The Last Voyage of the Demeter (2023)

August 14, 2023Posted in2023, Authors: Walter Chaw, Germany, Horror, Italy, Malta, Theatrical, UK, Vampire

Lastvoyageofthedemeter

**½/****
starring Dracula, Corey Hawkins, Aisling Franciosi, Liam Cunningham
screenplay by Bragi F. Schut and Zak Olkewicz
directed by André Øvredal

by Walter Chaw I like André Øvredal movies. I liked Trollhunter, and I loved Scary Stories to Tell in the Dark, along with most of The Autopsy of Jane Doe. They deliver exactly what they promise and do so with an at times striking sense of how to convey the poetry of the beginning of things. His movies feel like mythology, in a few cases are mythology. And like mythologies, they’re earnest, direct, and deceptively simple in narrative but rich with subtext. He makes sense for a Dracula prequel–not a Vlad the Impaler creation story, but a picture extrapolated from the “Captain’s Log” portion of the Bram Stoker novel that details, in just under 2000 words of the seventh chapter, the fate of the doomed freighter tasked with bringing Dracula’s stuff over from Transylvania to England, whose crew became provisions for the grand fiend en route. Murnau’s Nosferatu covered the voyage in a few swift, expressionistic strokes (coffin play, hilariously), allowing Øvredal’s The Last Voyage of the Demeter to expand on the circumstances while paying homage to that film’s character design. As played by Javier Botet, Øvredal’s Dracula is barely humanoid at all.

Fantasia Festival ’23: Pandemonium

August 10, 2023Posted in2023, Authors: Walter Chaw, Fantasia Festival, Film Festivals, France, Horror

Fantasia23pandemonium

***/****
starring Hugo Dillon, Arben Bajraktaraj, Manon Maindivide, Ophelia Kolb
written and directed by Quarxx

by Walter Chaw French multidisciplinary artist Quarxx’s sophomore feature Pandemonium is relentless miserablism presented handsomely and with neither of the usual pressure valves of archness or irony. It’s punishing. Although it doesn’t share much in terms of approach or narrative with Park Chan-wook’s Sympathy for Lady Vengeance, they have a similarly slick surface, and it did make me feel uncomfortable in the same way. And, ultimately, almost as unhappy. Films like this–such as most of Lars von Trier’s and Michael Haneke’s respective filmographies–are generally provocations without much more on their mind than to upset expectation and a perceived general apathy, but Pandemonium did get me thinking about how I’m raising my kids, so there’s that at least. I wonder if the function of the film-as-endurance-test isn’t ultimately as a lens with which to focus one’s empathy. That is, to say that for as lousy as your life feels at any given moment, it can and almost certainly will get worse. How consistently I enjoy movies that make me feel awful (and now I’m thinking of Brandon Cronenberg’s Possessor, which made me feel bad for months–and topped my best-of list of that year) says something about our desire for confirmation bias, I suppose. I want to be reassured that my Hobbesian outlook is rational. I’m addicted to that reassurance.

Fantasia Festival ’23: New Life

August 8, 2023Posted in2023, Authors: Walter Chaw, Disability, Fantasia Festival, Film Festivals, Horror, Thriller

Fantasia23newlife

**½/****
starring Tony Amendola, Hayley Erin, Sonya Walger, Nick George
written and directed by John Rosman

by Walter Chaw I respect the directness and simplicity of John Rosman’s New Life, the way it addresses a double-edged problem through two women in separate storylines who represent the point and counterpoint of a debate without an easy answer. How does one balance the individual good versus the interests of the collective? Easy enough to say that any individual must be sacrificed for the sake of society until one humanizes the individual. Plenty of films tackle this question: John Frankenheimer’s The Train measures the value of a man’s life against a priceless work of art; Juan Carlos Fresnadillo’s extraordinary 28 Weeks Later and Breck Eisner’s remake of The Crazies wonder how many people must be sacrificed for the greater good, no matter how heroic the lengths they’ve gone to survive. New Life‘s stakes are similarly big, although its focus is smaller–the “Trolley Problem” where one of the hero’s choices is to kill a person she likes in order to save a planet full of strangers. Complicating it all is that the hero herself, Elsa (Sonya Walger), is afflicted with a progressive neurological disorder, meaning her time is limited regardless of what she chooses. If she does the difficult thing, in other words, she’s not even doing it for herself.

