Evil Dead: Rise is the newest instalment in the Evil Dead franchise. Now removed from the typical environment of the countryside, we follow a family in a run-down building. Corrupted by the Necronomicon, a mother turns on her family and a desperate scramble for survival begins

 




Evil Dead: Rise, a review.


    Evil Dead Rise is the newest entry into the franchise, and it has much to live up to. Changing up the placement of events from previous films, the series not so much, and we have new dangers to contend with. The family dynamic adds a vital element of threat, as the mother figure is corrupted to become the danger the children must be protected from. Being an Evil Dead film means that people die, and often in a gruesome manner. Thankfully, this film keeps to the usual visceral scenes and racks up the intensity as the movie plays out. The leads of this film are the sisters Beth and Ellie, played by Lily Sullivan and Alyssa Sutherland. With Ellie possessed by a dark spirit, it is up to Beth to protect the children from what had been their mother.

    This film has an opening set with a trio of characters outside the main story. Out in the countryside in a cabin by the lake, events reminiscent of earlier entries unfold, with blood and mayhem ensuing. The film then shifts to one day earlier, to a rough-looking lady's toilet in a bar or club. Here, we meet Beth. Our heroine-to-be uses a pregnancy test while dealing with problems for the band she works for. The result is not to her liking. Now, facing this daunting life change, Beth decides to see her sister. Travelling across the country Beth arrives at the building where Ellie and her children live, and we have the stage for where this drama will play out. And that fact works in the film's favour. Keeping the action in an enclosed space gives the film a sense of claustrophobia, as the family cannot escape easily from that which hunts them. We get a brief overview of the family situation and the relationship between the sisters before events take a dire turn. Inevitably, the book is found, and phrases are recited, bringing dark forces into our world. And this is where the fun begins.

    For those who have watched any of the previous entries, what comes is just what you would expect: blood, gore, and crazed antics. The formula is a familiar one that continues to work well when used here. The formula works particularly well here because of the family dynamic. We are inherently more drawn into a situation when children are at risk. With a demon-possessed mother on the loose, it is up to her sister to protect them from the thing that used to be their mother. Things do not go well, and soon it is only Beth and Kassie that are left fighting for their lives. The tension is maintained well throughout, with the threats growing as time passes, and we get to see the true horror of what Ellie has become. Making it to the building's parking, the pair are drawn into a final conflict with this horror, and Beth is forced to battle it to save Kassie.

    The film is an obvious choice for any fan of the original films, or the 2013 remake. It keeps true to the original lore, with callbacks to the previous entries, and never lets up once the action gets started. I found the acting to be decent by all parties, though Alyssa Sutherland stands out as the twisted version of Ellie, and enjoyed watching them attempt to survive this madness. The film's ending does explain how the opening fits into the narrative, and I was left hoping we might one day get to see where that leads. Evil Dead: Rise is an 8 out of 10, in my opinion. It has all the gore of the earlier entries with solid performances and enough new material to separate it from what came before. I can't wait for the next entry, and I just hope it comes sooner than this film did.

Event Horizon, with Sam Neill and Laurence Fishburne. A cult nineties classic Sci-Fi horror that was supposed to be far more graphic and disturbing than the film we got. Still, its a great watch with some disturbing visuals and unique story choices.

 


Event Horizon, a review.


    Directed by Paul W.S. Anderson and starring Laurence Fishburne, and Sam Neill, this film follows a rescue crew investigating the return of a missing Space Vessel, the Event Horizon. The Event Horizon was believed to have been lost with the entire crew, making it the worst space disaster in history. Unfortunately, those that investigate its reappearance are dragged into madness and horror. This film is heavily influenced by Cosmic horror elements, with hints of something existing beyond the understanding of those onboard the vessel. This film was reportedly supposed to be far more graphic, with a more twisted story, but the studios reined in the director, and this is the version we got. It has some fantastic elements, but it feels like it was supposed to be something more. A shame that the footage was lost, so we can't at least learn what that story was meant to be.

    The film begins with Sam Neill's Dr Weir waking up from a nightmare, living on board a space station. The film moves then to the crew of the Lewis and Clarke, their captain running them through initial preparation for their rescue mission. Miller's people are going through the motions with practised ease. They are used to this work but are reluctant to go on this mission when they should be on leave. They were quickly set up for travelling by gravity tank, as they could not survive outside of them when the hyperdrive was active. Weir has another strange dream, his deceased wife speaking to him, though, in this dream/vision, her eyes are gone from their sockets. Waking terrified, Weir finds himself with the crew of the Clarke closing in on Neptune. He briefs them on their mission, what they believe to be out there, and what the Event Horizon was supposed to be capable of. This is about interstellar travel through bending space/time to make travel across great distances instantaneous. The team find the Event Horizon and begins investigating the seemingly abandoned vessel.

    Things go wrong from the moment they set foot on the Event Horizon, Justin is sucked into a black abyss, and Lewis and Clarke are damaged. They are forced to move to the Event Horizon, with Justin injured and unresponsive, and figure out what happened and how to get home safely. Miller orders the Clarke repaired and has his people look into the Event Horizon, searching for answers. Things inevitably get worse for the group as they begin to experience hallucinations. They all start to feel that the ship is reacting to them, but Miller won't accept it. Justin ends up in the airlock, and as if possessed, he sets the airlock to open to the vacuum beyond. He snaps out of it, but it is too late. Severely injured, he is put into the gravity tank, and the rest are left shaken by this. These events build in intensity, with Miller seeing a crew member who died years ago and Weir seeing his wife calling to him. Only it isn't his wife. D.J. explains that the initial translation of the message was wrong, telling Miller it actually meant 'Save yourself from Hell'. When pushed by Miller, Weir admits that when the gateway is opened, he doesn't know where the ship goes. D.J. postulates that it might have gone to a realm we would consider Hell. It was as if the ship passing through that realm had brought something back with it. This life force had infested the vessel, and it wanted Weir to stay with it, to take him back to that dimension it had come from. Possessed or corrupted by the ship, Weir turns on the rest and blows up the ship, Lewis and Clarke.

