Hooper’s 1974 classic is one of the greatest horror films of all time and one of my personal favorite films. Despite the film’s reputation, however, the source of the film’s horror isn’t its gore. It’s not a gory film, in fact the filmmakers famously only used two pints of blood. But the film feels more violent and brutal than it actually is, and a big reason is it’s mood. For years, I’ve been resistant to upgrading my copy of Texas Chainsaw Massacre because I felt the film was at it’s best screened of an old, beat-up VHS tape, or a 16mm film reel like how it was shot. The grit and grime of a tape enhances the film’s atmosphere, making the heat, Texas fields, and the Sawyer house feel rough and uncompromising. I was always concerned that upgrading the film would make it look too clean and polished. I had the opportunity to see Dark Sky Film’s 4K restoration of The Texas Chainsaw Massacre and was impressed, as their upgrade maintained the film’s grit while making the film engaging for modern 4K UHD TV screens.

Right off the bat, the 4K Disc maintains the grain of the original 16mm negatives, so the film’s dilapidated atmosphere is unaffected. Most of the film’s clean up attempts include a boost in the film’s primary color saturation and hues, along with deeper blacks and browns. The film still looks nasty but focused and detailed enough to be presentable on modern TVs. The improved sound mixing was particularly impressive, as the new mix enhances the uncomfortably sharp, almost industrial soundtrack. Plus, every scratch and crack feel more real, adding to the film’s immersion. The release also contains a number of interesting extras and documentaries, including a new documentary “The Legacy of The Texas Chain Saw Massacre” and “The Cinefamily Presents FRIEDKIN/HOOPER,” featuring a conversation between Tobe Hooper and William Friedkin, director of The Exorcist, The French Connection, Sorcerer, Cruising, and Killer Joe.

For fans like myself who keep using The Texas Chainsaw Massacre as an excuse to not toss a 30 year old VHS player, the Dark Sky Films 4K release is a must get. The transfer captures the terrifyingly brutal mood of the original film while presenting the film in a more immersive way. For those who have never seen the horror classic, the Dark Sky Films’ 4K release is the best introduction to Texas Chainsaw Massacre to date.

The Texas Chainsaw Massacre 4K release is now available.

1 comment
0 FacebookTwitterPinterestEmail
EntertainmentFilmThe Latest

Film Review: “M3GAN”

by Ethan Singh
written by Ethan Singh

I’m sure we’ve all seen this story before. A beloved child’s plaything takes on a life of its own and in an effort to preserve its own self and way of life, it sees murder as the most viable option. No? Haven’t seen this concept before? Well, maybe you’ve seen the story where the artificial intelligence breakthrough that was initially deemed as a step into a new and brighter future backfired as a rushed and dangerous experiment with lethal consequences. If neither of these tropes are hitting home then I’m wondering where you’ve been for the past 30 years as these ideas have dominated pop culture for as long as I can remember. Although both of these concepts have existed for decades, but this take on the topic from the Blumhouse backed team of director Gerard Johnston and writer Akela Cooper is fresh, new, and as strange as it is for me to say, good. I never thought I’d call this movie good because at the end of the day, I just do not like horror movies.

That’s where this review should really start. That is, with the clarification that this isn’t a horror movie in the traditional sense. Sure, there are a few jump scares but they come as an expected and cushioned blow rather than an obtuse mallet to the senses. The PG-13 rating all but guarantees blood is kept to a minimum and that gore is out of the question. In fact, at no point did I feel scared, horrified, grossed out, or any of the usual emotions I have during most horror movies. Instead, I was on the edge of my seat trying to see where this story was going and having a genuine laugh at every juncture along the way.

The essence of horror is the exact same as comedy, which is the presence of something that shouldn’t be there, or the absence of something that should. Because of that, these two genres are in many ways of a kind, despite the surface level polarities. While one may view a horror movie that turns out to be comedic to simply be a failure, I do not, at least in this case. The filmmakers and cast take their roles very seriously. At no point is the comedy coming from their lack of professionalism or care. In fact, the comedy is coming from their stellar work and the almost absurdist candor at which this story unfolds. In the end, I was glad because I haven’t laughed this much in a theater in about a year.

As I mentioned, I sort of hate horror movies. While there are many good ones, I tend to avoid the genre because it tends to be a slow crawl where the heroes (may) win a shallow victory and the proverbial monster’s victory is (likely) cut short by what seems to be the plot, at best. Even then, the plot is often so paper thin that a dash of hot water would cause it to utterly dissolve. After seeing something like that, I always find myself feeling defeated rather than glad to have lived through the experience. With M3GAN, what we have is quite the opposite. There’s an actual plot with deeply human characters that are struggling through a tough situation: the protagonist, played well by Allison Williams, is learning to be a parent to her niece, played by the talented and young Violet McGraw, who in turn is learning to cope with the loss of her parents after a tragic accident.