Fantasia Festival ’23: Raging Grace

July 29, 2023Posted in2023, Authors: Walter Chaw, Drama, Fantasia Festival, Film Festivals, Horror, Mystery, Thriller, UK

Fantasia23raginggrace

***½/****
starring Leanne Best, Jaeden Paige Boadilla, Max Eigenmann, David Hayman
written and directed by Paris Zarcilla

by Walter Chaw What sets something like Paris Zarcilla’s Raging Grace apart from similar servant/master, immigrant/colonizer stuff like Lorcan Finnegan’s Nocebo is how it offers glimpses of joy amid the suffering. We see a community at play and worship, united in song, celebrating one another, exultant and safe–at odds with how their oppression is generally centred in otherwise sympathetic texts. Jubilation, it turns out, is a useful tool to ratchet up the tension in a film about isolation and domestic enslavement. When you grasp what can be lost, the stakes become unbearably high. Raging Grace isn’t a happy film, but there’s happiness in it, starting with the hopefulness of its hero’s name, Joy (Maxene Eigenmann). Joy’s a homeless Filipino house cleaner on an expired visa to the UK struggling to care for her impetuous daughter, Grace (Jaeden Paige Boadilla), on very little money and under the constant threat of discovery and deportation. The two survive by squatting in clients’ homes while they’re away, and Zarcilla has a lovely touch with the stolen days where mother and daughter pretend to have a place of their own. The rest of Joy’s life is a hustle: to get more work, to hold onto existing work, to keep her kid entertained and hidden, and to try to leave the panic out of her voice when she talks to family she’s left behind in the Philippines. Before Raging Grace becomes a horror film, it’s already a horror film.

Fantasia Festival ’23: Vincent Must Die + Blackout

July 25, 2023Posted in2023, Authors: Walter Chaw, Belgium, Comedy, Drama, Fantasia Festival, Film Festivals, France, Horror, Werewolf

Fantasia23vincentblackout

Vincent doit mourir
***½/****
starring Karim Leklou, Vimala Pons, François Chattot, Karoline Rose Sun
written by Mathieu Naert
directed by Stéphan Castang

BLACKOUT
***½/****
starring Alex Hurt, Addison Timlin, Motell Gyn Foster, Barbara Crampton
written and directed by Larry Fessenden

by Walter Chaw I’ve been angrier lately, angrier than I ever remember feeling in my life–and I was a teenage boy once. I am either more keenly aware of how broken the world always was, or the world is more broken than it’s ever been. Likely a little of both is true. I am frustration unrelieved. I am catharsis in eternal, trembling abeyance. The bad win and escape consequences; the good lose and lack the commitment to fight. The Earth is on fire, and only a handful of Scandinavian teens gluing themselves to paintings seem to have the will to do anything about it. I feel like I’m going to crack at every provocation, however minor or unintended. I wonder if I’ve lost my mind. It’s the old man’s fate to lament the growing incivility of every generation, but I didn’t expect to have so much rage going into my sixth decade. I didn’t expect to be the source of the incivility. I think the fallout from the cascading traumas of the last several years will continue to expose fault lines in our society for decades to come. Fallout is inevitable after an apocalypse, after all, and fault lines cause earthquakes. There’s nothing special about us.

Renfield (2023) + Sisu (2023)

May 6, 2023Posted in2023, Action, Authors: Walter Chaw, Comedy, Fantasy, Finland, Horror, Theatrical, VOD, War

Renfield

RENFIELD
*½/****
starring Nicholas Hoult, Nicolas Cage, Awkwafina, Benjamin Schwartz
screenplay by Ryan Ridley
directed by Chris McKay