    Weir kills D.J. and sets the gateway to open. He intends to take those left alive through with him. Miller and Stark face him on the bridge, his eyes now missing, and only by the timely arrival of Cooper do they survive, with Weir being sucked out into space. Thinking themselves safe, they are ready to separate the foredecks from the engine, with Miller going to set the explosives. Weir is not dead, however. The ship has brought him back, the man now crazed and possessing inhuman strength. Miller fits but is unable to defeat the returned Weir. In a last-ditch attempt to save those left, Miller detonates the explosives, allowing them to escape as he and Weir are taken through the gateway. Stark and Cooper survive and are rescued, but both are left traumatised.

    This film has many graphic scenes in it and warrants the rating it got. The scene showing what happened to the previous crew is not pleasant. And it was supposed to be worse than what we got. Sam Neill is great at being creepy once he turns, and Fishburne delivers a solid performance. The rest of the actors are solid in their roles, though we don't see a great deal of Sean Pertwee or Jack Noseworthy. The horror elements are done well, the tension remains high throughout, and I wish they had explored the other place more. There is a theory that this film is heavily inspired by the warp in Warhammer 40k. It is supposedly the first encounter with the warp before the defence of the gellar fields was invented. As a fan of Warhammer 40k lore, I like the theory, but highly doubtful of its likelihood. While it is showing its age in places, Event Horizon remains a great horror sci-fi. I give it an 8 out of 10 and recommend it to any horror fan.

Fright Night (2011) is a remake of the 1980's cult classic. With Colin Farrell as the charismatic Vampire, and (the late) Anton Yelchin as Charlie, this is a surprisingly funny remake. David Tennant is one of the highlights of the movie.

 


Frigh Night (2011), a review.


    I love this film, and I know it isn't the greatest film ever, but it is so damn enjoyable. I enjoyed the original Fright Night and its sequel growing up, and I was unsure if a remake/reboot would hold up against how I held the originals. This is a better film in many ways. The comedy is more on point, with solid performances from Anton Yelchin and Colin Farell carrying this film. Farell plays the vampire, Jerry, with a slick charm, whilst Yelchin's Charlie is sweet and a little bumbling. David Tennent's Peter Vincent is the best thing about this film, a charlatan with a slick performance but a vulnerability beneath the surface. Imogen Poots plays Amy, but unfortunately, she doesn't get enough time to truly shine, though her performance is solid throughout.

    The premise is a simple one. Jerry moves into the house next door to Charlie and his mom, and it turns out Jerry is a vampire. Charlie gets dragged into this situation reluctantly, unaware of the danger until it is pointed out to him by an estranged friend. Charlie is a young man doing his best to separate himself from his nerdy past, trying to be cool in the hopes that Amy will stay with him. He acts self-assured, but underneath, he remains anxious and geeky. Yelchin does a great job of displaying this in his performance, making Charlie exciting and likeable. His old friend, Ed, blackmails him into helping him look for a missing friend, and Charlie agrees. As the pair search their friend's house, with no sign of anything strange in the place, Ed explains that Jerry is a vampire and that he has proof. The pair bicker, and we see the root of their problem. Charlie wants to outgrow the nerdy things he did, whilst Ed holds onto them, causing resentment. Ed disrespects Amy, and Charlie lashes out before leaving Ed alone. That turns out to be a mistake, as, after an encounter with a bully, Ed runs into Jerry. Fleeing into a house, Ed thinks he is safe until Jerry walks in without pause. After a quick chase, Jerry turns Ed, and the film moves to Charlie.

    Seeing that Ed is missing from class, Charlie goes to his house to look for the proof Ed told him about. And he finds it, seeing that Jerry doesn't show up on camera. Freaked out by this, Charlie goes home. And has an encounter with Jerry, the older man subtly threatening Charlie, saying he should mind his own business. Of course, Charlie can't do that. After seeing his neighbour go into Jerry's house, Charlie calls the cops, and they do nothing. So, determined to find her, he sneaks into Jerry's house. This is where Charlie sees him feed on Dolores. Terrified, he watches, unable to do anything, and after Jerry leaves, Charlie picks the lock to free her. Throughout their escape, Jerry is aware of them, leaving them alone as he knows what will happen once Dolores gets out into the sun. And it isn't pretty. 

    Shaken by this encounter, Charlie begins to unravel a little, looking for any help he can get. That leads him to Peter Vincent, a magician/illusionist who supposedly specialises in Vampire lore. Pretending to be a journalist on his first assignment, Charlie gets an interview with the magician. He is not what Charlie had been expecting, brash, foul-mouthed, and unable/unwilling to help the young man. Dispondent, Charlie returns home, where Jerry decides to make a move. And the whole house goes with it. After a chase and brief scuffle, the family gets away, but Mrs Brewster is hurt and ends up in the hospital. Charlie gets a call and goes to Peter Vincent with Amy at his side. This time Peter tells them of the type of vampire they're up against, how hardy they are, and what it would take just to take one out. Unfortunately, they have been followed. Ed and Jerry turn up, and things turn bloody. They manage to kill Ed but flee from Jerry. Charlie manages to get away, but Amy is taken by Jerry. Determined to get her back, Charlie goes back to Peter. The magician is unwilling to go with him, retelling his own tale of an encounter with a vampire, but gives him a stake blessed by St Michael in the hopes that he can turn Amy back to human.

    Arming up, Charlie goes to the house, leading to a confrontation with Jerry and Amy. With Peter's help, they defeat Jerry and return Amy, and several others, back to being human. Thankfully, this is a happy-ever-after kind of ending. Again, this is a fun film. It doesn't take itself too seriously and does the comedy, horror, and action well. I loved the interactions between Peter and Charlie, and I'm a big fan of David Tennant anyway. Colin Farrell is great as Jerry, managing to walk that fine line between intimidating and charismatic. I give this film a 7 out of 10, though it's closer to an 8 out of 10 for me, and I recommend it to fans of horror/comedy.

Hellraiser(2022), a review. A modern take on the Cenobites and the realms of pleasure and pain beyond our own. A different look and feel to the classic Pinhead is interesting but lacks some of the earlier menace.

 


Hellraiser (2022), a review.