I know I said at the beginning of this review that this was a movie about a doll coming to life and the dangers of AI, but it’s not once you peel back the layers. It’s a film about what it means to be a parent and what it means to cope with loss. It’s about the struggles of a parent to both be the authority figure in a young child’s life while also being their friend. It’s even about the dangers of giving a child too much technology, so much so that you could almost question who the real parent is: the humans that birthed them or the iPad that accompanies them wherever they go. This movie gave me a lot to like, but what got me most excited was the fact that it had a point and that it did not bore me nor lecture me in order to make it.

This is the first time in my time as a writer on film that I’ll recommend seeing a horror movie, but I do wonder if those who love horror movies will actually enjoy it. Judging from the reactions of the passionate few who actually waited in line for a chance to see this movie, it just might be, but I can’t be sure. If you love blood, gore, a terrifying antagonist, and the sensation of helpless fear, seek help. But also, this is not the film for you.

M3GAN comes out in theaters this Friday, January 6th.

0 comment
0 FacebookTwitterPinterestEmail
EntertainmentFilm

Brooklyn Horror Film Festival Makes For a Scary Good Time

by Samantha Bergeson
written by Samantha Bergeson

The sixth annual Brooklyn Horror Film Festival brought the boogeyman to the beloved borough. 

With events at fan favorite venues Williamsburg Cinema, Stuart Cinema, and the newly-reopened Nitehawk Cinema, BHFF offered something for everyone. From the sold-out closing night East Coast premiere of The Sadness to the 35mm screening of Session 9 in honor of its 20th anniversary, BHFF truly outdid itself in its first year back in theaters since the pandemic.

See our favorite festival moments below!

The Last Thing Mary Saw is an outstandingly haunting portrayal of a woman in 1843 New York who faces deadly (and supernatural) consequences for her affair with a maid. Stefanie Scott, who also stars in new Peacock series The Girl in the Woods, portrays Mary, who falls in love with Eleanor, played by Isabelle Fuhrman. Rory Culkin stars as a stranger who threatens to disrupt everything. Writer-director Edoardo Vitaletti was present at Brooklyn Horror Film Festival for the U.S. premiere. The film will be distributed by AMC+ and Shudder.

Family drama When I Consume You returned home to Brooklyn, where the film was shot, after premiering at Fantasia Film Festival earlier this year. Siblings Daphne (Libby Ewing) and Wilson Shaw (Evan Dumouchel) tackle their shared childhood traumas while warding off a demon stalker. Director Perry Blackshear told Variety that horror films are specifically designed to be watched in a dark theater: “It feels like when I watch a scary movie in the theater, it’s like going through a kind of timeless ritual where you die, you feel death,” Blackshear stated. “You get to undergo this intense pain and suffering and yet you survive, maybe stronger than when you began. This catharsis is my favorite part of the genre.”

Netflix’s Night Teeth was a crowd-pleaser with a sultry take on sexy vampires who secretly run L.A. We believe it! Debby Ryan and Lucy Fry play two BFFs who take driver Jorge Lendeborg Jr. on a very different type of ride. Megan Fox and Sydney Sweeney have memorable cameos as queen vampires, while Alfie Allen and Alexander Ludwig round out the urban undead underworld. BHFF hosted the world premiere of Night Teeth, now streaming.

The Home Invasion shorts programs featured a slew of standout films, but two especially caught the attention of BFHH audiences: Still Together and Hazel. Christopher Piazza’s Still Together is at once horrifyingly claustrophobic as well as hilarious. A department store window designer falls in love with a Nordic warrior trapped inside a mannequin. The couple try to plan their escape, but will the other employees thwart their happily ever after? A funky score and a bloody kicker prove we are Still thinking about this off-beat take on horror.

Hazel, directed by Jordan Doig, is a memorable portrayal of postpartum depression. New mom Libby struggles to take care of her daughter, Hazel, especially when her husband Pat isn’t supportive. Libby’s downfall into psychosis has a sinister turn, and you have to watch to see how this short film ends. The horror genre is best when its uncovering the real horrific moments of reality, and Hazel does just that.

See the full list of films at Brooklyn Horror Film Festival here!

0 comment
0 FacebookTwitterPinterestEmail
Newer Posts
Older Posts