SISU
**½/****
starring Jorma Tommila, Aksel Hennie, Jack Doolan, Mimosa Willamo
written and directed by Jalmari Helander

by Walter Chaw Chris McKay is an able director still looking for a project that isn’t an embarrassing high concept. His years on “Robot Chicken” and “Moral Orel” demonstrate a strong sense of timing and a willingness to offend the status quo, but so far–between The Lego Batman Movie, The Tomorrow War, and now Renfield–McKay has only been tasked with shepherding a few expensive (if laboured and overburdened) cows to pasture. Renfield is both a workplace comedy and a Raimi-esque slap-stick splatter (“splat-stick?”) flick in which bug-eating vampire familiar Renfield (Nicholas Hoult) attends codependency support groups to listen to other people complain about toxic relationships. It seems his boss, Dracula (Nicolas Cage), is a raging narcissist, and Renfield, after centuries of servitude, has finally had enough. There’s a parallel plot, too, involving a crime family led by imperious Bellafrancesca Lobo (a slumming Shohreh Aghdashloo) and her asshole son, Tedward (a not-slumming Ben Schwartz), running amuck while dedicated cop Rebecca (Awkwafina) and her FBI agent sister Kate (Camille Chen) try to bring them down.

Evil Dead Rise (2023)

April 26, 2023Posted in2023, Authors: Walter Chaw, Horror, Ireland, New Zealand, Theatrical

Evildeadrise

***/****
starring Lily Sullivan, Alyssa Sutherland, Gabrielle Echols, Morgan Davies
written and directed by Lee Cronin

by Walter Chaw Lee Cronin’s Evil Dead Rise is mean. It’s that scene from The Exorcist (1973) where little Regan McNeil masturbates with a crucifix and then shoves her mom’s face into her crotch mean. Vicious. But it’s not Ari Aster mean, where you infer it hates its characters and/or its genre. Rather, it’s mean in the sense that demons are mean, and it makes people we like do terrible things to other people we like. Evil Dead Rise is the line separating a horror film from a horrible film. It’s closer in tenor to its immediate predecessor, Fede Alvarez’s similarly vicious–brutal, really–Evil Dead (2013), than to Sam Raimi’s original trilogy, though more to the point, it’s exactly as mean as the first two entries in that trilogy but without Raimi’s sillier visual affectations and Bruce Campbell’s beloved caricature of a hambone persona. Indeed, most of the “fun” of those Campbell/Raimi pictures is the amount of humiliation and abuse heaped upon Campbell, with Campbell’s physical resemblance to a cartoon character becoming the central gag of the third film, Army of Darkness, as his features are stretched and multiplied, shrunken and deformed to fit whatever comic-strip setup is required of him in that moment.

The Pope’s Exorcist (2023)

April 13, 2023Posted in2023, Authors: Walter Chaw, Horror, Spain, Theatrical, Thriller, UK

Thepopesexorcist

½*/****
starring Russell Crowe, Daniel Zovatto, Alex Essoe, Franco Nero
screenplay by Michael Petroni and Evan Spiliotopoulos
directed by Julius Avery

by Walter Chaw Right off the bat, I feel I must warn you that no popes are exorcised in this film. The prospect of Russell Crowe reading the rites over a levitating, pea-soup spewing Franco Nero, shuttled in to play the Pope in Julius Avery’s The Pope’s Exorcist, is incredibly juicy, so I get why they would attempt to mislead audiences in this way, but it’s terribly dishonest. The cruellest blow, however, is that in place of Franco Nero in his dotage doing a spider-walk downstairs and pissing himself in his papal robes before a drunken astronaut (which, let’s face it, once I hit 82, I can’t promise that won’t just be a Tuesday), we get Crowe, as real-life exorcist Father Gabriel Amorth, riding a Vespa through the streets of Rome, no doubt in search of an espresso, a gelato, spaghetti, and his portly, Vespa-riding twin for the Guinness Book photo shoot. It bears mentioning, too, how Crowe straps on the world’s most offensive Mario Bros. accent to free poor little Henry (Peter DeSouza-Feighoney) from demonic possession. Why is Henry in Rome? Because his mom, Julia (Alex Essoe), is renovating a building, which happens to be the primary reason anyone moves to Italy. (See also: Donald Sutherland’s character in Don’t Look Now and Genevieve Bujold’s character in Obsession and Diane Lane’s character in Under the Tuscan Sun.) There’s probably a piece to be written about how our perception of Italy is of a beautiful place the Italians have neglected, but now that P.J. O’Rourke, who once wrote, “Italy is not a third world country but nobody told the Italians,” is dead, I don’t know who’ll write it.

