The Overlook: Shelley

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Titled "The Overlook," these articles are meant to give more exposure to movies the nine readers I have may have overlooked (get it?).

From Rosemary's Baby onward, prenatal horror has developed much like the fetuses of their subgenre content. Seemingly ready to explode, pregnant mothers in horror have reached somewhat of a tipping point. Whereas years ago an occasional movie would have a woman facing her possibly doom at the hands of a questionable birth, now the prenatal ward seems overrun. Even movies who's focus is away from the pregnancy, like Annabelle, feature pregnant women fighting off an inside threat.
 

However, just like in any over-saturated subgenre, small gems might just peak through (see the addition of Train to Busan to the zombie one). This is the world where we find Shelley. Telling the story of a live-in maid named Elena who agrees to have her employers baby, Shelley is a slow, dreary burn. From its beginning moments, director Ali Abbassi showcases an innate ability for character development. That, paired with outstanding turns by the three leads- Ellen Dorri Peterson (Blind) as Louise, a heartbroken mother with issues,  Cosmina Stratan, (Dupa dealuri) as the maid Elena and Bjorn Andresen (Gentlemen) as the concerned husband with twisted intentions, all work well to captive viewers.

The resulting product is compelling. Sure Elena's employers are odd, but their intentions seem good and their hardships are difficult not to feel empathy for. Every character seems intimately woven to matter and they each begin loving enough, in fact, it's only when the oddities begin that the viewer is given any pause as to the couple. This is where the film turns it's attention and becomes less subtle. From a witch doctor with questionable credentials to the plethora of awkward stand offs between the two women, Shelley becomes quickly unsettling.

Shelly is sometimes lethargic - it's placid, woodsy backdrop and candlelit rooms could make a grown elephant sleepy, but that's part of what makes the movie so special. It's alluring and atmospheric setting makes settles you in, only to pull the rug from you at the film's climax.

Shelley is quiet, its subtle surroundings and rather peaceful landscapes provide a contradictory façade. It's setting working alongside the dark and bubbling plot, propelling Shelley past boredom.

It's currently on Netflix, so literally 98 percent of the world has no reason not to see it.

Review: The Axe Murders of Villisca



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I frequently talk about what I believe is a horror renaissance. I haven't looked too deeply into the matter and am sure others discuss it in great length, but I honestly believe the genre has been revitalized in recent years. Horror has become big business. Transcending genres, movies like The Witch received critical acclaim and set to appeal to atypical fans and those who don't enjoy the genre.
  

One underrepresented party in this renaissance is IFC Midnight. Bringing attention to a plethora of horror gems (most recently Autopsy of Jane Doe and The Babadook), IFC Midnight has done more than its fair share. That's one of the reasons I was shocked about their acquisition of their latest film, The Axe Murders of Villisca. From the trailer alone, this movie seemed of suspect quality. However, seeing as how IFC Midnight took on its distribution, I gave it a chance.

 

Marring a near perfect record for me, IFC Midnight's The Axe Murders of Villisca begins well enough; it's crazed opening sequence was enough to settle into. But, what begins as a youthful and easy-going horror film quickly devolves into an entirely off-putting B-horror movie with questionable plot points, ridiculous imagery and rampant stereotyping. So much of this movie felt unnecessary- from the dead parent storyline of one character to that same homosexual character's overly stereotypical blind lust for his heterosexual counterpart, Axe Murders felt like a movie that wanted to be so much more but ended up being so much less. By the movies climax, The Axe Murders of Villisca becomes so inept that this review was the only thing that left me watching.

Let's first examine the salvageable: the first half of this movie seems to be setting viewers up for something enjoyable. The acting, while sometimes tripped by poor writing, is performed well enough by the three leads. Robert Adamson (The Young and the Restless) as group leader, Caleb, Jarrett Sleeper (Stranger Than Fiction) as gay friend, Denny, and Alex Frnka (The Inbetweeners) as bad girl, Jess, all seem destined for bigger and better things. Each is fine until the writing and storyline become so poor that not even they are able to salvage it.

