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In a Violent Nature (2024)
"Animals don't get too hung up on reason, They just keep killing"
The slasher genre either appeals to you immensely or it doesn't, and there are many reasons for that. In the '80s, these films were unique, blending supernatural elements with fresh, innovative ideas on reinventing horror. Now, it feels like many of them just retell the same story in a different setting.
In a Violent Nature feels campy and is a clear fanfare to Friday the 13th, thanks to its style and its hulking, invulnerable antagonist who relentlessly stalks his prey. The only real difference is that this film attempts a unique approach by showing the majority of the film from the killer's perspective. While that sounds interesting, it quickly becomes tiresome. For large chunks of the film, we're just watching Johnny casually walk up on his unsuspecting victims, slowly and methodically.
There's not much substance to this slasher, nor does it offer anything new. The teenagers are given no backstory and are largely unlikable.
Not to mention there is minimal dialogue, and while that is not necessarily a bad thing, the lack of music, opting to go with the sounds of nature, gives a sometimes laborious journey that becomes the opposite effect of tension. In fact Kris at the end running through the forest unaware of Johnny is following her was the only time I really felt anxious.
One thing that was bothersome when considering the story or lack thereof is Johnny's supposed slowness or childlike mind, but he occasionally demonstrates moments of brilliance. For example, he intentionally sets off a car alarm and then sneaks around the cabin to get behind his victim. There's also the disturbing scene where he toys with a ranger in a grotesque way before dismembering him using a log splitter. It seems like a lot of thought went into how he chooses to kill, and Johnny mostly takes his time, almost savouring each one.
In this film there are two standout deaths worth mentioning: Aurora, who meets her end while performing yoga near a cliff and Colt, at the very end where he is bludgeoned dozens of times in the head with an axe (I had to look up the teens names, since they're barely referenced during the film).
Unfortunately, we're never given a clear reason why Johnny's vengeful spirit embarks on this bloody rampage to retrieve his mother's locket. Nor do we understand why he now takes pleasure in slaughtering his victims with such merciless joy.
Finally, the climax feels a bit uneven. The ending itself is a unusual surprise considering the genre and offers a glimmer of hope, but it also feels somewhat hollow.
Overall, In a Violent Nature eerily mirrors films like Charlie's Farm, Victor Crowley, and Jason from Friday the 13th. It features an unstoppable force that eventually becomes complacent, offering much of the same after a while.
4/10.
Mulholland Dr. (2001)
"I'll pretend to be someone else"
Mulholland Drive has a neo-noir feel to it, and the aesthetics are undeniably impressive. David Lynch creates a visually stunning world, filled with dark, neon-lit streets that echo the haunting vibe of Hollywood's dark underbelly. The cinematography is on point, and it's easy to get lost in the darker world he creates.
However, the film often feels like it's trying to be too clever, which, for me, ends up being its downfall. It's as though Lynch deliberately keeps things opaque and ambiguous, making it more about the experience than the story. While films like "Fight Club" and "Memento" (both of which make my top 20 greatest films of all time) also play with fragmented reality, they manage to keep me hooked, providing satisfying emotional payoffs. Mulholland Drive, on the other hand, offers plenty of confusion but not much in the way of a gripping climax that makes you go "wow" or leaves you with a lasting emotional punch.
Yes, there are deep psychological twists, but it all feels a little uninspiring in the end. The film's dreamlike quality works for some, but I personally found it hard to fully appreciate. It leaves you thinking, but also scratching your head. The constant back-and-forth flashbacks near the end between what's real and what's imagined can be disorienting, and while some people enjoy that, for me, in this film it detracts from the emotional investment.
That being said, the performances were undeniably strong. Naomi Watts (Diane) and Laura Harring (Camilla) were incredible, with Watts delivering a standout performance that perfectly captures Betty's transformation from an child at a theme park when entering L. A to someone much darker im reality. The chemistry between them adds a significant emotional weight to the film. Justin Theroux was another solid performer, and there were some surprising cameo moments from Billy Ray Cyrus and Melissa George.
One standout scene is the hitman kill scene, which had that eerie, unsettling vibe reminiscent of Pulp Fiction. It's one of those moments that is the films core set piece for action instead of romance.
Another was the Silencio club, which strikes as a truly beautiful scene, and it's eerie atmosphere all contribute to a sense of deep melancholy and unease.
Overall, Mulholland Drive feels like a film that will divide audiences. For some, the surreal, dreamlike trance might be a fascinating puzzle. For others, like me, the complexities outweigh the intrigue, and the lack of depth and clarity makes it hard to fully engage by the end. While Lynch's artistic vision is apparent, I couldn't quite connect with the film in a way that would make me call it magnificent. It's more of a film that makes you think about all the clever subtiles that Lynch incorporates, and upon multiple viewing might give more clues, but this is not necessarily a film that leaves you feeling truly fulfilled.
6/10.
Old (2021)
"We'll I guess it's not that secret of a beach"
M. Night Shyamalan has long been a director known for his unique blend of mystery, suspense, and plot twists. While he's had his share of misfires, Old is certainly not one of them. It diverges from the typical expectations one might have of a Shyamalan film, offering a thought-provoking and intelligent exploration of themes like time, mortality, and the fleeting nature of life.
The premise, where a group of vacationers mysteriously age on a secluded beach, initially feels like the setup for a typical thriller. However, Old delivers something much deeper, addressing how life can flash suddenly before our eyes, and how our perception of time is often distorted by the rush of everyday experiences. The film is engaging not just in terms of plot, but in the existential questions it raises. It speaks to the inevitability of aging and the fragility of life, which gives it a real emotional weight, and really makes you think long and hard.
One of the most striking aspects of the film is its intelligence. Like many of Shyamalan's works, the supernatural elements are not completely outlandish but are grounded in a grim reality, making them feel almost plausible. While there's a sense of something eerie and other-worldly, the supernatural aspects of the film are tied to real-world possibilities, tying in with a pharmaceutical company which continues to gain notoriety even through the recent Covid pandemic. This leads to a sense of conspiracies and dread. It's a fascinating blend of the speculative and the relatable, and that's what makes it work.
The cinematography also stands out-beautifully capturing the isolated, stunning beach setting while also emphasizing the rapid passage of time. The way the camera circles the characters and captures the ebbing waves creates a rhythmic, almost hypnotic quality. It's as if time itself is an active participant in the story, accelerating alongside the characters' aging process. While much more noticeable with the children, this technique creates a sense of unease and disorientation that works well within the context of the film's premise.