The Texas Chain Saw Massacre (1974) [2-Disc Ultimate Edition] – DVD|4K Ultra HD

April 4, 2023Posted in****/****, 1970s, 2023, 4K Ultra HD, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Tobe Hooper, Disability, FFC Must-Own, Horror

The.Texas.Chain.Saw.Massacre.1974.REMASTERED.2160p.US.BluRay.REMUX.HEVC.DTS-HD.MA.TrueHD.Atmos.7.1-FGT.mkv_snapshot_00.35.24_[2023.04.02_21.44.22]Note: all framegrabs were sourced from the 4K UHD disc

****/****
DVD – Image A Sound A Extras A+
4K UHD – Image A Sound A Extras A+
starring Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow
screenplay by Kim Henkel and Tobe Hooper
directed by Tobe Hooper

by Walter Chaw If we start from the position that Sally (Marilyn Burns) is burdened from the get-go by two misfit monsters, then we can look at Tobe Hooper’s The Texas Chain Saw Massacre as not only a keen autopsy of a particular moment in our country’s history (circa 1974), but also a profoundly sensitive look at social prejudices and the toll said prejudices take on the human social organism. More than the typical rise-of-the-bumpkins horror conceit, it is, along with John Boorman’s Deliverance from two years earlier, the classic example of a film that isn’t about what it’s ostensibly about. Look at the assiduous reduction of wheelchair-bound outcast Franklin (Paul A. Partain), a character who remains for the efforts of Hooper and Partain (apparently so irritating in real life that his cohorts were relieved by his on-screen demise) one of the most unapologetically irritating and pathetic figures in film and find noteworthy not that a handicapped person is allowed to be a self-pitying asshole, but that we’re not let off the hook (as it were) for our own prejudices. Franklin is an anchor–and we’re glad that he’s dead, too.

Boston Underground Film Festival ’23: Smoking Causes Coughing

March 29, 2023Posted in2022, 2023, Authors: Walter Chaw, Comedy, Film Festivals, France, Horror, Satire, Sci-Fi, Superhero

Buff23smokingcausescoughing

Fumer fait tousser
***/****
starring Anaïs Demoustier, Gilles Lellouche, Jean-Pascal Zadi, Oulaya Amamra
written and directed by Quentin Dupieux

by Walter Chaw French provocateur Quentin Dupieux’s eleventh film Smoking Causes Coughing is an anthology picture organized around a framing device in which five costumed idiots forced to go on a team-building retreat tell each other horrifying tales around a campfire. I’ve been decidedly lukewarm on Dupieux’s films. They’re the very definition of an acquired taste, and I suspect they’re hit-or-miss even if you’re dialled into their frequency. His best-known film is probably Rubber (2010), a creature-feature about a car tire that causes folks’ heads to explode using “telepathy.” That’s the punchline to the long setup of a tire rolling around to tense music, which Dupieux punctuates with dialogue that’s knowingly campy, dedicatedly stupid, and ramped up with vein-bulging sincerity. It’s the kind of conceit that attracts viewers who like to laugh at movies. I think Dupieux’s sense of humour relies a lot on exaggeration and repetition, with the former landing like grossly performative sarcasm and the latter like the most irritating person you know milking a joke until the doggedness itself becomes the joke. For the most part, Dupieux’s movies don’t think much of the genres they’re mocking and, by extension, they don’t think much of the audiences for them, either.

Boston Underground Film Festival ’23: The Angry Black Girl and Her Monster

March 28, 2023Posted in****/****, 2023, Authors: Walter Chaw, Drama, Film Festivals, Horror

Buff23angryblackgirl

****/****
starring Laya DeLeon Hayes, Chad L. Coleman, Denzel Whitaker
written and directed by Bomani J. Story

The Boston Underground Film Festival runs from March 22-March 26, 2023. Click here for more info.

by Walter Chaw Vicaria (Laya DeLeon Hayes) is a 17-year-old STEM wunderkind who has a theory–one she shares with the mad oncologist of Darren Aronofsky’s The Fountain–that death is a disease and, as such, can be cured. It’s her favourite topic, and she tries to expound upon it during chemistry class, but her teacher, Mrs. Kempe (Beth Felice), doesn’t want to listen. Mrs. Kempe expresses her distaste through microaggressions like mispronouncing Vicaria’s name, then offering to call her “Vicky” because it’s easier to remember. When that fails to intimidate Vicaria, she summons the school’s security officer to forcibly remove Vicaria from the classroom. It’s dangerous when white folks call the cops on Black folks, and Vicaria, sure enough, is thrown from her desk–breaking her glasses–and cuffed for the crime of, essentially, being smarter than expected in a situation where her white teacher feels threatened. The first thing Bomani J. Story’s The Angry Black Girl and Her Monster is about is the chips and how they’re stacked against women and minorities, especially in the sciences. In just this one scene, he addresses different types of racism (internalized, subtle, overt, systemic), builds a character in the outspoken and unbowed Vicaria, and sets up a confrontation in which Vicaria’s dad, Donald (Chad L. Coleman), demonstrates what it looks like when a father has his daughter’s back. In five minutes, we know everything we need to know. This is exceptional storytelling.