    I have watched the original Hellraiser several times over the years. I loved The Hellbound Heart by Clive Barker. I hoped this film would capture some of what made the original film so thrilling to watch. And it does, somewhat. The film keeps much of what makes the Cenobites disturbing, though there are changes, and some are better than others. The film does expand on the lore surrounding the Lament configuration and what the box is capable of, but it changes who the Cenobites seek out. Thankfully, much of the lore remains unchanged, keeping what previous fans were familiar with. Unfortunately, this reboot/sequel lacks some of the horrors that the original films had, and in many ways, it seems tame by comparison. That doesn't make it bad, though I would have preferred a more startling element to the horror. The acting is serviceable to good, though never great, and an air of inevitability surrounds the unfolding events.

    The film follows Riley, a troubled young woman struggling with addiction. However, the film opens up with events 6 years before following Riley. A woman buys something from a man on behalf of someone else, the conversation hinting that this figure is rarely seen. We move to a party at a mansion, figures engaging in orgies, as a young man nervously wanders through the building. He meets the woman from earlier, Menaker, as she sits nursing her drink. They talk, and she invites him to meet her in another room. This is a setup, and he falls for it. Drawn to a strange puzzle box in the centre of the room, Joey begins to examine it. As he moves the pieces, another man approaches, and they begin to talk. The man reveals himself to be Roland Voight, the host, and he watches with interest as Joey begins to move the pieces into place. With a click, he completes it before a blade pierces his hand. In pain and shock, Joey pulls his hand away and drops the box. Voight is pleased by this, the blood seeping into the box as it changes formation. Joey is trapped there as Voight places the box on a pedestal, calling out, beseeching something unseen. In the background, Joey is caught by hooks and then torn apart, undoubtedly a victim of The Priest. 

    Six years later, Riley is a recovering addict living with her brother and his boyfriend. She is seeing Trevor, a man she met in her twelve-step programme. Her brother Matt does not approve of or like him but knows there is little he can do. It is a point of contention between the siblings, and Matt feels the strain of supporting her. Riley is not a likeable character, to begin with. She is selfish, abrasive, and unable to see the damage she inflicts on others. These are traits that are common with addicts in films. The events of this film play out as an analogy to addiction, and the subtext is there, though it attempts to be subtle. Riley doesn't seem to care what Matt wants, only that she feels that he is judging her, he wants to save her, and that she doesn't need or want to be saved. Feeling pressured by Matt, she complains to Trevor, and he suggests stealing something from a lockup, hoping to make some money from whatever is in there. And all they find is the strange puzzle box from the film's opening minutes. Drunk and high, Riley returns home. Riley and Matt get into a fight, and he tells her to get out, that he is done looking after her. Angry, Riley does that, going to her car, where she ends up taking some pills. Under the influence, she moves the box through the first configuration, falling unconscious before the blade can pierce her flesh. Safe from the Cenobites, they speak to her, saying that she must give them another. Matt wakes from a dream and goes looking for his sister. He finds her but cuts his hand on the box. With his blood taken in, he is marked as the sacrifice to the Cenobites, and they come to claim him. 

    Riley realises that Matt has been taken, though she doesn't know by what, and she attempts to find out more about the device she has found. She is sure it has something to do with Matt's disappearance and is determined to find him. With Trevor's aid, Riley learns more about Roland Voight, including his sudden disappearance six years ago. Dragging Trevor with her, the pair go to his mansion to find answers. Throughout this, Riley sees the Cenobites in flashes, even dreaming about her brother asking her to bring him back. They learn of Voight's lawyer and go to see her with the box in hand. She tells them little beyond that Voight was a terrible person, and she loses it at the sight of the box. Amid a struggle with Riley, she gets cut by the box, dooming her to a visit from the Cenobites. She is taken by them shortly after, taken to pain by those that revel in it. And the encounter is as expected, the world shifting to reveal the places behind and alongside our world. This element is familiar, appearing in both the books and earlier films.

    The film moves forward, with Riley and the others seeking answers at Voight's mansion. And they find them, but they find worse things than that. In time they discover that they have been set up, drawn here by another. Separated from the rest, their friend Nora is stabbed with the box by an unseen assailant. They rush to get her help, racing from the mansion in the van, but the roads change and shift as the Cenobites give chase. Nora is taken even as they try to flee, taken from the back of the van, with only a pool of blood left behind. The Cenobites aren't done, trying to force Riley to serve up one of the others. Chased back to the house, they manage to find safety for a time. But the Cenobites are patient, and there is danger in the mansion as Voight reveals himself. They race to a conclusion, with Trevor being taken and Voight begging to exchange one gift for another. Riley and Colin escape after Riley refuses to accept the Cenobite's gift. Voight is taken by Leviathan, exchanging sensation for dominion, becoming a Cenobite.

    I have to give the film credit, as Riley has a good character arc. She goes from annoying and selfish to moving on to consider the damage her actions cause, refusing to sacrifice Colin no matter the temptation. It is subtle at first, but it becomes more evident as time goes on. This character growth is one of the better elements of the film. The Cenobites themselves are a mixed bag. The new designs are interesting but don't seem as terrifying as earlier versions. This is most noticeable in the form of the Priest, or Pinhead, as they are better known. This version isn't as menacing. Doug Bradley had better delivery, in my opinion, but that isn't to say that I didn't enjoy this version. This one is more patient, a silent menace that stalks them from a distance. This isn't as gory as I expected it to be, though it does have its moments. I give this film a 6 out of 10. It is a better-than-average movie that never quite reaches greater heights.

The Fisherman, by John Langan. A haunting tale of loss, fishing, and places that we are never meant to wander in. Cosmic horror and grief play a large role in this tragic tale.

 


The Fisherman, by John Langan. A review.


    This is a strange tale of loss, realms beyond our own, and the price some people are willing to pay to see their loved ones again. Abraham, Abe, tells his story reluctantly, wandering somewhat in his retelling at first. Abe starts by saying how fishing saved his life and how he met and lost his wife. He tells of their life together and how grief took over his life once she passed. And this is what this tale is primarily about, loss and love and how some people never move past it. And, in this case, one man is willing to go to inhuman lengths to bring back those they have lost. Abe had found himself adrift until one day awoke with an urge to go fishing, something he had not experienced before. This urge, this strange desire, leads to a degree of normality coming back into his life. He hasn't moved past his grief, but he begins to care for himself again, and the routine helps ground him. His tale continues as he meets Dan at work, and they have little in common at first, and then something terrible happens. Dan's family are killed in a horrific traffic collision, Dan is thrown from the vehicle, but his wife and two children are taken from him. He is in shock from the loss, adrift in everyday life, and then one day, Abe asks him to join him in fishing. Dan isn't sure if he is being serious, but Abe convinces him that he is, and the two begin to go fishing together. And for a while, it helps Dan, and they don't talk much, but the fishing season allows them to think about things other than their losses. Heading into the second year of his family's passing, Dan falls apart, making it through the holidays and turning up on Abe's door one cold February day. Dan tells him of spending time by the junction where he lost his family before he falls asleep in Abe's house. That night Abe has a dream about fishing, and Marie is in his dreams. She tells him of the Fisherman and that what is lost is lost, and he wakes up shaken.

