Best in Show: Outbreak Movies (Part II of II)



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5. Flesh-eating Virus (Cabin Fever)
Cabin Fever and the later sequels each made my stomach legitimately turn. With gross-out effects and gore and a flesh eating bacteria that makes viewers skin feel weird, this is probably the most difficult endeavor to swallow on this list. This movie serves no other purpose than to make its viewers cringe. And, thanks to the disgusting sickness at the center of it, it works; what starts off as a trip to a cabin quickly spirals out into a gore fest of torn up legs and decomposing bodies. Cabin Fever is a pandemic classic and a must see.

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4. Trixie Virus (The Crazies) The Crazies is the type of movie that is less concerned with the logistics of its virus and more with the need to terrify its viewers. It's an effective horror movie regardless of how the outbreak spreads and is definitely scary. One of the best things this movie has going for it is laid out steps made quarantining the sick. With the ability to place you in the shoes of the characters, The Crazies offers a suspenseful and insane trip. The added dimensions of infected water supplies and the hopelessness the victims of this movie face, all work well together,

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3. Flu-like Virus (Contagion)

By and large the most realistic on the list, the virus outbreak of Contagion feels like a real-life telling of a pandemic. Well-executed and scientific, Contagion feeds into the fear of its audiences through grounded realism. The virus at the center of this movie, spread like any typical sickness, is one that holds similar symptoms to the flu, but with the potency of something far more dangerous. Contagion is dark and even when the cure is discovered; viewers will be sufficiently freaked out. Washing your hands matters, people.



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2. Mutant Parasites (The Bay)

While unsure if the found-footage style of this film or the way the parasite makes its victims succumbs to its symptoms, but the nasty sickness at the center of The Bay felt way too close to home. From the smaller seashore town to the everyday people who were exposed, this outbreak should be reserved to those with strong stomachs and a heart that doesn't easily attach to idyllic opening scenes. Like a superior The Happening, The Bay tosses around the impact of humans on the environment and doles out plenty of punishments for the small village that comes face-to-face with a deadly outbreak. The parasites caused by a bird plant leaking heavy levels of waste into the bay, quickly become a decimating problem as the creatures eat away at the families who call the area home.

1. Rage Virus (28 Days Later/28 Weeks Later)

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Like the sicknesses of Quarantine, The Crazies, I Am Legend and World War Z, the zombie-like super rabies virus at the center of 28 Days Later and its sequel is horrifically aggressive in that it turns its victims into hungry monstrosities. But unlike those films, there is something innately troubling about the rage virus. The way it transforms those exposed and the lightning quick nature of the creatures it creates is truly nightmare-inducing. Between bloodshot eyes and the type of viciousness usually reserved for wild animals, the crazed hosts of this violent disease provide enough stamina and scares to warrant this number one spot. Pair that with the sheer scale and lack of containment prospects and the rage virus quickly becomes one of the most effective pandemics on this list. 

Best in Show: Outbreak Movies (Part I of II)

Pandemics and outbreaks are something that everyone seems so interested in, yet fears so much, No matter what it is, these sicknesses glue people to their TVs as world news reports help the stories unfold. Today, we're focusing on the scariest pandemic films out there. With flu season hopefully soon behind us, these movies are each meant to instill the fear that an epidemic is more than likely coming. In an attempt to define these outbreaks, note the absence of zombie films that specifically raise people from the dead. However, the exact nature of diseases isn't perfect so this list is somewhat broad in spectrum, but all are undeniably horrific.




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10. Reaper Virus (Doomsday)

While the vast majority of this film takes place post-pandemic, the fact remains that the damage done by the virus and eventual world restructuring are both pretty terrifying. Filled with gore and Mad Max-like biker who happen to also be cannibals, Doomsday was an over-the-top action-horror film that was meant for geeks and nerds. It's the type of film that's world is entirely parallel to ours and for it to work, you need to invest yourself. At the least, the idea to have Scotland completely done over after a pandemic with two warring factions who exist in secrecy to the outside non-quarantined world is at the very least, pretty original.

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9. Plant-spread Neurotoxin (The Happening)

The Happening by no means, is a good movie. It's poorly acted, thinly written plot all culminate into something rather underwhelming. But, decidedly, the one thing that does work for this film is its terrifying fictional sickness. Spread through the air at the hands of plants, the movie's central themes of global warming are a little too blatant, but ultimately effective. It's the type of film that makes the audience feel hopeless at the hands of the illness and while the movie was a bore, the idea that plants have the ability to readjust our world to survive, is pretty fantastic.