 

This entire storm climaxes with the concluding scene. Somehow on its own plane of awfulness, the tossed up, I'll-take-the-blame finish to Axe Murders is grating. Hurried and actually stupid (there is no other word to describe it), the conclusion is more than laughable, it's condemnable.

 

Perhaps the one blessing of this movie is its short runtime. At less than 90 minutes, The Axe Murders of Villisca won't cause you actual physical pain. That's about it. To be honest, I expected more from IFC Midnight and I'm in awe at this movie's existence. I'd give The Axes Murders of Villisca 2 pitch black eye contact out of 10 and 3 stars out of 10.

 

 ***I added one pitch black eye contact for Bertha of Two and a Half Men fame being in it. Don't know how she ended up employed at a school, but it's certainly a welcome addition***

 

Review: Split

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Rest my troubled heart. After the release of The Bye Bye Man last week, I was slightly worried about the state of horror in 2017. As the first major horror release of the year, it definitely did not set things off on the right foot. From its shaky storyline to a bountiful supply of disappointing "scares," The Bye Bye Man made an early bid for the worst theatrical-release horror movie of the year and possibly set the tone, however with the release of Split, the board may be reset yet. 

Split gives horror veteran, M. Night Shamaylan, a strong, star-studded follow-up to his critically acclaimed 2015 film, The Visit. Split stars James McAvoy (X Men: First Class) as Kevin, a man diagnosed with dissociative identity disorder (DID) coping with 23 identities and a possibly dangerous 24th; an omnipresent monster-human named "the Beast." Starring alongside him is

newly annointed scream queen, Anya Taylor-Joy (The Witch) as Casey and Betty Buckley (Cats) as DID psychiatrist, Dr. Karen Fletcher. The film also features Haley Lu Richardson (The Bronze) as Claire and Jessica Sula (Skins) as Marcia.

Split opens its world at the birthday party of Claire, where Marcia, Claire's best friend and Casey, an outsider welcomed as a "pity invite," later need a ride home. When Kevin as one of his more dangerous personalities named Dennis hijacks their car and knocks the women out, we quickly come to realize that the women are in very real danger. The rest of the film plays out with the three attempting escapes and Dr. Fletcher's consultations with Kevin's Dennis masquerading as fashion designer identity, Barry; all while "the Beast" creeps closer and is later revealed.

 

As good as its plot sounds, Split is a constant and unrelenting gesture of proper suspense and for McAvoy; it is one of his most prominent turns to date. In fact, acting on all corners of the board are stunning. Taylor-Joy is terrific as a broken down possible final girl, and Buckley, Richardson and Sula do amazing in their supporting roles. This group, if assembled again could make any horror movie worthwhile. Whether it’s the strong-headed, but quickly destitute, Claire, the more subtle follower Marcia or Casey speaking, each of the three women seems far more established than any young actress should be. And for veteran Buckley, this film only adds to her extensive repertoire. All of that, piled alongside McAvoy's innate ability to move through different mannerisms and "identities," make every scene great.

 

Split is scary. Shyamalan’s ability to create a film that is terrifying through its sense of overhanging fears, rather than relying on jump scares, is undeniable. While every moment seems to exist only to act as a bridge to the final climax and reveal of "the Beast," Split never halts intrigue. Sure there are multiple attempted escape sequences, but McAvoy's command over the different characters is captivating enough for audiences.

 

Overall, Split deserves every laurel it gets. From each actor to the plot, to the continual train of thrills, Split is indestructible. It's renewed by hope for this year in horror and in this new, revitalized M. Night Shyamalan world, it's a welcome addition. I give it 98 personalities out of 100 and 9 out of 10.