    This is the first hint that something is out of the normal in this tale. That grows as Dan convinces Abe to go fishing in an area called Dutchman's Creek, but something about how he suggests the place doesn't sit well with Abe. The two men go to a diner called Herman's and learn of the Der Fischer. This is a tale within a tale of events that occurred within this area over a hundred years ago. This tale was told to Herman by another, and that tale was told to Reverend Maple by an old woman named Lottie Schmidt. We learn of the area where the reservoir resides and the people that had lived there before. Long before Lottie's family had arrived in America, another had lived there, Cornelius Dort. Cornelius had married a younger woman Beatrice, and she had nearly died in a tragic accident, losing their child as well. Beatrice survived but fell into a wasting sickness, and Cornelius sought out every doctor he could to help her. It is to no avail until a stranger comes looking for Cornelius, and this man just appears one day and goes to the house where Cornelius stays with his sick wife. And the villagers think that Beatrice might recover, but unfortunately, she is gone within two days of his arrival. But the Guest doesn't leave and stays with Dort after Beatrice's death. The two men remain there for decades, and though the Guest is barely seen, Cornelius does not vanish from view.

    Lottie and her family arrive there as the government decides to build the reservoir in the Esopus Valley. This is years before the first world war and decades since the Guest arrived at Dort's estate. Her father, Rainer, and her mother, Clara, bring their family over from Europe, and he takes work as a stonemason. Rainer had been a professor in Heidelberg, but in this country, he takes what work he can. After arriving in New York, Rainer worked in a bakery before hearing of this opportunity. He takes his family to the valley to begin working. It's 1907, and Cornelius finally passes on, the Guest remaining in his house after everything is passed to him. For the first time in twenty years, he is seen about the area, measuring points in a nearby stream, though that seems strange given that this whole area will be flooded once the reservoir is completed. At first, things are well until a woman named Helen is tragically trampled. Helen is their neighbour, and her husband, George, falls to pieces after her death. After a week, the man goes missing, leaving his children scared by his vanishing. He returns that night, to everyone's surprise, and insists that his children return home with him. Something in his smile makes Rainer deeply uncomfortable. This is the smile of a man that knows he has done something wrong. Worse, he says that there has been a miracle. Though he doesn't want to give up the children, Rainer has no choice. The children's screams wake a dozing Rainer, and he rushes to the house. To his horror, he finds Helen sitting there. This woman has been in the dirt for a week and should not be there. She doesn't move but looks at Rainer with eyes now golden, her body broken. Seeing this sight, Rainer is shaken to his core. He manages to pull himself together and gets the children out of there. Thus begins a series of horrible events, this thing that looks like Helen seeking to get the children back however it can. This leads to Rainer and others in their community dealing with Helen directly, seeking out the one that has summoned her. She calls him the Der Fischer, and it seems he is here to hook something beyond their comprehension. Strangely, it turns out that Rainer has knowledge of these things, that he has delved into this world beyond our own and the things that exist there. Events continue to unfold as Rainer and a few others go to Dort's house to face the Guest to stop what he is attempting to achieve.

    After passing into another world, they face a terrible confrontation, but they stop the Fisherman. Freeing what is attempting to bind, something that is so terrible that they struggle to register what it is. This marks each of them, Rainer possibly the worst of them all. Somehow most survive the encounter. Rainer knows that they haven't stopped the Fisherman, but they have pushed his plans back decades, if not more. In time the reservoir is complete, and the family all move from the area, though Rainer and Jacob have one more encounter years later. Again, the veil between worlds thins, forcing Rainer to come back to put a bandage on it in the hopes of stopping the spread. He believes that they achieved this, but there are stories about that place that have reached people in the years since.

    Dan and Abe hear this story, Dan looking uncomfortable throughout the telling, but both men claim not to believe it. That is until they reach Dutchman's Creek and have their encounters with those that are lost to them and the Fisherman. Abe barely manages to escape after Dan turns on him to give Abe's strength to the Fisherman so he can have his family back. Dan is turned on by his 'family', and Abe flees, injuring himself and falling into the Creek. He is found by some hikers and recovers in the hospital. Years have passed, with Abe having retired, and he finds himself returning to fishing. It has taken him a long time to reach this comfort again, and the introduction of a new family moving in next door helped him with that. Abe gets one last encounter following a flood, with Dan appearing at his door. Dan has been dead for years, and this thing is here for some form of vengeance. Thankfully, Abe fights it off but gets one horrible vision before the water recedes. Hundreds of shapes in the water watching him, and in those bodies, he sees Marie with two children, children that he comments have his mother's nose.

    This is a haunting tale, made more so by the horror of the things within it. We learn of this Fisherman, what he wants to achieve, and how he believes he can achieve it. As I said, the core of this tale is loss. People will do crazy things to get back those they have lost. They will put others in danger to get them back, consumed by a sort of madness. And Abe is nearly lost to it, and his grief allows something to happen that takes advantage of that, and he has to live with it for the rest of his life. Worse, he is left with the knowledge of what exists beyond this world, that the Fisherman is still there, trying to catch the Leviathan. 

    I enjoyed this book. It got its hooks into me and never let go, pun intended. It is a sad book in many ways, with the otherworldly presence adding a supernatural element. I have always enjoyed Cosmic horror, and this book does those elements well. This book is an easy 8 out of 10. I recommend this book to fans of Horror and Cosmic Horror.

Smile, a review. A film based on the short film Laura hasn't slept. It has a great creepy vibe but isn't quite as scary as it hopes to be. Still, better than many horror films out of late.

 


Smile, a review.