Boston Underground Film Festival ’23: Sick of Myself

March 25, 2023Posted in2022, 2023, Authors: Walter Chaw, Comedy, Denmark, Drama, Film Festivals, France, Horror, Norway, Sweden

Buff23sickofmyself

Syk pike
***½/****
starring Kristine Kujath Thorp, Eirik Sæther, Fanny Vaager
written and directed by Kristoffer Borgli

The Boston Underground Film Festival runs from March 22-March 26, 2023. Click here for more info.

by Walter Chaw Effectively the Ruben Östlund film that got away, Kristoffer Borgli’s acerbic Sick of Myself (and I can’t say the title without singing it to the tune of the Matthew Sweet anthem of self-loathing) skewers the cult of victimhood that runs parallel to any progressive social awakening, muddying the waters to such an extent that the language of tolerance becomes weaponized, and true gains come clouded with apologies and equivocations. One step forward, 80 years’ worth of steps back. A scene late in Sick of Myself between a poisonous narcissist and the friend and journalist trying to make sense of it all has the malignant party saying they’re the real victim of their own absurd machinations, because, given a choice, no one would ask to be a psychopath. It’s funny because it’s familiar: how self-pity is the easier sensation to bear over shame. And it’s familiar because there isn’t even anything like the illusion of accountability left in this world. The worst of us, given an unprecedented platform to do harm, will never admit to anything like fault or suffer anything like consequences.

Boston Underground Film Festival ’23: The Unheard

March 25, 2023Posted in2023, Authors: Walter Chaw, Disability, Drama, Film Festivals, Horror, Mystery, Thriller

Buff23theunheard

***/****
starring Lachlan Watson, Michele Hicks, Nick Sandow, Brendan Meyer
screenplay by Michael Rasmussen & Shawn Rasmussen
directed by Jeffrey A. Brown

The Boston Underground Film Festival runs from March 22-March 26, 2023. Click here for more info.

by Walter Chaw I consider myself a fairly boring, credulous person who nevertheless, based on a couple of experiences I can’t explain, believes in ghosts and is disturbed by stuff like the Electronic Voice Phenomenon, not to mention the tenuous wisdom of playing with Ouija Boards. Jeffrey A. Brown’s The Unheard catches me right in my irrational fears with its story of Chloe (non-binary actor Lachlan Watson, playing the role of a young woman here), who returns to the isolated Cape Cod of her youth a decade after losing her hearing there from a case of meningitis. Her mother vanished around the same time. She was once thought to be a runaway, but it’s looking more likely that she was the victim of an active serial killer. At least, that’s what Chloe’s hallucinations, for lack of a better word, intimate in the flashes of clarity they offer between the white-noise blatting from the closed-circuit television at her house in Cape Cod. She’s come back to clean up the old place, make peace with her ghosts, and recover from an experimental treatment for her hearing loss from earnest, hopeful Dr. Lynch (Shunori Ramanathan). She hasn’t, I don’t think, thought things all the way through.

M3GAN (2023) [Unrated Edition] – Blu-ray + DVD + Digital Code

March 21, 2023Posted in2023, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Horror, Sci-Fi, Thriller