That said, the relentless pacing is both a strength and a weakness. The film moves quickly from one event to the next, which contributes to the mounting tension. However, the non-stop action can make it difficult to process the emotional weight of certain moments, particularly the tragic deaths of some characters. There's little time to catch your breath or truly take in what has happened before the next shocking event occurs, and as a result, the emotional resonance of the film feels slightly muted over an action packed journey.
Despite this, I personally loved Old for its ability to provoke thought. The film lingers in your mind long after you've seen it, challenging you to reflect on the passage of time and your own mortality. The deeper meanings behind the film's events are subtle, but powerful, and that's what makes it memorable.
The characters are diverse, each with noteworthy traits, and while none of the performances necessarily stand out in an exceptional way, they all contribute to the film's overall cohesion. My favorite character was the schizophrenic doctor and his superficial wife. Their dynamic felt raw and relatable, mirroring some of my own complex reality. There's a certain honesty in their portrayal that adds depth to the story.
Ultimately, Old is a film that doesn't focus on individual performances or singular moments of brilliance. Rather, it's about the way everything flows together-a cohesive narrative that explores big ideas with precision and subtlety. From start to finish, the film is fresh, engaging, and intellectually stimulating, leaving you with plenty to ponder long after the credits roll.
7/10.
The Girl in the Photographs (2015)
"This serial killer is doing this, this photography thing with his victims"
The Girl in the Photographs is a messy, irredeemable film that fails to deliver anything meaningful beyond the occasional unrelenting nastiness. While the brutality is apparent, it lacks purpose, leaving the audience constantly questioning: Why are they doing this?
With names like executive producer Wes Craven, creative writer Ozgood Perkins, and a well known actor in Kal Penn, this film feels like a major blemish to their legacies due to such a mediocre and lacklustre excuse for a film.
The two psychopaths, who are essentially the lead performers, succeed in being creepy, dirty, feminine, and sadistic. However, the absence of any real motivation, psychological depth, or compelling backstory behind their atrocities makes their brutality hollow. The film doesn't even attempt to explore possibilities for their behaviour.
Claudia lee who plays Colleen is almost the only reason to keep you watching and engaged but it's not enough to make you invested.
The problem with these types of movies is that they often feel dark, gritty, and unpleasant, with a story that lacks any clear purpose or direction. As a result, they rely heavily on mindless hack-and-slash action and excessive visceral gore to compensate for their other shortcomings.
The girl in the photograph ends In the worst way possible, it may look like a grim realism but since there is no opportunity for survival the movie really ended in the opening five minutes.
What feels like a cheap directorial debut, this is a very basic and uninspired film. There's little to praise here, making The Girl in the Photographs an overall disappointment.
2/10.
1408 (2007)
"After years of searching he no longer believes"
1408 is one of those films that didn't seem especially promising when it first came out, but over time it gained a reputation for its intense setting and criminally underrated story. The film presents a surprising level of psychological depth that goes far beyond typical horror.
When I stumbled across the Blu-ray for a hefty $44.98 AUD, I was a bit shocked at the price-until I saw the Weinstein label on the production credits. Given their recent history, it's no surprise that copies of this Blu-ray have become rare and hard to find.
The film 1408 deserves more recognition, and I wouldn't be surprised if, over time, it becomes a hidden gem that true horror fans seek out. It's one of the more impressive M15-rated films you're likely to come across, delivering an impact far beyond that of a blood-soaked horror flick.
What stands out most about 1408 for me is how it explores the human mind, especially how it grapples with grief, guilt, and denial. Our protagonist, Mike Enslin, is arrogant, rude, and a bit of a sceptic-a character that isn't always likable but is compelling to watch. John Cusack brings Enslin to life in a way that's surprisingly relatable, despite his abrasive personality. Cusack may not be considered an A-list actor, but he delivers a high-calibre performance here that matches some of his best work.
Samuel L. Jackson, though in a smaller role as Dolphin Hotel manager Olin, leaves a strong impression, commanding the screen during his short but crucial scenes with Cusack.
The real horror begins when Mike finds himself trapped in room 1408-a space that seems to exist in its own dark, nightmarish dimension. He's plunged into a personal hell, where reality is constantly distorted, isolating him in terrifying and unexpected ways. I find it fascinating that the film takes place almost entirely in a single hotel room, proving that with the right dialogue, pacing, and atmosphere, you can create a compelling horror experience even on a modest budget.
One of the most poignant and disturbing elements of 1408 is the presence of Mike's young daughter, Katie, whose memory haunts him throughout his stay in the room. Katie's death is a traumatic wound that Mike has never fully come to terms with, and the room exploits this vulnerability mercilessly. She appears to him in chilling visions, tugging at his deepest regrets and reminding him of the life he feels he failed to protect. Her presence amplifies the psychological horror, transforming the haunting from mere ghostly scares into a profound exploration of grief, guilt, and the things we can never let go. Katie's impact on the story adds a haunting layer of emotional depth, making 1408 more than just a tale of supernatural terror-it's a journey through personal hell, one that makes Mike's suffering all the more relatable and the film all the more unforgettable.
After Mike's ordeal in the room, Olin attends his funeral, sitting in his car while listening to the recording of Mike's experiences in the room. This recording includes Katie's voice, which wasn't on the original recording Mike made before his night in 1408. The fact that Katie's voice is audible to Olin implies that the room's supernatural influence might be capable of haunting or disturbing others-even those who were never inside it.
1408 is a complex, haunting thriller that keeps you questioning what's real and what's imagined. For those who appreciate horror with psychological weight, it's definitely worth the watch.
7/10.
The House of the Devil (2009)
"And all I have to do is sit inside and watch TV"
House of the Devil is a nostalgic tribute to the early '80s, when horror was making its mark on the film landscape. The grainy visuals and retro aesthetic are carefully constructed, giving the film an authentic feel without ever making it hard to watch for modern audiences.
The film is washed over with that vintage style of that period giving you that atmospheric feeling that you've stumbled onto a lost gem from the era.
House of the Devil makes great use of old-school techniques, like close-up shots of body parts or lingering on Samantha's (Jocelin Donahue) face, amplifying the tension and drawing you deeper into the creeping horror.
Ti West is a fantastic director, and it's clear that horror over the years has become his niche. With recent successes like X, Pearl, and more recently Maxxine, I've gone back through his older work, including Cabin Fever 2 and now House of the Devil, and you can see his skill for building up a story to a horrific climax. West knows how to tell a story at a pace that works, never rushing things, and letting the tension build to its inevitable, peak.