    I heard all the buzz about Smile when it came out and, like everyone, wondered what all the fuss was about. I'd also heard it was based on a short film called 'Laura hasn't Slept', and I decided to watch that before Smile. 'Laura hasn't Slept' is a creepy short film with a young woman speaking to a psychiatrist, and it soon becomes clear that the psychiatrist isn't what he appears to be. Things quickly spiral after that before something leaps out at Laura, and the film fades to black. The film Smile features Laura at the beginning, coming in to see our protagonist as she believes she is about to be taken by something. An entity that only she can see, as it is in pursuit of her. Rose attempts to understand what is going on, asking her questions while assuring her that this is her mind playing tricks on her. Laura explains that this thing looks like other people, but it appears and looks normal except for the Smile. A smile that has no warmth to it. In fact, it is cold and cruel, mocking Laura as it watches her. As Rose tries to comfort Laura, she begins to freak out, screaming in abject terror, and it appears Rose feels something brush past her. Rushing to the emergency phone, Rose calls for aid, turning about to see Laura with a smile on her face seconds before she uses a piece of a broken vase to cut through her face and neck. This is all in the opening minutes and sets the premise for what will follow.

    This film is primarily a psychological horror. By that, I mean that most of what occurs is in the mind of Rose, that no one else can see the things that are haunting her. She is haunted, and it starts out small, seeing a dead Laura smiling at her from the shadows or in the distance. Also, she zones out at times, unsure of her surroundings and what is occurring around her. The aspect of the film that works best is Rose's spiral into a form of madness, and even though she isn't technically mentally unwell, she appears to be to everyone else. It is a gradual decline, but as the film continues, that decline accelerates. Rose has a partner, Trevor, who appears supportive, but as Rose unravels, that is no longer the case. After the incident with Laura, Rose gives a statement to two detectives, and we learn that the younger detective used to be Rose's partner. It is obvious that Joel is not over her, but he has kept his distance until now. Rose has an older sister, Holly, and I found her instantly unlikeable. I don't know if that was the intention, but she comes across as self-absorbed. As the film progresses, Laura begins to see more things that should be real, and she begins to look into Laura's death and learns that a professor committed suicide in front of Laura a few days prior. It turns out that this is just the first link in a long chain of events. There are multiple suicides, one after the other, with those that witness it going on to kill themselves within a few days of the event. We also learn that Rose has her own psychiatrist and that she has a traumatic past that shaped her life. 

    Eventually, Rose turns to Joel for help, asking him to look into the professor's death. He does so and discovers the pattern, even managing to find footage of one of the suicides. It is a grizzly death, and both note that the man is smiling before he commits the act, which is strange. With Rose becoming more unstable, she seeks out the professor's wife. She learns of what he saw and experienced. After that, we discover someone who managed to break the pattern. Rose goes to see him and discovers that the only way to survive this thing is to pass it on to someone else, to kill someone in front of a witness so that they are traumatised. This thing passes from one person to the next by inflicting trauma. Rose is horrified by this, convinced she can't do such a thing, but we get a little look at what that would be like. I  admit the film does a fantastic job of making you think one thing is happening, and then you realise it is all in Rose's mind. And they do a great job of making her look unstable, and by the film's end, she looks terrible, jittery and worn out.

    The final showdown with the entity is a nice little ride in Rose's mind, the psychiatrist attempting to face her own trauma in the hopes of defeating the thing haunting her. And it appears to work at first, but it is all a hallucination, this thing twisting Rose's perception of reality. And that's what this thing does until it destroys their mind and then consumes them before passing on to someone else by traumatising them. I was a little disappointed that there was nothing Rose could do to save herself beyond murder, but this is what makes this terrifying, as you have no hope of escaping it.

    I give this film a 7 out of 10. It has some great moments, and Rose's portrayal of a woman spiralling into insanity is done brilliantly. Sosie Bacon does a great job of showing Rose's descent, of her fear and despair when faced with this thing. It is worth a watch for any fan of horror films with psychological horror at the fore.

Day Shift, a horror comedy featuring Jamie Foxx and Dave Franco. A vampire hunter finds himself in dire straits after killing the wrong vampire. It has its moments, both from a comedic and action angle.

 




Day Shift, a review. 


    I did not expect to enjoy this film as much as I did. I'm a big fan of comedy horror, throw in some decent action, and I'm invested. Jamie Foxx is his usual charming self, a family man who hunts the undead and is pretty good at it. The action is frantically paced, with impacts that feel real, and the vampires are impressively acrobatic and vicious. The relationship between Foxx's Bud and Dave Franco's Seth is one of the highlights, closely followed by Snoop Dogg's Big John. This is primarily a comedy action film with horror elements and has decent world-building, with the premise being built on vampires being a real menace and hunters existing to deal with them.

    Bud is a hunter of vampires and does his best to manage his work with his family. The film opens up with Bud taking on an elderly woman in her house, shooting her moments after she confronts him about being in her home. After impacting the bathroom wall, she gets back up, her face changed, the hole in her torso begins to close, and Bud reloads his shotgun in readiness. What unfolds is a blistering fight between Vampire and Hunter with some awesome sequences, the agility and flexibility of the undead making this a spectacle. Bud wins, taking out a younger vampire with a well-placed silver wire and collecting the fangs. Bud quickly changes, using what is available, as he needs to cover his scent. Returning home, we see him use some powder in the shower, which seems to cause him pain. To his family, Bud runs a pool cleaning service, and his daughter dotes on him. Unfortunately, Bud and his wife are no longer together, and she lets him know she is thinking of moving to Florida and taking Paige with her. Bud is against them leaving, but Jocelyn says they can only stay if Bud can come up with $10,000 by Monday. So, with fangs in hand, Bud goes to see a friend, Troy, to sell the fangs. However, he won't get anywhere near enough to cover these expenses, and the only way to get the money is to go to the Union. 