Vlcsnap-2023-03-20-20h55m38s414

***/**** Image A+ Sound A Extras B-
starring Allison Williams, Violet McGraw, Amie Donald, Jenna Davis
screenplay by Akela Cooper
directed by Gerard Johnstone

by Walter Chaw That the Internet works the way it does and evolved as quickly as it did likely had everything to do with it being the finest distributor of pornography the world had ever seen. If a band of apes created something like the Internet, for instance, they would use it primarily to inflict violent dominance over others–and for sex, if possible. No “ifs” about it: we are, and we did. When an artificial intelligence was tasked with machine learning via the Internet, it became a misanthropic, misogynistic racist almost instantly. The Internet is also the single greatest anthropological bellwether ever created, diagnosing who we are when we’re not obsessively adjusting our mask of civility; 100% pure id. I love Alex Garland’s Ex Machina because it understands that if a robot that looked like Alicia Vikander were invented, men would try to fuck it, and no expense would be too great in that pursuit. It doesn’t even have to resemble Alicia Vikander–it can just be a flashlight with a rubber hole in it. Which brings us to the question M3GAN refuses to confront. If you make a little blonde doll that looks like a 12-year-old Fiona Gubelmann, you’re opening an entire hornet’s nest of uncomfortable issues that would be fascinating to address. What happens when unfettered tech capitalism collides with pedophilia? I mean, the Replicants in Blade Runner are soldiers, teachers…and prostitutes. Even Spielberg’s A.I. recognizes that great leaps in technology are historically tied to warfare and rutting.

Scream VI (2023)

March 8, 2023Posted in2023, Authors: Walter Chaw, Horror, Mystery, Theatrical, Thriller

Screamvi

**/****
starring Melissa Barrera, Courteney Cox, Jenna Ortega, Hayden Panettiere
written by James Vanderbilt & Guy Busick
directed by Matt Bettinelli-Olpin & Tyler Gillett

by Walter Chaw There’s a fine line between satire and simulacrum, between an ironic commentary on a thing and the thing itself. It’s a tone more than anything, and context, of course. Timing most of all. Fall too far on the one side and the sarcasm is so strident it becomes sour. Overcorrect to the other and it becomes precisely the thing you wish to lampoon. I liked last year’s Scream, Tyler Gillett and Matt Bettinelli-Olpin’s “requel,” for taking on toxic fandom and the expectations it imposes on franchise filmmaking–almost certainly the lingering topic of fascination for future cultural archaeologists excavating this period in our popular history. I thought it was a smart way to continue the series’ penchant for metatextual self-evaluation while upping the visceral stakes with stalking and kills that levelled up the intimacy and brutality. The movie was self-conscious without being mired in self-admiration, a neat trick–and one, it turns out, difficult to replicate.

A-Maize-ing Grace: The Children of the Corn Saga

February 27, 2023Posted in1980s, 1990s, 2000s, 2011, 2018, 2023, Authors: Walter Chaw, Canada, Horror, Mystery, Stephen King, Theatrical, Thriller

Amaizeinggrace3

DISCIPLES OF THE CROW (1983)
***½/****
starring Eleese Lester, Gabriel Folse, Steven Young, Martin Boozer
based on the story “Children of the Corn” by Stephen King
adapted for the screen and directed by John Woodward		 CHILDREN OF THE CORN (1984)
Stephen King’s Children of the Corn
**½/****
starring Peter Horton, Linda Hamilton, R.G. Armstrong, John Franklin
screenplay by George Goldsmith, based upon the story by Stephen King
directed by Fritz Kiersch
CHILDREN OF THE CORN II: THE FINAL SACRIFICE (1993)
***/****
starring Terence Knox, Paul Scherrier, Ryan Bollman, Ned Romero
written by A.L. Katz and Gilbert Adler
directed by David F. Price		 CHILDREN OF THE CORN III: URBAN HARVEST (1995)
***/****
starring Daniel Cerny, Ron Melendez, Mari Morrow, Jim Metzler
written by Dode Levenson
directed by James D.R. Hickox
CHILDREN OF THE CORN IV: THE GATHERING (1996)
*/****
starring Naomi Watts, Brent Jennings, Samaria Graham, William Windom
written by Stephen Berger and Greg Spence
directed by Greg Spence		 CHILDREN OF THE CORN V: FIELDS OF TERROR (1998)
½*/****
starring Stacy Galina, Alexis Arquette, Ahmet Zappa, David Carradine
written and directed by Ethan Wiley
CHILDREN OF THE CORN 666: ISAAC’S RETURN (1999)
*/****
starring Nancy Allen, Natalie Ramsey, Paul Popowich, Stacy Keach
screenplay by Tim Sulka & John Franklin
directed by Kari Skogland		 CHILDREN OF THE CORN: REVELATION (2001)
*/****
starring Claudette Mink, Kyle Cassie, Michael Ironside
written by S.J. Smith
directed by Guy Magar
CHILDREN OF THE CORN (2009)
**/****
starring David Anders, Kandyse McClure
screenplay by Donald P. Borchers and Stephen King, based on the short story by King
directed by Donald P. Borchers		 CHILDREN OF THE CORN: GENESIS (2011)
***/****
starring Kelen Coleman, Tim Rock, Billy Drago
written and directed by Joel Soisson
CHILDREN OF THE CORN: RUNAWAY (2018)
½*/****
starring Marci Miller, Jake Ryan Scott, Mary Kathryn Bryant, Lynn Andrews
screenplay by Joel Soisson
directed by John Gulage		 CHILDREN OF THE CORN (2023)
*/****
starring Elena Kampouris, Kate Moyer, Callan Mulvey, Bruce Spence
based upon the short story by Stephen King
written and directed by Kurt Wimmer