Best in Show: Slasher Films (Part II of II)

Here we go- the conclusion of yesterday's list:

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5. The Texas Chainsaw Massacre & Halloween (tie, yeah that's right, a tie) (1974 & 1978)
Invoking fear as the sun sets around his grotesque features, Leatherface's dance with his chainsaw is one of the industry's most cinematic moments. I personally believe this is one of the most off-putting movies of all time (in the best way possible). As a horror fan, it's hard not to respect and appreciate a film that has spawned so many sequels and remakes. The Texas Chainsaw Massacre is disgusting, but also beautiful in its creation- a complex and horrifying product that is recognizable even to those who have not seen it (Don't worry, I have), and for that it's a necessary addition to this list.

I originally had Halloween as number six on this list but altered it to fit different movies; after all, every "best slashers" lists online often ends up looking the same with a lot of classics. Both films stand out alone but also work hand-in-hand as emblems of the subgenre. The music of Halloween, like the imagery of The Texas Chainsaw Massacre, is iconic and so are the characters within. Laurie and Michael Myers are often recognized as some of cinema's greatest, and I would agree.



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4. Saw (series) (2004-2017)

Somewhere in between slasher and torture, the Saw series has become an iconic- sometimes laughable franchise of insane traps and a puppet named Billy. Featuring the serial killer Jigsaw and his secret collection of accomplices, I would most definitely place this movie set in the slasher subgenre (as evident by its existence on this list). Sure, sometimes the movies are shallow and unrealistic, but the creative traps alone are enough to place it on this list. I loved the series throughout high school and continue to force others to enjoy it as well.



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3. Nightmare on Elm Street (1984)

I went back and forth on the validity of Nightmare on Elm Street as a slasher film. Sure it has a killer, but it’s also supernatural and to me, slashers are at least somewhat grounded in reality. For years, Freddy has been considered one of the greatest horror legends of history and rightfully so. But, while Elm Street is often noted as a slasher, I didn't necessarily agree. I did however, end up adding him anyway since this movie is amazing. Despite dated graphics, there is something constantly terrifying about The Nightmare on Elm Street. The inescapable nature of his killings is truly the stuff of nightmares (get it?).



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2. The Strangers (2008)

I first saw The Strangers while dog-sitting at a country home. To say I was terrified is an understatement. The Strangers is about a dismantling couple who are subtly stalked and then attacked in a secluded house. One of the reason's this movie is effective (other than it's "based on a true story" prologue) is it's deeply grounded imagery and plot. Nothing that happens in this movie is all that unrealistic and this alone should leave viewers sunk into their seats. To this day fire alarms make me feel like someone is behind me.

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1. Scream (series) (1996-2011)

The Halloween costume most worn in the history of ever has to be Ghostface. The Scream series is easily the most entertaining and simultaneously the greatest set of slasher movies ever (yes, even the fourth). With a cast of reoccurring characters that you grow to love, a whodunit element of surprise and never ending satire, the self-reflective series is one of the movie industry's greatest accomplishments (sorry Avatar).



Best in Show: Slasher Films (Part I of II)

It's easy to judge horror movies for their plethora of flaws and problematic storylines, but when taken at face value, these easy-to-watch movies can provide a simple escape from life. The slasher film subgenre dates almost as far back as the horror genre itself. From classics like Psycho (which I have not included in this list because it is largely considered one of the very originals making it somewhat impossible to include in a personal ranking system without a ton of backlash) to 2016's Hush, slashers continue to permeate our culture. Below, I've listed the first five of 10 movies I'll be acknowledging as part of my "Best In Show: Slasher Films" list. You'll notice a lot of more modern movies, and will also acknowledge that this is my opinion, not yours (but, you can definitely include yours in the comment below with ones YOU believe are great! #positivity).  

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10. Sorority Row (2009)
Based on the original The House on Sorority Row, this 2009 slasher taking place in a sorority house may not offer much in the form of originality or tact, but the resulting film is ardently entertaining. Offering a few of the best kills in modern horror, a cast of characters you can love to hate (including the amazing Carrie Fisher as House Mother, Mrs. Crenshaw) and moments that are simultaneously quotable and hilarious, Sorority Row is that guilty pleasure you can't be without.