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8. Super Rabies ([REC]/Quarantine)

The outbreak of a type of super rabies in an apartment building and the quarantine that results is the stuff of claustrophobic germaphobes' nightmares. While small in scale, the outbreaks of the original [REC] and later American-remake Quarantine struck a spine-tingling cord in the souls of audiences. Between the dark, dank apartment settings of the two films that feels much more realistic than some of the glossed-over looks of modern horror films that surround it and a pension for creating spooky atmosphere, these movies are truly terrifying entries into the outbreak subgenre.

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7. Re-engineered Measles Virus (I Am Legend)

By far one of the most well-known and identifiably crossover films on this list, the mainstream I Am Legend features a virus with a disturbingly sad backstory and a disturbingly dark forward. Originally created as a cancer cure, the virus featured in this movie kills most of those infected and leaves others as raging creatures with a sensitivity to sunlight. I Am Legend is a terrifying endeavor in human nature and intervention and between the plenty of sad moments (RIP Max and fam), this movie features plenty of scary ones.

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6. Zombie Plague (World War Z)

I really tried to avoid straight up zombies on this list. I really did, but the scientific aspects and constant referral of the virus in World War Z as a curable disease makes it worth the inclusion. World War Z came out at a time when zombies oversaturated the industry and for that it is especially commendable. It's terrifically action-packed, suspenseful and well-made. From the opening escape scenes in the red-lit apartment to the attempts to find a cure are all equally compelling and scary.

The Overlook: The Monster

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Speaking of the horror selection on Amazon Prime, here's another terrific one: The Monster. In an apparent week of creature features, The Monster tells the story of a struggling mother, Kathy, and her daughter, Lizzy, attempting to survive in a car as an unknown entity lurks outside. The pair, who set off to Lizzy's father's house for his custody time, are at ends with one another after Kathy announced that she'd like Lizzy to move to the father's full time. Because of these circumstances, viewers can expect a child wise beyond her years and a mother that is both grippingly compelling and entirely broken over her life decisions.

The two lead actresses are both equally terrific in their roles. Kathy is placed by Zoe Kazan (Olive Kitteridge) and Lizzy is played by Ella Ballentine (Les Miserables). The Monster is a relatively simple movie to follow and yet thanks to the pair, it is far better than it could have been. Kazan in particular, is a strong force throughout and her haphazard, unhappy parent is so intimately performed that she's understandable, rather than cringe-worthy. Ballentine is also great though, and where many indie films offer mediocre child stars, she's really special. Her role is one that resembles that of an adult and her acting prowess makes it believable.


Like other films that occupy such a small space, The Monster makes the most of its confinement trading atmosphere and dialogue for grandeur. Sure, there are numerous fear-inducing scenes, but this is a movie that is more focused on the long game. The story is one that continuously builds without letting up, and even when escape seems plausible, the audience will take it hesitantly because in this movie, things can and will go wrong.


The Monster isn't concerned with some neat, happy ending. Moments after the duo's car hits a wolf, many of the hopes audience members might have held of a cheery conclusion are dashed. After all, this movie is set on a remote back road, not some populated suburb or city and for anyone understanding enough of horror convention, would realize that the daughter is at an age where she may not be off limits for the creature's mealtime. All of this culminates into an edge-of-your-seat thrill ride of seismic proportions.


The Monster is one of the only "good" horror movies on Netflix. Thanks largely to the legwork of Kazan and Ballentine, this is a film that truly is terrifying. For anyone who is terribly afraid of country roads, this isn't the movie to see. No matter what the monster reveal is or was, it's definitely one of the only options on Amazon Prime that's worth a second look.

The Overlook: Thirst

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Today's article is brought to you by brevity. Brevity: because life gets busy.

Amazon Prime is kind of a wasteland when it comes to horror movies. For every semi-good one, there are about 80 others that are nearly unwatchable. It's a dumpster playground of poorly acted, mediocrely put together monstrosities that make horror look less like a marketable genre and more like a joke. That's why, when coming across even a semi descent flick, something needs to be said.