The film doesn't give too much away at first. It uses an excellent score, along with carefully inserted music tracks, to break up the mood and give you that needed breath of relief. The first two-thirds of the movie feature a slow, deliberate buildup as we follow Samantha, a university student trying to earn a few extra bucks to stay afloat. When she accepts a mysterious babysitting job and meets the creepy Mr. Ulman, it becomes clear that something is amiss, and it becomes clearer to anticipate the darker turns that are to come.
The final thirty minutes of the film descend into a blow-by-blow macabre sequence that's impossible to look away from.
It's hard to pinpoint why Ti West's films don't quite reach another level-his direction is beautiful, the house is a great setting, and the film's visual techniques are aesthetically pleasing. But I think the simplicity of his plots, while effective, can also limit them from reaching that cult-status greatness. They're grounded in familiar setups, but that's also what makes them work so well.
Jocelin Donahue as Samantha is the clear standout here. She's the girl-next-door, the final girl, the heroine-whatever you want to call her-but she is feisty and excels in every scene. Samantha is smart, gritty, and never falls into the cliché trap of making dumb decisions for the sake of the plot. She's relatable, likable, and easy to root for, even though we don't know much about her backstory.
The secondary cast, including Tom Noonan as Mr. Ulman, AJ Bowen as Victor Ulman, and Greta Gerwig as Sam's friend Megan, all do a fine job with their brief but memorable roles. However, it's Jocelin who truly steals the show, carrying the film with her performance.
With its great tension, unsettling atmosphere, strong characters, and familiar but effective kills, House of the Devil is a welcome addition to any horror fan's collection. It's a tight, well-crafted film that delivers exactly what it promises: a slow-burn descent into terror.
7/10.
The Piper (2023)
"You're going to perform the concerto for children?"
I was pleasantly surprised by The Piper. Its eerie melody is catchy and haunting enough to get stuck in your head, and while it's film delivers more than expected, it somehow doesn't scrape the surface with its potential either.
The Piper isn't particularly unique nor unforgettable, it does well in certain aspects, especially considering its low budget. The film takes inspiration from the ancient Hellenic fairytale of the Pied Piper, grounding the story in its dark, historic origins.
Discord and harmony serve as the core musical theme or might I say represents the delicate parity between evil trying to upset that balance? The story takes a compelling turn when Mel finds the musical score of the Piper, and whoever listens to it, goes into a seemingly possessive trance.
Julian Sands, as Gustafson, plays the central role with intensity, capturing the essence of an obsessed conductor driven by power. While other characters like Mel and Franklin add to the plot, it's Alexis Rodney's portrayal of Philip that provides some much-needed joy to balance the rest of the cast.
The Piper's appearance does appeal, leathery, burnt, a bit demonic, truth be told he reminds me vividly of a rabid orc from Lord of the Rings.
While the film shows promise, it doesn't quite reach its full impact, but never fails outright either. What I appreciated was its gory restraint - it doesn't rely on slasher or blood stained moments to make an impression, instead delivering some effective, suspenseful scenes about what lurks in the shadows without needing to shock the audience excessively.
On the downside, The Piper doesn't quite move you or offer any sharp twists or deep narrative layers. It feels like it exists to tell the story, but without much emotional payoff. There are also several missed opportunities, like the lake scene, which looked a bit like a stale 1970's fantasy backdrop. This was the place where the Piper supposedly led the children to their demise.
The highlight for me was the orchestral concerto near the end, which was both mesmerizing and fitting as it ultimately reveals the Piper. Ultimately, though, The film is an experience I don't regret having, but it's one that's easily forgettable.
5/10.
The Black Mass (2023)
"I'm not doing this again"
Ok so do you know when you get those immediate thoughts before seeing a horror flick "I just know this is gonna be really bad"? That is pretty much the exact feelings you will have when you finish The Black Mass.
Not only have we seen Ted Bundy portrayed so many times before that his story is now extremely repetitive. This goes to the next level and for starters is filmed in perhaps 3 backdrops for the entire movie.
You could be mistaken for calling this movie Ted and the Sorority house. 24 Hours of Ted, or even Ted's five seconds of sickening mayhem.
Meant to be a homage for the victims of Ted Bundy more than anything else. The film is one that had no real value being made. There is not only nothing new here, but you will feel kinda sad watching Ted stalk and then bludgeon young girls to near death in a pretty sickening five to ten minute attack that seems to be the foundations of this entire movie In a nutshell. Other sequences of him imagining a girl ripping open her flesh before him giving himself pleasure are purely odd, and uncomfortable
Again the cover art on the DVD made it look like a slasher/killer teen flick taking place in an isolated cabin. But as soon as you know what the story is about then that was my time to leave it on the shelf, and slowly walk away.
Thankfully the positive reprieve is the bleak seventy minute runtime because honesty there isn't and substance other than watching a deranged man get the chance to live out his sick and twisted fantasies for this brief period.
The is nothing new you will learn and a story that has been regurgitated to the point of looking like colourless, odourless "mass" that begins to fester please I feel I write this review to save your time after I clearly wasted mine.
1/10.
The Empty Man (2020)
"You are our Tulpa. Our Empty Man"
Before I dive into praising the ethereal being known as The Empty Man, let's unpack what this film has to offer.
From the DVD cover featuring a giant skeleton and a title like The Empty Man, it might seem like another cringeworthy entry in the horror genre. However, looks can be deceiving, and this film is far more complex than it initially appears.
The longer than usual opening sequence is compelling, set against the backdrop of the Tibetan mountains, invoking a sense of ancient evil. This atmospheric introduction draws you into a gripping and suspenseful journey, effectively setting the tone for the film.
The rest of the movie maintains a solid foundation, though the acting is somewhat ordinary. James Badge Dale, as James Lasombra, delivers an adequate performance but lacks the emotional depth expected in his character's situation. While Sasha Frolova's portrayal of Amanda Quail shows promise, her limited screen time prevents her from fully standing out.
The film's runtime does feel a bit stretched, occasionally dragging on longer than necessary and in a film in this calibre. The pacing makes it easy to walk away for a few minutes and not miss any key information so I think it could have been trimmed as still had its desired effect.
One standout element is the background score. The blend of operatic music with dramatic overtones and harsh orchestral pieces breathes life into the film, enhancing the tension and emotional weight of key moments.