9. Kristy (2014)

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Despite its under-the-radar release (look out for an entire "Overlook" article on it), the 2015 Lifetime premiere of Kristy and later addition to Netflix should not go unnoticed. Like Sorority Row, the film doesn't necessarily offer much in terms of groundbreaking moments but it's plot and intensity certainly make up for any inefficiencies. Kristy follows a college student who stays behind in her dorm during Thanksgiving break and is then attacked by a cult of videotaping murderers. Haley Bennett is stunning as protagonist Justine and Ashley Green is effective as the off-center leader of the cult.

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8. Cry Wolf (2005)
Cry Wolf screams of the mid-2000s. Padded with harsh lighting and sometimes questionable directing, Cry Wolf tells a thrilling story. Featuring the all of the characteristics of a mid-2000s slasher, Cry Wolf showcases a group of friends playing a game similar to "mafia," when all of a sudden, things become a little too real. Coming upon the movie in high school when games like the one played in the film were popular, made Cry Wolf hit very close to home. The killer whose sole identifier is a ski mask, felt realistic and dark, and throughout the film's runtime, all of us viewing were engrossed by the possibility of this plausible occurrence. Cry Wolf has its fair share of flaws, but overall it's a worthwhile whodunit.

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7. Hush (2016)
One of Netflix’s first feature film distributions in the horror genre also happens to be one of the best horror films of 2016. Starring Kate Siegel (The Curse of The Black Dahlia) as Maddie, a deaf woman living alone in the woods, Hush throws viewers into a frightening game of cat-and-mouse with a masked killer chasing after Maddie.  Hush wins points for being an extremely effective and original tale with plenty of intense moments.

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6. You're Next (2011)
You're Next is about a woman who attends her boyfriend's family reunion at a secluded home. Soon after arrival strange things begin to happen and a couple animal masked killers go to town on the family. This clever and thrilling film is an absolute trip. Successfully juggling moments of satire with intensity, while difficult, is a task You're Next makes look easy.  It's a darkly comedic look at a family of unlovable and out-of-touch aristocrats battling against their dislike for one another and very real problems just out the window.

In Defense Of: The Forest

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In this line of articles, my goal is to offer up the slightest bit of credit where it is due. I'll talk about a movie that got a bad rap, perhaps too harshly; movies that weren't necessarily critically panned, but were certainly not offered any props. To begin, I want to talk about The Forest.

Starring Natalie Dormer (Game of Thrones), this film came out in 2016 and has generally been relegated to the $5 bin of horror (you know, not so awful all of the copies were smashed, but definitely not given a prime spot on Wal-Mart's shelves). The film is set, somewhat offensively in Japan's "Suicide Forest," and barring any inspection of the culture indecency provided by The Forest, I do think this movie offer up some great potential.

For one, Natalie Dormer, no matter what she does, is a powerful actress. Her nuanced vocal tones, likability and overall command of a frame could drag a video of paint drying through a critic pile-on. In The Forest she plays a twin searching for her sister beneath Mt. Fuji. There she enlists the assistance of Taylor Kinney's character who inarguably ends up being off-putting and insufferable. But, luckily Dormer shines. Between the intensity in her eyes and the eventually lucidity of her mind , she consistently leads audiences in a purposefully confusing maze of wonderment. 

In addition, I also want to acknowledge the film for its terrific setting and atmosphere This movie is lush. Dense and foggy, the entire setting of The Forest is haunting. Immersing yourself in the deep, wet (ugh, I dislike that word, but not as much as I dislike moist) forest leave viewers feeling cold and disparaged. It's grayish, inescapable backdrop offers up a sense of impending dread and throughout this movie, I only wanted hot coffee and a blanket.

The final point I want to address is the scares. While remembered as a not-so-scary flick, I disagree. As a whole I wasn't left deeply disturbed or haunted, but I do believe The Forest had its moments. I particularly remember feeling unsettled as Dormer's character explores deep in the cave alongside a school girl with a devilish grin who led her around dark corridors. I also definitely understand the fear of waking up to sounds outside of your tent and having little to no energy to inspect.