Today, we recognize the watchable film, Thirst. By no means as polished or entertaining as it could have been, the indie creature feature telling the story of a group of troubled teens escaping the clutches of a chameleon-like alien is sometimes over-the-top. But, for a movie with little to no stakes to put into it, Thirst is a pretty good find.

Thirst finds a reformation camp in the desert attacked by a giant alien who picks off the family run business and the teens who occupy it. It stars John Redlinger (Nashville), Jes Macallan (Mistresses) as Claire and Karl Makinen (Conspiracy Theory) as Burt.  Like many of the recent films acknowledged on this site, there is a collection of even lesser known supporting characters that, in various capacities, fill their role properly.

This movie is something someone would most definitely watch half-asleep on a rainy afternoon, but it'll be able to maintain and mandate enough attention to keep those willing, awake. It never becomes revolutionary but, for what it is, it can definitely put audiences in a nostalgic mood reminiscent of yesteryears' creature features.

Thirst isn't anything fantastic. It's a pretty ridiculous film, but definitely provides enough entertainment for an afternoon in. With what was a presumably small budget, the uniqueness of this film is commendable, even if its execution isn't. There aren't many scares but the stark landscape and love-to-hate characters give a certain easy-viewing vibe that can be calming, if nothing else. It's got deaths scenes that are fun and a Chiller network atmosphere, which considering all of the actual duds on Prime, is a huge step up.

 

 

The Overlook: Howl

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Where has the werewolf subgenre gone to? Sure, an array of attempts have been made to revitalize audiences' interest in these hairy monstrosities - 2010's The Wolfman gave us a weak offer to buy back into the typically period-based movies, but none have permeated mainstream culture in the ways films like American Werewolves in London had. But for fans looking a little deeper, some modern options do exist. Today, it's time to give credit to one of those films; Howl.

Howl quietly came out to relatively good reviews in 2015 and follows a group of train passengers who encounter a terrible beast after the train is halted deep in the British countryside. The film unravels with the passengers being increasingly at-odds as they attempt to survive the night. It's a pretty conventional horror film, but definitely packs a worthy punch in both scares and entertainment. Howl stars a ton of actors as it feeds into the one-by-one conventions of horror films before it. Some of the actors include Ed Speelers (Downton Abbey) as ticket ripper and train employee (?) Joe, Holly Weston (The Collection) as coworker Ellen, Shauna Macdonald (The Descent) as disgruntled businesswoman Kate and Elliot Cowan (The Golden Compass)as Adrian.


This film boasts a pretty large cast, which for fans of a lot of bloodshed, is a great addition. It never makes you care about the majority of the passengers - most of whom are either awful, angry people or sweet and compelling. Their purposes are definitely different, with an older couple that'll draw tears compositionally at end with a number of rude passengers viewers will love to see go. This movie is pretty basic, but it's not a bad basic. There's heroes and villains amongst the group, but all are simply there as entertainment devices to bolster the thrillingly dark and dreary ride.


As noted, Howl offers a ton of strong scares and for a monster movie, some pretty great visuals. It's definitely the type of film that may not scare audiences in the day time, but with enough investment in the shroud of night, this film can be the type of thoughtless, nightmare-inducing thrill ride viewers clamor for. It's action-packed in the style of films like World War Z and easily one of those movies viewers sink their teeth into.


Howl, like many creature features and werewolf films never really found it's footing with a larger audience. As the haunted house subgenre has seemingly built a stronghold - thanks largely to the work of James Wan, it becomes increasingly clear that films like Howl may not be for everyone but are definitely necessary. It's a fun, romping good time with very slim chances of survival for its characters and with adequate visuals, it definitely is a step up from some of the recent fodder that pads the horror section of iTunes.

 

Best in Show: Horror Landscapes (Pt. II of II)

The follow up to yesterday's list:

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5. Australian Mangrove Swamp (Black Water)

Having just recently seen this movie, there may be some relevancy giving it a boost onto this list, but having had had it in my peripherals for years, it is without a doubt, worthy. The murky, shallow waters of Black Water are deeply troubling. The foreign horror film is definitely one of those movies that greatly benefits from its remote and beautiful, but scary location. While the audience sits there hopeful that the mangroves will provide some sort of possible survival, the far out location of the watered forest, dashes a lot of the characters' determination. It's an impressive choice by the filmmakers because of the close proximity of a danger that potentially couldn't reach them. It's a die of starvation or die by crocodile situation that is all propelled through the setting of Black Water.