    The Union is where the majority of vampire hunters work. It is an organisation that specialises in hunting the undead down and buying and selling their fangs. There are caveats with that, and Bud had already been kicked out from the Union before. His only way back in was with help from his friend Big John, played by Snoop Dogg. The Black Cowboy is cool, so cool that every woman wants him, and every hunter wants to be him. Snoop Dogg carries that off well, with his innate charm shining through, even if he says little. However, Ralph is the head of this branch of the Union, and he doesn't like Bud. He agrees to his return as a favour to Big John, but he must have a representative overseeing him. And here we get introduced to Seth. Seth is a bookish character, knowing all the lore but without field experience. Despite a poor initial meeting, they are paired up. Unfortunately for Bud, an Elder vampire, Audrey discovers that her daughter has been killed. Her daughter is the vampire Bud beheaded at the beginning of the film. Audrey is now on the hunt for Bud.

    As the pair set on their first hunt, we see how unprepared for this Seth is, the poor man peeing himself and vomiting after his first run-in with actual vampires. The scene is played for comedy and works well. The pair are an oddball match, but Bud takes well to the younger man after some time. Franco is amusing and sweet as Seth, with a manic energy to him at times. Bud is weathered and cynical but loving and attentive to his daughter and wife, even with their separation. Unbeknownst to the pair, Audrey is closing in on them, and she is powerful, with a workaround developed so she can go out in the sun for short periods. She soon closes in, and we are rushed into a final confrontation that sees Bud, Big John, and a newly turned Seth take on Audrey with help from another vampire.

The film is fast-paced, with a great combination of action and comedy that amuses and captivates in equal measure. There is a great deal of lore scattered throughout, handed out in easy-to-digest pieces of dialogue, enough to get the interest of the viewer but not overwhelm them. The leads do a great job as ever, with Jamie Foxx working well with Franco. I would have liked to have seen a deeper look into the world of the vampires, but what we got was enough to make them interesting. The set piece in the house with the hive of vampires featuring the Nazarian brothers has to be my favourite in the entire film.

I'd give this 6.5 out of 10. It is enjoyable, with great action and more than a few laughs. I'd watch it again, especially on those rainy afternoons when you just want something fun to watch. This an easy recommendation to any fan of action comedy or comedy horror.

Countdown, a review. This movie is a horror based on an app showing a person's time of death. An interesting premise that falls into the typical tropes of demons and curses. Still, has some good jump scares.

 


Countdown (2019), a review.


    So we have a horror for the modern age, not the first or the last in this genre. It opens up with several college students downloading an app that is supposed to tell you when you'll die. Most get years before their demise, but one young woman has only a few hours. This spook's her, but she seemingly shrugs it off. However, when getting in the car with her drunk boyfriend, the young woman is disturbed enough she wisely gets out. Why are people always so ready to drive whilst drunk in these films? Is it common in America? Anyway, they bicker before he drives off in a huff. At this point, her phone goes off, and the Countdown app states that she has broken the user agreement contract. Still disturbed, she walks on, but we see a figure behind her. Thankfully, they are just getting a lift, and she continues on. The phone goes off again, and more disturbed, she runs for her home, quickly unlocking the door and rushing within. Feeling safer now, she moves to ready herself for bed. Brushing her teeth, she hears something and is pulled upwards out of frame, screaming and sounds of pain loud before she drops down and cracks her head open on the bath, the countdown visible on her phone. The film switches then to the boyfriend, the car had crashed into a tree, and the seat she would have been in is impaled by a thick branch.

    We meet Quinn, a nursing student, as she deals with Evan. Evan is the boyfriend of the young woman, Courtney, who died in the initial opening. He's freaking out because he also downloaded the app, and due to expire in nineteen hours. Quinn is sceptical, seeing it as only a game. Evan tells her of Courtney's death and how she had also downloaded the app, convinced that he is in danger. After returning Ethan to his room, we see her be congratulated on passing her nursing exam. During this celebration, the app is mentioned and downloaded. A colleague gets to live until they would be in their eighties while another their nineties. When Quinn downloads the app, it gives her only two days and a few hours to live. She is a little startled by this but brushes it off initially. We get some backstory on Quinn when she returns home, she has a younger sister, and it seems her mother has passed away. Her father invites her to put flowers on her mother's grave, and she agrees to go with them, leaving quickly after that. The film then moves back to Ethan, and his countdown continues. Shaken by this, he decides to miss his surgery, and the user agreement is broken. At this point, he sees something in the mirror behind him, but it is not there when he turns around. Upon returning his gaze to the mirror, the figure rushes forward and the mirror cracks. Scared now, Ethan runs for the stairs, the lights going out, and he sees Courtney, only it isn't her. Not Courtney rushes Ethan, his phone falls down the stairwell moments before he follows, and the countdown hits zero. Quinn learns of this and is shaken to the point that she decides not to go to her mother's grave, and her user agreement is broken. At this point, Dr Sullivan makes unwanted advances, almost forcing himself on her. Quinn is shaken by this and goes to report him, but he uses his position to call the senior nurse from her. Quinn begins to experience things, seeing Ethan in her room after she begins looking into the app and the countdown going off repeatedly. Things quickly escalate for Quinn as she searches for a way to free herself from this app. She meets Matt after changing her phone, and we learn that the same thing is happening to him.

    The pair exchange their stories, seeking out the priest at the hospital in the vain hope of getting some advice or help. He cannot help them but gives them the details of someone that can. And they meet Father John, who is a strange and unique character. He is certainly not your typical priest. He tells them that such things exist, regaling them with a tale of two brothers and one's death when attempting to circumvent it, of forces that seek to bind them by contracts and then devour them. He says it would help if he could see the source code for the app and see what it actually is. Quinn has the idea to go to the shop where she bought her new phone, as the owner said he could crack it for her. He manages to, and they learn that some of the code is in Latin. Quinn takes a picture of the code, and Derek changes the code making it so that they will no longer die at their original times. Of course, this doesn't stick, and they are soon visited by the entity behind this. Rushing to Quinn's sister, they get to her and head straight for Father John. After seeing the code Father John tells them that it is a curse, that a demon is after them, but he can protect them. He does his best, but things inevitably go wrong, and Matt is lured out to his death. After this, Quinn decides to take things into her own hands, and a confrontation between Dr Sullivan, Quinn, and the entity unfolds. It appears that she succeeds, but at the film's ending, the app loads onto her phone with version 2.0.