Overall, I'm not saying that The Forest is some shining spot in the genre, but I do feel like it deserves some sense of belonging. I personally enjoyed the movie save Kinney and particularly found the mood and pacing of it enjoyable.

Review: The Bye Bye Man

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January has been a struggle for horror movies ever since the first blog pointed it out. Between failed box office sales and scathing reviews, the genre has no friends during this cold winter month. There are exceptions and it's easy to have high hopes for Split after M. Night Shymalan's The Visit, but ultimately this "dump month" has taken no prisoners. Enter The Bye Bye Man. Heading in with little to no expectations proved beneficial, but ultimately pointless. From its award-winning title (sarcasm), to the over-acted, sometimes laughable performances by the cast- even more so for those in supporting roles, the film was a quick and sloppy hit job offering far too few scares and disjointed storytelling. The Bye Bye Man, save a few jump scares, did little to pull the audience along on a direct path of fear and horror. 


The Bye Bye Man tells the story of a group of three friends who rent a too-large house near the college they're attending. The old, somewhat depleted house that they can somehow afford, comes equipped with it's own storied past and soon "spooky" things start happening. As it turns out a reaper(?) named The Bye Bye Man (yes, the same one from the title) seeks out and kills people who say, and in turn become obsessed with, his long-winded name. Written by former Survivor contestant, Jonathan Penner, and directed by Stacy Title (Let the Devil Wear Black), The Bye Bye Man stars Douglas Smith (Ouija), Lucien Laviscount (Scream Queens) and Cressida Bonas.

As an atypical horror fan that actually enjoys the occasional jolt resulting from a jump scare, I wish I could commend the work of The Bye Bye Man, yet, I can't. Far and few between, the movie's jump scares are weak and predictable. As noted, I am perfectly happy with jump scares and mainstream, modern teen horror. I quite love throwing out my back as I fall out of my seat and actually enjoy movies like The Gallows, but The Bye Bye Man manages to turn jumps into shrugs and horror into Horrible Bosses 2-level comedy. 

The most aggressively sour moments of The Bye Bye Man come in the form of poor writing and supporting actors unable to act seriously or well. While some "jokes" seemed placed, it the majority of the film's humor was most definitely unintentional. Where films like Scream are able to tell a scary story that also makes you laugh, The Bye Bye Man told a boring story that also makes you cringe. See first the "sensitive" psychic who comes out of nowhere and dresses like a Mob Wife. With her character, the viewer gets its first look at the painstaking journey they're about to embark on. The binder continues to grow throughout
The Bye Bye Man, adding a landlord who seems pulled from the street onto the screen, a brother whose plot line is inconsequential, a librarian who is possibly the only intentional comic relief (it's spotty) and then the wife of a past victim who proves to have little purpose. All of them perform equally bad- whether through poor writing or questionable skills.

One of the film's final straws is pulled with the needless and off-center remark noting the Columbine shootings. Despite being nothing like the tragedy, the creators of The Bye Bye Man seemed all too comfortable candidly throwing around the event without offering the plot points, class or tact, necessary to do so. Even aside from the political incorrectness of the issue, the remark comes out of nowhere and like the viewing of this movie, is a painful experience.

Ultimately, you could go through and list all of the movies The Bye Bye Man tries to emulate, but that list (including films like It Follows, The Babadook and Final Destination) would be exhaustive and unrelenting. In the end, The Bye Bye Man is like that kid who never brought a pen to class. He shows up, deeply unprepared and ready to disrupt other students, or in the case of the horror genre, the work done by the amazing horror movies of 2016 (see Lights Out, The Witch, The Autopsy Of Jane Doe, etc.). The Bye Bye Man, like the unprepared student is good for the occasional laugh, but sometimes you have to wonder if it causes more harm than good. I'd give this movie nine out of ten stabs to your face, but only two stars out of a thousand.