However, my main concern lies with the story itself. While the premise of a malevolent cult and an ancient entity has the potential for something truly special, the narrative struggles to stay grounded, and becomes a bit of what's real or in your head. It often trails off into this all too familiar territory, reminiscent of other psychological thrillers where the shocking twist feels a little recycled.
Character depth is another area that could have used more attention, as the lack of emotional investment in the characters detracts from the overall impact of the film. That said, James's backstory is well-developed, adding some layers to the profound storytelling.
Despite some of these flaws, The Empty Man succeeds as a supernatural horror film with a beautiful directorial debut from David Prior. While it may not have completely wowed me, it is certainly worth the effort, and I see great potential for Prior's future projects, as he demonstrates a genuine understanding of what audiences crave in a supernatural horror.
6/10.
Hell House LLC (2015)
"Hey man how many freaks do we have"
I cannot stress the accuracy of the saying "hit or miss" and found footage genre perefect encapsulates this saying.
Thankfully Hell House LLC is a hit. Early on in the film I began to feel a little lethargic (As if I've seen this all before) but from the halfway point of the film it really begins to flesh out the "big scary moment" that is ready to unfold in the latter stages.
What's impressive is the journey to get there. The film gradually builds towards the climatic scene where all the carnage is set to occur by creating tension of the possessed, intimidating, and foreboding blood faced clown.
The clown bore a unique look that looked absolutely terrifying (forget comedy duo Art and IT) and who was mentally tormenting the minds of the group.
The "supposed" mannequin along with clever camerawork appearing to be a living entity by turning up randomly in different areas of the house in the middle of the night was what brings on most of the spine tingling chills this film have to offer.
It's not often even with the most dire and intense horror films are you left with the pulpatating sense of suspense, but in Hell House LLC they do a pretty good job at keeping consistency with the tension.
I felt genuine terror and many instances and kept rearranging my place on the couch because I tend to put myself into the uncomfortable position of being the one in the groups situation.
The possession story, or ghost story about the house being haunted is the underlying narrative but it's the thought of not being aware if it's a real killer is on the loose, or a supernatural presence or is what keeps it mysterious.
As for the acting, it was as good as it can be in this type of genre, usually quick and easy and beginner actors with little background to keep up with the low budget of the shoot.
On an ending note I must say Hell House LLC was nothing like The Houses October Built. My god how insufferable that movie was and it couldn't hold a candle to this film. Some cult visions near the ending did kill off the intrigue but does it a chance to drill deeper into the lore of the Hotel Abaddon.
6/10.
Ready or Not (2019)
"Uh, no, that was dad's idea. It was the '80s"
Ready or Not immerses viewers in a world of wealth, class, and privilege, layered with that eerie scent of satanic rituals. The Le Domas family, known for their board games, hides a dark and unsettling secret. Their fortune comes from a deal with the devil or demon known as Le Bail.
On her wedding night to officially be welcomed into the Le Domas clan Grace draws the fateful "Hide-and-Seek" card, igniting a deadly game where the family must hunt and sacrifice her before dawn, or face grim consequences.
The film boasts a gorgeous gothic setting, though it occasionally begins to feel all too familiar. However, it more than compensates with its humourous wit and sharp dark comedy. The casting is spot-on. Some of the standouts include Adam Brody as the charming, loves-a-drink, empathetic brother Daniel, his "gold-digging obnoxious wife Charity.
The coke-fuelled youngest Emilie, and what could very well be the Adams families own Morticia Adams in Aunt Helene.
Mark O'Brien as Alex was the ethical one for the most part, and his moral compass torn between family and lover making him unpredictable, and contemplative compared the his fellow kin.
Samara Weaving's performance as Grace anchors the film, making her both relatable and engaging. She feels like your typical girl next door caught in an unimaginable situation. Henry Czerny as Tony Le Domas is equally compelling, portraying a caring, funny yet complex father figure, and because of his likeable personality it's hard at times not to hope for his survival.
With its unique blend of humor and horror, Ready or Not exceeds expectations. It delivers some over-the-top, blood-spraying deaths, and engaging moments while maintaining a pulse-pounding cat-and-mouse game that for the majority keeps you thoroughly entertained.
The catch tune, and colourful and
unique personalities combined with the originality of the story make Ready or Not stands on its own and gives us something where even the secondary characters have their moments to leave you with a fond memory.
This film is one that truly revitalises the horror comedy genre, proving that modern ideas, fleshing out characters, and strong storytelling can create something truly special. Ready or Not comes out swinging, and it's a thrilling ride that leaves a lasting impression.
7/10.
Disturbia (2007)
"How many other perfect little houses hide really twisted secrets"
No not the hit song by Rhianna, but Disturbia takes you in what feels like way back to the days where Apple was still a baby, Nokia phones were in, camcorders, Innocence and much of my childhood Nostalgia.
Disturbia makes me feel old as hell. Watching as a teenager this film gripped me immensely and became a bit of a cult film, that I always wanted to revisit.
Watching Disturbia today the biggest difference is how the film has aged. Back in 2007 I was a brisk eighteen year old that resonated with Kale and Ashley was absolutely set as "The Girl Next Door" pardon the pun.
Fast forward to 2024. I am thirty five and after we see the father fishing with his son a great realisation smacks me in the face.
I now don't feel as compatible with Kale, would still find Ashley is someone you would take home. But it really dawned on me that nothing is ever the same then second time around.
Before Shia LaBeouf (Kale) was a household name and went through his own battles and when David Morse (Mr. Turner) and Carrie-Ann Moss (Julie) became instantly recognisable on film.
Disturbia holds up today as a film that surprised many back in 2007. It is a teen thriller but manages to invoke intense paranoia while being a bit of a slow build.
The warm lighting in the home where Kale is imprisoned for ninety days feels incredibly suburban with claustrophobic realism.
Most of the film is set in Kale's home and the neighbours yards which is what we see as Kale's entire world.
As the films opens up so do more of the character development and your personal connection to Kale, Ronnie, Julie or Ashley.
I found the final twenty minutes the film goes from obsessions and delusions and transforms very quickly into a tense battle for survival. Morse and Shia own their performances and their chemistry is what keeps Disturbia real and frightening.
Don't be afraid to go back to yesteryear although you might find yourself if a world of memories that your forget ever existed.
7/10.