by Walter Chaw Kurt Wimmer’s Children of the Corn prequel/reboot is drab, uninspired, witless I.P.-sploitation. I first read Stephen King’s same-named short story in the movie tie-in edition of Night Shift (the one with the red cover) in sixth grade and loved the Lovecraft of it, how it begins in the middle with a car-tripping couple hitting a kid running out of a cornfield in bumblefuck, Nebraska and leads said couple through a forensic reconstruction of the doom that came to Gatlin. I see in its setup and execution both the tendrils leading backwards and the ones nourishing stories like Clive Barker’s “In the Hills, the Cities.” It has a feeling of the inevitable uncanny that is underestimated in King’s best work: a sense that what is happening has almost finished happening, and it’s too late to do anything but bear witness to our collective ruin. Of the dozen films in the eclectic Children of the Corn franchise, only the third feature, subtitled Urban Harvest, hints at that feeling of Elder Gods infecting the innocent to act against the innocent and the generational end times attending that. None of the rest deal with the horror of good kids from loving families falling into an apocalyptic blood cult and suddenly murdering all of the grown-ups, choosing instead to paint the victims as abusive or absentee so that they kind of deserve whatever’s coming to them. That’s a revenge fantasy, not horror.

Swallowed (2023) – VOD

February 9, 2023Posted in2023, Authors: Walter Chaw, Horror, Thriller, VOD

Swallowed

**½/****
starring Cooper Koch, Jose Colon, Jena Malone, Mark Patton
written and directed by Carter Smith

by Walter Chaw Carter Smith’s Swallowed is a bitter pill. It’s cruel and sardonic, positing as its Emerald City the California porn industry and the lead role in a movie where “strangers cum on” the face of our hero, Benjamin (Cooper Koch). “But you look so sexy doing it,” says Benjamin’s cis but bi-curious friend, Dom (Jose Colon), and all the tender moments like this play as angry and insincere. I’m not saying the characters don’t mean it, I’m saying the whole tenor of the film is punishingly nihilistic. When Benjamin later gives Dom a gentle kiss at a moment of crisis, it feels more cynical than romantic: one friend condescending to the performative allyship of another. Indeed, though Dom gushes that Benjamin means more to him than an entire parade of ex-girlfriends he lists off as proof, he also refuses to go to L.A. with Benjamin and doesn’t, in any case, think he’ll ever see him again. It’s easy to say you love someone when every string attached is about to be cut. When Benjamin subsequently plants one on Dom, it’s undercut by the film’s overriding message that the world is dangerous for pretty boys like him; professions of love are more often self-serving than earnest. I confess I love Smith’s The Ruins for that same uncompromising, nails-and-broken-glass nature, but here the chilliness makes Swallowed feel like an Ari Aster movie. It is, in other words, an asshole. Your tolerance for time spent in the company of a sentient sneer, one that either despises or patronizes its characters, will determine the extent to which you’re able to find value in its depiction of interpersonal and systemic trauma focused in on the LGBTQ community.