    The film is okay, having some decent jumpscares scattered throughout but never maintaining the tension. Which is a shame. The acting, whilst not groundbreaking, is decent enough. Dr Sullivan is suitably sleazy and charming in turn, and Quinn is believable as our lead. The demon is done well, though it doesn't feel quite menacing enough. I would have preferred some more backstory into the app, such as how it came to be etc. And more screen time for Father John wouldn't have hurt, either. I give this film a 7 out of 10. It is enjoyable but lacking in any real scares. Worth a watch for any horror fan.

As above, So below, a review. This film is set in France as a young woman pursues the legend of the Philosophers stone. Caught in the catacombs they descend into the dark and into a supernatural horror that seeks to devour them.

 


As above, So below. A review of this camera footage horror film.


    As above, So below is a film carried by the performance of Perdita Weeks. Her character is intelligent, strong, and highly capable. Unfortunately, not all are so well fleshed out or convincing in their performances. Ben Feldman delivers a good performance as Scarlet's friend and colleague, George, with his own trauma played convincingly. The others feel there just to fulfil the story, bystanders to the events that unfold around them. The story is rather simple, but some elements depend on your suspension of disbelief. There is reliance on certain principles of philosophy, of things beyond the realm of the material alone. I enjoyed the claustrophobic atmosphere of this film, with it being underground made everything much more daunting. The supernatural elements feel heightened by the existing tension.

    The film follows Scarlett as she attempts to find the Philosopher's Stone, a legendary artefact used in alchemy. Scarlett undertakes a journey into Iran, seeking something to help her locate the Stone. With help from a friend, she finds the Rose Key, a kind of Rosetta Stone, but experiences a strange vision while in the tunnels. After narrowly escaping being buried, her friend tells her that everyone that searches for Flemel's Stone is crazy. More so, that her father was crazy. We flash then to Scarlett being interviewed, introducing herself and what she is pursuing. We get information on Nicolas Flemel, the supposed alchemist that created the Philosopher's Stone, and how he would have had immeasurable wealth and immortality. That when people went to dig up his grave, they found his body was missing. There are many tales of Flemel being an alchemist, and these came about after his death, and Scarlett is convinced he will lead them to the Stone. Others believe that the Stone does not exist, that alchemy is a failed science, and that she is on a fool's pursuit. Scarlett found a way to translate the alchemical symbols into Aramaic. However, she cannot read Aramiac but knows someone who can. This is where we are introduced to George, but he is unhappy to see her. It turns out that Scarlett left George in a Turkish jail, that she chose her pursuit over him. George likes to fix things, is mid-fixing a church bell, and reluctantly agrees to do the translation. And the translation has a part that any Green Lantern fan will recognise, and well done to whichever writer snuck that in there. This leads them to Flemel's headstone, and after some dodgy science, they discover where they should be looking for the Stone. It turns out that they need to go to the catacombs. However, they soon realise they will need someone to guide them to where they need to get. This is where we get a stranger telling them they need to find Papillon and giving directions to a club. As they quickly look away and then back, the stranger is gone.

    They find Papillon in the club, and he agrees to take them. They meet his team, Souxie and Zed, as they prepare for the journey into the catacombs. Soon the group are heading for the access point to the underground, George accompanying them but adamant that he will not go underground. Things go wrong, and they have to flee underground, and George is forced to go with them. Here it is relaid that his little brother died in a cave, that George doesn't go underground because of that experience. They travel to a point in the system, and Papillon insists they take a route that Benji, the cameraman, is hesitant to take. Seeing another passage available, Scarlett wants to take that one, but Papillon is utterly against it. He insists that something is wrong with it, telling of how a friend went in there and was never seen again. At this point, the strangeness begins. They take the tunnel but wind up where they started, which should not be possible according to Papillon, and even on the map, it shows that they couldn't have come back. With no other choice, they take the other passage. Things rapidly become stranger, with phones ringing, a piano found perfectly preserved, and La Taupe emerging from the dark to lead them. La Taupe has been missing for two years and strangely needs no light to travel in this lightless place. That alone would be enough to make me hesitant to follow him. They travel deeper, somehow finding ways to travel downwards until they find the chamber where the Stone resides. And so does a trapped treasure.

    Plummed into darkness, La Taupe seemingly dead, the group finds themselves buried. Thankfully, such sites always have a secret escape route, and Scarlett soon discovers it. But once free find themselves in a copy of the chamber, and the tunnel disappears behind them. They keep moving downwards, which puts them deeper than should be possible. And the strangeness shifts into terrifying experiences, Souxie the first to be killed, followed by Benji. Soon those left find themselves before a narrow passage with an inscription above it. It reads, 'Abandon all hope, ye who enter here.' which is supposed to be above the gates of hell. Worse, they have to travel in a near crawl to enter. The quartet becomes a trio after Papillon is killed in a gruesome manner. The trio is then pursued by a towering figure in black. After George is injured, Scarlett backtracks to find the Stone and faces a series of trials on her way to and from them. George is healed, and the trio eventually find their way free of this hellscape.

    The film does a great job of growing the tension and fear as the group travel further. The minor incidents grow in intensity and creepiness until they are terrifying for our dwindling group. They are all haunted by something, some experience coming back to bite them, most notably George seeing his little brother and Scarlett, her dead father. Whilst there are several good things about this film, it fails to be anything other than a little creepy, never reaching heights of terror. The characters outside George and Scarlett are rather bland, never really being fleshed out. The whole pursuit of Flemel's Stone seems somewhat ridiculous, with only a sparse explanation of why it is so important. There is no explanation of how it is supposed to affect things beyond some metaphysical rubbish. This is a weakness in the writing, which is to the detriment of the film's overall premise.

    In all, I give this a 7 out of 10. It is a solid film but lacks that spark which could make it a great watch. It is good, especially for a fan of the camera footage style. It fails to be creepy enough to scare the viewer and thus is never truly memorable. 

Evil Dead 2013, review. With Evil Dead Rise soon to be released I thought I'd give this one a re-watch. To be fair it remains a solid entry into the world of the Deadites, if not the best of them.

 



Evil Dead 2013, a review.


    I have watched the original trilogy films more times than I can count. They remain some of my favourite movies, with Evil Dead 2 being the peak of the trilogy. The added humour elevated 2 over The Evil Dead for me. I was hesitant to watch this film when it first came out, it had a lot to live up to, but in time I had to watch it. And, it wasn't as good as those that had come before, but neither was it a bad film. With a new young cast, the cabin in the woods, and a familiar book in place, this film kept close to the core elements of what had been done before. There are a few issues, but I'll get into those later on.