Late Night with the Devil (2023)
"Thank you for allowing me into your living rooms once again"
Sometimes a film just hits in all the hits right places. And this was exactly the case with Late Night With The Devil.
Magnificent and yet so very simple, the story set in a gorgeous 1970s late-night talk show host resonated as something unique, mysterious and memorable.
I was in awe of how well this film came together it had a hint of the exorcist, with satanic cult and various troupes from the genre without a direct copy and paste of classics.
I say this all the.time about films giving something new or fresh on overused segments like demon possession and thankfully late night with the devil felt like it's own spin and own unique take.
What I feel gave extra grounding was the mysterious grove which bears resemblance to the conspiracies involving the infamous "Bohemian Grove" where all the wealthy elites worshipped a giant owl in the tall trees.
The film gives away just enough, so you are constantly craving more and immediately begin to look up the ancient mythology and powerful figures who engaged in these supposed practices.
Another thing this film did so well was the elements that weave together a realistic overview of a late night talk show, with each segment adding something to the story.
Christou played by Fayssal Bazzi was mesmerising and quite frankly one of the more colourful characters. When he gets controlled by the spirit and starts throwing up black lihqud all over the stage you are not sure If he is the one about to turn, and his soul is overtaken but a strange entity, the subsequent news about him later in the film justifies the uncertainly and mystery.
From the first mention of the demon's name Abraxus, to the longful yearning of Jack Delroy's late wife Madeline, the story seems to have great foundation, which explores deeper character flaws which keeps it enticing and ticking along at a steady but gripping pace.
David Dastmalchian as Jack Delroy commanded the stage, but not as the emotional overpowererong presence, like you Leonardo DiCaprio, instead he has a cool demeanour of like a professional talk show host of the times which emanates authenticity.
With a great starting point for Ingrid Torelli as Lily who openely looked as a manipulated child, with something sinister lurking within her mind. And even the shy, bumbling sidekick persona of Gus (Rhys Auteri) and you have a distinct group of people who you can relate to.
It's not new to have a demon passed into a living conduitbut and again Late Night with the Devil does things uniquely.
The initial hour seems to build up the story workout any visible killings until the climax where the demon awakens and wrecks absolute havoc in a thirty second burst which rips open the story to the shocking final scenes.
Overall Late Night with the Devil is a resounding two thumbs up. It didn't need gracious blood and gore and instead rolled with it's strengths and kept you longing and salivating for more.
8/10.
Ma (2019)
Her basements pretty much the best drinking spot in town"
Blumhouse Productions has a track record of hits and misses, but with Ma, they finally hit the mark and deliver one of the better entries into the psychological horror genre. The film stars Octavia Spencer as Sue Ann, a seemingly friendly woman who becomes dangerously obsessed with a group of teenagers and reliving her lost youth.
There are some good cameo performances from notable favorite actors of mine Juliette Lewis as Erica and Luke Evans as Ben.
In the first hour, while filled with tension and an underlying weirdness. There's a gradual,
Slow buildup that leads to a shocking twist, transforming the film into a deeply psychological experience with elements of excessive online stalking.
The film effectively tackles themes of bullying-something I think we as viewers can mostly all relate to from our own high school experiences at some point in time.
This connection to Sue Ann's troubled past makes her character unnerving. She isn't portrayed as a traditional killer but rather as a lonely woman who has been scarred and pushed to the edge. The film explores how trauma can lead to years of devastating actions, which adds a layer of complexity to her motivations.
While Ma isn't drenched in gore, it has some gnarly moments like the scene with the transfusion of Canine Blood and the pent up hit and run from an old high school bully.
Ma conveys a chilling understanding of how isolation and betrayal can warp a person's psyche. The final thirty minutes shift from thriller to outright horror, showcasing a mother's spiraling descent into madness as she begins to take her revenge one by one.
Spencer's performance is a highlight, making Sue Ann both sympathetic but extremely unsettling. She never appears overtly threatening, yet her instability creates an eerie atmosphere that festers. The film elicits a strange mixture of compassion for her tragic history but discomfort over her moral choice and violent actions.
In conclusion, Ma excels by focusing on character development and emotional depth, making it a good one time watch. I hope to see Blumhouse prioritise more films with as much heart and engaging such storytelling.
6/10.
Finders Keepers (2014)
"The doll still has a hold on her"
Finders Keepers attempts to capture some of the essence of classic puppet/children horror, with the first person camerawork reminiscent of the Puppetmaster or Chucky films. However, its heavy reliance on the supernatural element detracts from a firm grounding of reality that could have made the story more compelling.
Despite a surprisingly high body count, the low-budget film fails to evoke any genuine terror or fear. The only real layers to the film are Tobin Bell's role as a child psychiatrist. His character's accusations of child abuse against Alyson (played by Jaime Pressly) are the only moments the film tries to explore deeper themes.
The story revolves around a young girl, Claire (Kylie Rogers), who discovers a Muneca, (a South American Voodoo doll) while moving into her new home named Lilith. It's discovered that possessing someone else's Muneca brings bad luck, and as the film progresses, the doll begins to feed off and possess Claire's emotions attempting to merge her soul with its own.
The most notable death scenes in the film involve a few cats skinned in the backyard and a woman who gets set alight after being doused in gasoline However, the reasoning behind the ensuing killing spree wis just simply because.
Going way back to films like Chucky, whose origins are tied to a murderous killer's soul, this Muneca seems to embody a more generalized supernatural entity that isn't explored.
The killings, while trying to be unique, don't really begin until the latter half of the film, which feels a little drawn out and slow. Furthermore, the visual effects in the final stages of the film where dark clouds manifest in the corners of the attic comes off as cringe.
In summary, Finders Keepers offers little more than the experience of a forgettable B-grade horror film. It lacks depth, clarity, and narrative flow, leaving you pondering how you might have better spent your precious time.
3/10.
Crimes of the Future (2022)
"It's a brand new organ never before seen"
I haven't had much exposure to David Cronenberg before, but Crimes of the Future immediately reveals his distinctive, artistic vision. You can tell that his work is quite intrusive, and from the very beginning you'll either fall in love with it or absolutely abhor it. There's an undeniable uniqueness in his storytelling, as he delves into alternative, futures where people find gratification in the grotesque, showcasing the true depravity of the human mind.
In this film, Cronenberg immerses us in a dystopian world where humans can no longer feel pain, evolving back into a darker age where normalcy and progress are seen as sins. I appreciate how the film prioritizes scientific and psychological issues over religious themes, steering clear of any political agendas that could have greatly diluted its impact.