Knock at the Cabin (2023)

February 7, 2023Posted in2023, Authors: Walter Chaw, Directors: M. Night Shyamalan, Horror, Mystery, Theatrical, Thriller

Knockatthecabin

*/****
starring Dave Bautista, Jonathan Groff, Rupert Grint, Ben Aldridge
screenplay by M. Night Shyamalan and Steve Desmond & Michael Sherman, based on the book The Cabin at the End of the World by Paul Tremblay
directed by M. Night Shyamalan

by Walter Chaw SPOILER WARNING IN EFFECT FOR BOTH THE FILM AND THE BOOK ON WHICH IT’S BASED. M. Night Shyamalan’s Knock at the Cabin is an accurate and appropriately vile portrait of Evangelical Christianity and a conservative mindset based on a sense of righteous indignation that their ignorance and bile are not well-received by people whom they despise for receiving the gifts they themselves have not received. The maxim of the meek inheriting the Earth is not, after all, a promise of something good, but rather the herald of small, terrified people emboldened by their shared ignorance and repulsive mythologies to exterminate everything that is not as morally bankrupt and spiritually unmoored as them. They imagine they’re the good guys, the ones magnanimous in their mercy and forgiveness, when in fact they are the reason mercy and forgiveness are necessary in the world. If it were not so, the Sermon on the Mount–the keynote address by their ostensible human godhead–would be the document they’re pushing to be posted in every classroom instead of the Ten Commandments and the Pledge of Allegiance to precisely the type of golden calf their fairytales warn against. The world is ending, not because of gay marriage, abortion, or immigration, but because of the prosperity gospel. In many ways, Knock at the Cabin shares an ideological space with Scorsese’s Silence, yet only one of them reckons with the Christian god’s promised, and thorny, non-intervention in the affairs of its creation. Only one of them, in other words, isn’t a piece of ecstatic, ecclesiastical hoohah.

Invaders from Mars (1953) – 4K Ultra HD

February 2, 2023Posted in1950s, 2023, 4K Ultra HD, Authors: Bill Chambers, Blu-ray Disc, Horror, Sci-Fi

Please note that all framegrabs are from the 1080p version

***½/**** Image A Sound A Extras A-
starring Helena Carter, Arthur Franz, Jimmy Hunt, Leif Erickson
screenplay by Richard Blake
production designed and directed by William Cameron Menzies

by Bill Chambers Predating Jack Finney’s novel The Body Snatchers by two years and Don Siegel’s seminal film adaptation, Invasion of the Body Snatchers, by three, William Cameron Menzies’s Invaders from Mars makes for an apt precursor in featuring a child protagonist and beginning at the dawn of an invasion instead of the usual in media res. When his alarm clock reminds him in the middle of the night to check out “Orion in its zenith,” little David MacLean (Jimmy Hunt) accidentally rouses his father, George (Leif Erickson), who is careful not to discourage the curiosity of a fellow “scientist” while tucking his son back into bed. David is awakened again by a commotion outside, and from his bedroom window sees a flying saucer disappear below the horizon. Dad agrees to check it out, which is of course not the wisest idea, yet his respect for his son’s intelligence is touching. While a twist ending recontextualizes this moment, suggesting it may have been wishful thinking on David’s part, that’s touching, too: Here’s a movie where the child’s fantasy of saving the world isn’t about demonstrating feats of heroism beyond his years, but about adults giving him the benefit of the doubt.

Infinity Pool (2023)

January 27, 2023Posted in2023, Authors: Angelo Muredda, Canada, France, Horror, Hungary, Mystery, Sci-Fi, Theatrical, Thriller

Infinitypool

**½/****
starring Alexander Skarsgård, Mia Goth, Cleopatra Coleman, Jalil Lespert
written and directed by Brandon Cronenberg

by Angelo Muredda Brandon Cronenberg delivers his own visceral riff on the resort satire trend with Infinity Pool, a high-concept thriller that shares obvious genetic material with its precursor, Possessor (2021), but feels more like the runty kid brother in terms of its ideas. With his third feature, Cronenberg hones his skillsets in grounded sci-fi storytelling and kaleidoscopic montage while continuing to make a meal of the charge that he’s merely following in his father’s footsteps as a new purveyor of brainy body horror, boldly playing once more with the motifs of inheritance and imitation where less confident nepotism babies might dodge the comparison outright. Yet in the absence of stronger material, these predilections don’t ripen into rich artistic fruits so much as they rot, leaving Infinity Pool‘s success riding largely on the back of its occasionally startling images and self-effacing cast, who, like Cronenberg, are riffing on the roles we expect from them.