    The film opens up with a young woman being pursued in the woods before she is quickly taken captive. The scene switches to some interior with the young woman bound to a wooden post and her father before her. It quickly becomes clear the young woman is possessed, having killed her mother, and is set alight before being shot. We then move to the opening credits. We are introduced to our main characters and learn that David is here to support his sister, Mia, as she attempts to go cold turkey. Mia's friends Eric and Olivia are determined to ensure she kicks the habit this time. Olivia tells David that Mia overdosed and clinically died, that they might have to force her to stay and work through this against her will if it came to that. David is reluctant to agree to this as he is here to repair his relationship with her. As Mia begins to feel the effects of her withdrawal, she becomes sensitive to smells, convinced that the cabin has a foul scent within, though the others cannot detect it. It isn't long before their dog Grandpa is scratching at the carpet, pulling it back to reveal a trapdoor and blood smeared over the wood. Obviously, they are shocked, and they proceed down into the root cellar to investigate. They find dead cats strung up around the main room, with signs that something has been burnt, and a book bound in black bags wrapped in barbed wire. This is the Necronomicon.

    For anyone that has seen any of the previous films, this book is a doorway to a supernatural force that lives in dark places. A kind of entity that wants to possess and destroy the living. And it is inevitable that some idiot, in this case, Eric, has to read from the book. If I find a book wrapped up in barbed wire and depicting some horrible stuff, I might use my common sense, wrap it back up and put it out of reach to be safe. Eric doesn't do that, and we have something summoned on our unsuspecting group. And poor Mia is the one it goes after first. What follows is Mia's initial spiral as she sees something watching in the woods before she flees into the woods, crashes her car, and has an encounter that always makes me very uncomfortable. It is a scene taken out of the original Evil Dead, and it was never a scene I enjoyed, something passing from demonic Mia and slithering into the bound Mia. They find Mia but don't believe her story, convinced this is just her withdrawals and desire to use overwhelming her. What follows is a descent into chaos and bloodshed as Mia succumbs to her possession and the demonic force moves through each of our protagonists. A minor point, but the evil force coming to life after claiming five souls seemed convenient, given that there are five of them, but it works given the premise and isolated location. There are callbacks to the original trilogy throughout, with the use of the chainsaw, shotgun, and removal of a hand gone bad. They use a lot of fake blood in this film, an almost obscene amount, with the film's finale featuring blood raining down on Mia as she fights against a vile reflection of herself.

    The film's pacing remains constant throughout, and its runtime is short. Once it gets going, it doesn't relent, moving from possession to the next. The character development is handled well, as we see changes in David through the film's events,  along with Mia as she is faced with this evil alone upon the death of the others. In all, the film is good, with decent characters, a tight storyline, and tension maintained throughout. I recommend this film to anyone who enjoyed the original films and the series, along with any horror fan. This is an easy 7 out of 10, a solid entry worth watching.

Resident Evil 4: Remake, a review. One of the best games in the series remade and, somehow, improved. A game I spent a silly amount of time playing first time around, and couldn't put it down once I started again.

 


Resident Evil 4: Remake, a review.


    Resident Evil 4 was a masterpiece and still is. The original garnered praise from fans and critics alike and is probably the best game in the series. After the remake of Resident Evil 2, there was hope that more of them would be remade, and four seemed like an obvious choice. They went on to remake Resident Evil 3 and, though it is a beautiful game, was a step back on what had been achieved with Resident Evil 2. There was worry that they would be unable to remake 4 in all its glory. Thankfully, that proved to be an unfounded fear. This is one of the best games they have ever made, an improvement on the original in many ways. With the recent release of mercenaries mode, the gaming experience has expanded and proven to be a great addition to the single-player experience.

    Opening up six years after the events of Raccoon City, Leon has been sent to track down the President's daughter, Ashley Graham, in Spain. It's not a spoiler to say that things don't start well for our hero and inevitably get worse for him. The game's story stays close to the original, with minor alterations, a missing boss, and changes to some level designs. The gameplay and graphics have been updated, and it now plays like any modern title. And speaking of the graphics, this game is beautifully made, and even on my near potato of a desktop, it runs brilliantly. I experienced no issues with the game, no bugs or stuttering that has become commonplace in recent releases. There have been several changes to the gameplay, with the use of the knife now a vital part of your playthrough. A well-placed parry can keep you alive, staggering your attacker and leaving them open to a melee counter. Thankfully the shooting is fluid, and the ability to actually move whilst aiming makes it easier than I remember. All the guns return from the original, though some of their specs have changed, and there are different ways to find or unlock them now. The merchant returns with his familiar catchphrase still in use and proves as handy as ever. The most obvious change comes with how Ashley now plays. No longer the pain that made the game frustrating in some sections. She feels like a real character now, with decent voice acting and better writing. Leon remains his witty self, with many of his one-liners still in place. The voice actor is the same as the Resident Evil 2 remake, and though I prefer Matt Mercer's version, he does a great job. Some characters have had redesigns and have improved on what was done in the original. In most ways, the game is a significant improvement on the game released in 2005. The bosses remain a highlight of this game, with Salazar and Sadler being chief among them. I would have preferred they kept in some of the previous dialogue between them and Leon, but that is a nitpick on my behalf. There have been complaints about the new voice actor for Ada, but I saw no issue with her performance.

    I have sunk many hours into the game, though I lack the skill to become one of the many speedrunners posting videos on youtube. I loved the game the first time, and I feel the same about this version. It is instantly replayable with a new game plus, using all you have unlocked in your first playthrough. This was one of the best things about it the first time around. And with them adding Mercenaries mode back, there is more fun to be had. And we will be getting Ada's campaign at some point which was a great highlight of the initial release. Replayable has remained a core element of this entry.

    This game is easily 10 out of 10, and I recommend it to any gamer, not just fans of the original. This is a great game that hints at the next entry in the series heading for a similar remake, which is something I look forward to. I hope that they continue the series after Village, taking lessons from the process of making these remakes. With recent successes, it appears that they have hit on a winning formula. Though 3 was a bit of a disappointment by comparison. I will continue to enjoy playing this entry, racking up more game time, and hoping that Resident Evil 5 is in development.