The theme resonates with Cronenberg's philosophy: his work is his art, exploring areas many of us would never dare to venture. Some standout scenes include the haunting autopsy of a young boy with newly grown organs and the surreal performance of a man covered in ears, which emulates a striking depiction of the film's eerie futuristic atmosphere.
Viggo Mortensen delivers an incredible performance as Saul Tenser, but Léa Seydoux as his partner Caprice is the woman who truly rises above the rest, embodying a character whose chemistry with Mortensen adds exceptional depth to their unusual, yet surreal, relationship. Kristen Stewart, known for her quirky roles, fits right in with her devilishly, but shy persona, capturing the film's unsettling futuristic tone perfectly.
The visuals and imagery are haunting and uncomfortable which help create an atmosphere of discomfort that's difficult to shake, but is also mesmerising.
Overall, Crimes of the Future offers a thought-provoking outlook on humanity's bleak future, resonating with fans of films like Blade Runner, the Matrix, Event Horizon and into the dark depths of body horror such as Hellraiser. Crimes of the Future establishes itself as a significant addition to Cronenberg's body of work.
7/10.
Stopmotion (2023)
"What happens when it takes on a life of its own"
Stopmotion is a bizarre film that melds some puppeteering and stop-motion animation with unnerving and somewhat nauseating scenes. It's a slow burn that occasionally feels more grotesque than cohesive, leaving the viewer in a slight state of confusion about its narrative flow.
The film centers on Ella, portrayed by Aisling Franciosi, who embodies a mentally unstable perfectionist striving to meet the unrealistic expectations set out by her overbearing mother. Ella's journey as a stop-motion creator captures the essence of her struggle to o break free and Franciosi's performance is a standout, as she bears an graceful elegance that contrasts sharply with her character's psychological turmoil.
A pivotal moment occurs when Ella encounters a mysterious girl outside her apartment, who inspires her to create a new film using raw, visceral materials like meat and animal fur. This revelation not only sparks Ella's creativity but also serves as the catalyst for exploring deeper themes of her mental state, her isolation, and how she is easily manipulated.
Stopmotion also deftly touches on Ella's trust issues and the complexities of her relationships, particularly with her supposed "friends" and her boyfriend, who is portrayed as a minor role primarily enhance several layers to Ella.
However, while the film's ambition is commendable, I found it extremely clunky at times. I appreciate artistic approaches, but I prefer narratives with a stronger focus on psychological development and greater cohesive storytelling. Stopmotion leans heavily into Ella's fractured psyche, often leaving viewers to question what is real and what is a product of her unraveling mind.
The climax is intense and somewhat frightening, marked by a sense of uncertainty that mirrors Ella's own descent into madness. When the film concludes, it feels as though you're waking from a nightmare-disoriented yet somewhat letdown.
Ultimately, Stopmotion is unique and stands out for its fresh approach, but it may not be a film everyone finds watchable. Its slow descent into a person's madness can be bewildering, and while it explores profound themes, it occasionally sacrifices clarity for artistry.
4/10.
The Puppetman (2023)
"Michal is carrying your death inside her"
Puppetman opens on a fairly positive note, tapping into familiar horror themes with a husband brutally murdering his wife though someone else seems to be controlling his actions and body movements like a "puppet"
The film then moves on and quickly began to give me some vintage original Nightmare on Elm Street vibes with a pleasant female lead (Alyson Gorske) in its group of young, enthusiastic, modern college students. It sets up the atmosphere well, but the film quickly falls victim to several limitations. One of the more frustrating aspects is how reminiscent it feels of Final Destination, especially with the over-the-top, sometimes ridiculous deaths. This similarity makes it feel far less original and more like a patchwork of what has been seen before.
The standout moments for me were definitely the library fire and gym scenes-those were gnarly and had the right intensity you expect from a horror film. Unfortunately, beyond these, Puppetman fails to deliver in almost every other aspect. One of its biggest weaknesses is the drawn-out beginning. It takes nearly 30 minutes before anything significant happens, leaving the audience waiting far too long for the built-up suspense or horror elements to kick in.
The plot is simple, and yet again has no heart or soul in it, as it comprises of a family's ritual to bring forth a demon to somehow better the world, but it ultimately ends up controlling and killing indiscriminately as the main lead Michal is its vessel in the mortal realm.
The film tries to establish some very weak lore to ground the story, but the attempts feel extremely flimsy, and it is scarcely explored. It comes off feeling rather meaningless, which is a huge, missed opportunity for adding much needed depth. The engagement and fear never truly take hold. While there are moments of tension, but they dissipate before making any real impact, so you're never fully immersed in the story.
Scenes like the séance, which should have been a something that really stands out, however it felt quite tiresome and overdone. It was one of those moments where I found myself thinking it would be the perfect time for a snack or bathroom break. As for the acting, unlike vintage films of the 80s where a lot of actors go on to become starts (aka Johnny Depp) nothing about the performances genuinely stands out. Even Alyson Gorske's portrayal of Michal, the daughter dealing with mental health and trauma, was underwhelming because the film never takes the time to vividly explore her complexity.
Ultimately, Puppetman goes far into the supernatural route, but it does so without building a compelling or immersive narrative. If you go in with expectations of something innovative or gripping, you'll likely end up truly disappointed. It's a forgettable film that had slight potential but never realized it.
3/10.
Immaculate (2024)
"I'm still searching for what that reason is"
Unfortunately, I'm not usually the type to see modern horror films right when they're released, often waiting a few years. This can feel like I'm really missing out as I hear about all the hype on social media and risk being influenced by critic reviews and spoilers.
This was the case with Immaculate, a film I would have eagerly seen in theaters early this year (2024), especially given its more than positive reviews.
The film attempts to blend science and religion, which is an intriguing concept, but it doesn't fully explore this idea with greater depth. To put it bluntly, Immaculate seems to fall short on several fronts. It adheres closely to tropes established by classics like Rosemary's Baby, preventing it from feeling fresh or original. And while it pays homage to religious horror it doesn't offer anything necessarily different or new to the genre.
While the convent setting has potential, and the Italian countryside feels tranquil, however, the rest of the film ultimately falls stagnant. It does benefit from a decent budget, featuring some nice special effects and solid camerawork, but it's the scope of the story where it truly lacks.
This was my first experience watching Sydney Sweeney, who was likable but not particularly awe-inspiring. Her appearance more than overshadows her performance, focusing on her distinct feminine figure which might have kept my interest more than the plot.
There's a hint of mystery, and some intrigue from the religious foundations helps hold the core of the narrative together. By the ending however, the film fails to leave a lasting impression, with no standout scenes or striking performances.
A month later, after watching the extras, I found I had forgotten most of the story except for a brief, thirty-second ending, which underscores my disappointment of not bringing anything memorable to the table.
The idea itself was promising, and the execution wasn't entirely terrible. Sydney Sweeney was or perhaps is "the" highlight, but the film's depth, lore, and psychological elements do feel inevitably short, leaving it unable to leave a lasting mark.
5/10.
The Lords of Salem (2012)
"Possessing the souls of the Salem women"
This is one of my shorter film reviews because The Lords of Salem is nothing more than a rotting pile of garbage, exuding a foul stench that makes you want to gag and pray for death.
The film feels like a disjointed, nightmarish hallucination, with nothing flowing together in a way that's interesting or engaging. Instead, it leaves you perpetually confused and revolted.
The grimy imagery makes you feel cheated and nauseous, compounded by unnecessary dialogue and an unlikable, emotionless lead character. Even the numerous shots of her naked rear end fail to provide any satisfaction.
Rob Zombie, please have some taste and actually explore the world you create, rather than forcing us to endure repugnant scenes of old naked women cursing and spitting on babies without any sense of retribution or payoff.
There's very little redeeming about this film. The only minor positive is the eerie song and its tenuous connection to the Salem witches. Unfortunately, this isn't a film you can just watch and forget; it's a painful experience that lingers like your worst nightmares.
1/10.
Wolves (2022)
"70% of violent offenders have a history of animal abuse"
Wolves gets bogged down dramatically by trying to stretch a limited and generic story into an entire feature length film.
The biggest letdown is the pacing, which is painfully slow and drawn out. Getting through the first twenty or thirty minutes with little action and nothing gripping, except for armouring background tone makes it a genuine struggle to continue. Additionally, the film features an agonizingly weird, isolated protagonist who is so unlikeable that there is zero compassion or emotional attachment to him or what he is trying to achieve.
When the protagonist gets shot in the neck during the film, you don't necessarily feel suspense or terrifying remorse but rather a sense of inevitability. This moment feels somewhat satisfying as it removes a miserable low-life thief from the world.
The plot itself is both slow and weak. In summary, a very lonely, anti-social man decides to investigate a series of animal-related killings by visiting crime scenes and doing some detective work. He is trying to find purpose in his life as he relates closely to the same stereotype as the killer. He becomes increasingly attached to the cases but behaves very oddly, such as attacking a librarian in a paranoid fit, and trying his luck on a dating website which he never fully commits to.
The plot is completely broken. Somehow, in his detective work, the protagonist manages to pinpoint the exact location of the killer with no direction and limited information. He ends up in the middle of the woods at the exact time and place as the killer based on knowing the killer is likely to go hunting in a large wilderness area.
Furthermore, the occult elements used to hype the film were minimal and misleading. These attributes were flimsy and didn't interweave into the film in any meaningful or mystical way.
Frankly, there isn't much to praise. The actor and his performance were unconvincing, the film was slow, and it fails to capture your attention. The film had a monotonous pace, with little tension or suspense, making nothing stand out as memorable.
Wolves is a short story that would have been better suited to a 30-minute documentary. It's a shame the film opted for a dreary, limited story set in reality instead of adding excitement or a chilling vibe. It feels empty and soulless, with the Canadian winter looking stark and depressing. While this may fit the narrative, it does nothing to engage the audience.
Wolves ultimately is a failed attempt to turn a loosely based true story into a shocking and terrifying experience.
2/10.
Elevator Game (2023)
"Thats the one where you ride an elevator to summon some spirit"
Elevator Game initially seemed like a fresh and intriguing concept with the potential for deeper lore that could spawn a series. However, the film suffers from numerous problems, primarily rooted in flimsy storytelling that fails to captivate the audience or establish a solid foundation for the spirits haunting between worlds.
Unlike something like "A Nightmare On Elm Street" that captures you immensely and changes the art of horror films into something utterly mesmerising and terrifying, elevator game does quite the opposite and leaves you feeling let down on so many levels.
Elevator game feels confusing due to its lack of grounding in reality, which makes the supernatural elements highly implausible and leaves the audience questioning how the spirit can mercilessly slaughter its victims without there being any genuine chance of survival.
Throughout the movie, there are very few moments that build suspense or create a solid attachment to any of the characters. Instead, it is filled with frustrating teenage ideology, bordering on goofy and cheesy dialogue, leading to an underwhelming buildup and climax.
The backstory and motives are feeble and have plot holes everywhere, and from there, it's only a matter of time before the teenage friends are killed off one by one, unremarkably and without any emotional impact.
One interesting attribute is that the film isn't slow-paced, yet it's not entirely enjoyable either, which is a peculiar feat. I didn't feel enticed by the film, nor did I hate it immensely. It simply failed to live up to any expectations or leave any lasting impression.
For example, the Red World seems intriguing in theory but is merely a mirror world bathed in red with a large X in the sky, representing another dimension. The spirit moves like a creepy spider and supernaturally kills anyone in its path. This concept, while initially promising, is neither mind-blowing nor interesting enough to make a real difference.
The elevator itself could have been a character in the film, one that moves freely and keeps the audience invested in a worthy payoff. However, the elevator is as dull as can be. The game of numbers transports you to the fifth floor, where you encounter the 'fifth floor woman' spirit who comes on the elevator with you, however if you open your eyes on this floor, then you die.. This is where the story begins and ends, with little substance in between.
Calling it a B-grade film is generous. There is little to note in the performances, so I won't name any actors. The plot is weak, and the intrigue is short-lived. This film represents a lost opportunity for something salvageable as a horror flick and should be left at the bottom of the basement pile, simply forgotten.
3/10.
Watcher (2022)
"Every time I look over there, he is just staring right at me"
Watcher perfectly captures the dark, gloomy, and oppressive atmosphere experienced by its protagonist, an American traveller who has relocated to Romania to be with her husband Francis. With the lack of friends or family, Watcher shuns the traditional touristy vibes, instead immersing the audience in an isolated, desolate setting as if we are seeing the world through the protagonist's eyes.
The film bears similarities to the French horror flick "Them," heralding an Eastern European vibe that's dark, ominous, and dangerous. The most terrifying aspect of Watcher is the fierce realism it portrays in the feeling of being watched or followed. Regardless of gender, this is a very real threat, and it was nerve-wracking watching the "creep" seemingly stalking our leading lady.
The way the film reveals so little about the stalker, often not showing his face, eyes, mouth or nose, highlights the subtle features we often overlook when feeling vulnerable. The paranoia, combined with the eerie score, gives Watcher a chilling undertone. What I thoroughly enjoyed was the Hitchcock-like twist, which provided a meaningful and enjoyable climax, unlike what you can usually receive in the film's seemingly dark and negative trajectory.
However, the film's portrayal of Romania felt overly negative. I would have preferred to see Romania depicted as a nature-driven, fantasy place with historical castles or monuments, (Aka Count Dracula) rather than as a place straight out of your oppressive nightmares.
The acting was solid. Maika Monroe, as Julia, was the lovely fit, shining with her naivety as a foreigner genuinely trying to maintain her connection with her husband. On the other hand, Karl Glusman's portrayal of the other half, Francis, was irritating. He was one of the most selfish and self-centered characters, driving a wedge between his wife's sanity and her ability to find herself. His constant coming home late from work, entertaining others and blatant nerve to impress at work by prioritizing everyone else left a bitter feeling, especially with his overall negativity, and hinderance in undermining his wife made me suspect he might be aiding the killer.
Burn Gorman, as the Watcher, delivered a chilling performance. His naturally intimidating look and feel made it clear that one doesn't need to be hulking and brute to be menacing. His jawline and facial features had a Germanic quality that added to his eerie presence.
One minor but annoying detail was the lack of curtains in the apartment, which felt offensive to anyone who values their privacy. Although curtains eventually make their appearance, the initial oversight was frustrating.
A final point of contention was Julia's decision to become the stalker herself. Following him through a shady back alley, into a run-down apartment block to its basement and into a dingy strip club felt reckless, and I couldn't help but think she only had herself to blame, resulting in a lighting quick facepalm moment from me.
Watcher is eerily suspenseful and gritty, like the Bucharest landscape. It has its hits and misses but ultimately falls a little short of being a brutally well-known flick of sinister intentions.
6/10.
Half Light (2006)
"Are you really going to be ok out there? All by yourself?"
I went into this film having read numerous user reviews, which gave me a good handling over the positive sentiments, so I was really looking forward to becoming engaged in a deep emotional experience.
It lived up to those expectations, and Half Light impressed me in different ways, mainly through clever storytelling and the writer's ability to make this film continually absorbing.
There were drawn-out sequences that perhaps began to linger, such as the opening scene, but it was all building the basis of a mother grieving insurmountable loss. The film doesn't stagnate; instead maintains a peculiar ghostly atmosphere.
A notable aspect was that the supernatural elements which were never overdone. They were seamlessly integrated into the plot, making it feel grounded, and didn't stray too far from reality. The film effectively conveyed grief and isolation, allowing viewers to emotionally attach themselves to Rachel.
Rachel Carlson, played by Demi Moore, was wonderful. Moore is another actress who doesn't often come across as a leading figure, but this role showcases her talent. Her portrayal of a mother longing for forgiveness and the need of someone to be there for her was deeply moving.
Hans Matheson, who played Angus McCulloch, the other most notable performer. Though I hadn't heard much about him prior to Half Light, his features did give off some strange similarities to Nick Stahl. Hans contributed significantly to the romantic energy of the film. However, after certain revelations about his character, it becomes challenging to view him the same way.
While the performances were the core of the film the setting and scenery were just as intriguing focal points for me. The lighthouse itself felt like its own character. The seaside village, with waves crashing into the fisherman's hut, created a peaceful yet spectral atmosphere.
The ending wasn't exactly jaw-dropping, as there were hints earlier in the movie that led to the themes of jealousy, selfishness, and greed, culminating in the reveal and climax.
There were some odd moments that, frankly, don't detract from the film as a whole. However, more effort could have been made to make them impactful. For example, the appearances of Rachel's son, Thomas, whether as a vision or a figment of her imagination, could have been used emotionally to add much more psychological depth. Instead of subtle moments that flutter away instantly such and the magnetic letter on the fridge. These moments could have been more philosophical, really allowing the audience to feel a intense yearning for a lost loved one.
Half Light lives up to its critical expectations and ends up becoming a feel-good story full of drama and intrigue. It tells of a woman who eventually acknowledges acceptance in her life and is able to move on. There are many positive moments and gripping occurrences that keep you engaged. It is one of the more well-rounded movies I have seen to date, and is a film I wouldn't hesitate to recommend.
7/10.
Baghead (2023)
"This property comes with a special tenant"
I was eagerly anticipating racing out and seeing Baghead in the cinema this year. Nowadays, with cancel culture and political correctness, it's hard to go to the movies and watch a decent cinematic experience of a traditional or innovative spooky flick.
Baghead bears many similarities to "Talk to Me," about an evil spirit that lets you talk to lost loved ones for two minutes. It wouldn't surprise me if this concept was drawn from the mentioned film because it was eerily consistent.
Baghead doesn't particularly have genuinely scary or outright shocking moments, but it did have growing anticipation and never felt like a chore. You are immersed in an old English pub called "Queens Head" with some historical background while following the story of the developing isolation of the new owner Iris (Freya Allan) and her relationship with Katie (Ruby Barker).
Freya is amazing, she brings a breath of fresh air to the picture and was someone you genuinely care for and worry about. Jeremy Irvine as Esker was the only notable performance. He wasn't your typical villain but had so many psychological issues, and as the film progressed, it showed how mentally out of touch with reality he had become.
The CGI wasn't overused, which is a terrific sign. There were moments where we bear witness to a terrifyingly supernatural creature, which is always exciting. However, a little bit of backlash was that it wasn't groundbreaking or immediately memorable.
The backdrop and setting of the pub were unique, but also showcased a lower budget. The dark rooms and dingy atmosphere made it somewhat depressing and slightly tiresome.
A malevolent spirit, a hole in the wall in the basement, and psychological manipulation. While all not new to the genre and could even be considered cliché, this film did find its niche, with sustained pacing which had me hooked for the majority of the film.
Overall, Baghead was some fun. It doesn't really grasp you with imagination; however, the story itself is solid. It leaves the door open for a sequel, although not something that leaves you feeling excited for. It fits with modern horror similar same trends, but I feel only slightly more gratifying.
6/10.