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4. Atlantic Ocean (Jaws)

The movie that scared a generation out of the water, it's hard to believe that Jaws wouldn't even exist without the ocean it takes place in. Sure this is a pretty grandeuous statement since none of us would exist without the ground we stand on, but the fact of the matter is, Jaws specifically hinges on the water because of the limitations gills presents. Which makes the film's setting all the more effective. For a horror movie that's scare tactic is so easily avoidable (just don't go in the ocean), it's amazingly effective at instilling fear in its viewers - even in 2017. Whereas, other ocean-based horror films are almost as scary, there is something so realistic about the waters in Jaws. Movies like The Shallows are great and terrifying in their own right, but the polished, gleaming waters in movies like it just aren't as scary as the Atlantic Ocean in Jaws.

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3. Black Hills Forest (Blair Witch Project/Blair Witch)

Iconic; this is the only word to describe the fictionally named patch of woods outside of the very real Burkittsville, Maryland where a team of young filmmakers disappeared under haunting circumstances. Later, when the film was revisited in the Book of Shadows sequel and the 2016 Blair Witch, the mythology surrounding this forest continued to grow. While the follow-up films received some negative reviews, the one constant was this: that the Black Hills Forest would be a terrifying place to visit. The very plain, very unpolished forest that the mysterious Blair Witch calls home is perhaps one of the scariest plots of lands and one that made hikers fearful of the woods for years to come.

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2. Mayan Ruins in Mexico (The Ruins)

Based on the book of the same name, The Ruins placement on this list is basically a twofer in honor of Earth Day; an ecological horror with a visually stunning backdrop. All of this culminates into truly outstanding scenery for a terrifyingly vivid destination horror film. The overly sunny, super saturated ruins of Mexico make for a similar atmosphere to The Hills Have Eyes but with added humidity to make you sweat. It's one of those movies that'll make you think twice about visiting popular tourist attractions - even if the ruin featured is off the beaten path.

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1. Unmapped Caverns in the Appalachian Mountains (The Descent)

Is there anything more effective than claustrophobia? By far one of the most common fears, the use of it in horror has been near constant, but no other film captures this sensation better than The Descent. By far one of the scariest horror films ever, the setting of this film is the most worthy of this number one spot. The deep, dark underground cavern the women of The Descent get trapped in is a hauntingly terrible and the main reason many have crossed spelunking and cave diving off of their must-do lists. While not the first thing one might think of when they think of Earth Day, the underground caves in The Descent, are definitely a part of nature.

Best in Show: Horror Landscapes (Pt. I of II)

Spring has sprung and as everyone begins venturing outside, it's important to remember the dangers that lurk in the places we go. From sprawling mountains to deserts and deep forests, horror has been using sprawling outdoor settings to instill fear in vacation-goers since the dawn of time. For the characters central to these films, the unknown dangers lurking in these landscapes often take on different forms, but the ending is almost always the same. In honor of Earth Day (April 22), here's a list of horror's scariest landscapes, featuring the threats that lurk within: 



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10. Desert in New Mexico (The Hills Have Eyes)

I saw The Hills Have Eyes 2 prior to ever seeing the first remake or it's original. Yet, there was something so troubling about the arid plateaus surrounding the formerly radioactive site. From the off-putting holes and crannies used by the sequel's somehow more aggressive mutants to the visual dryness of spaces surrounding the home, this desert setting should make anyone long for the comforts of A/C and rivers. This is by far one of the harshest settings of any horror movie around.

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9. Remote Forest (Evil Dead/Cabin in the Woods)

With so many films taking place in a desolate cabin in the wilderness, who pick these two? For one, Evil Dead is perhaps the most emblematic of the horror convention and secondly, The Cabin in the Woods resonated most with me. Each offer similar visuals; a dark and dense tree line with nothing but forests in sight, but each also offers its own unsettling aspects. The woods of Evil Dead seem cold and harsh, with plenty of twisting and turning roots to upset the stomach, while the warmer, more polished forest of The Cabin in the Woods looks far more safe than it actually is. Add in the booby traps and higher intervention of Cabin in the Woods, and what seems like another plain old setting quickly becomes a daunting maze of epic proportions.

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8. Rural New England (The Witch)

There's something drearily plain about the forests surround The Witch, but anyone who's seen the movie knows just what unsettling atmosphere it creates. Sure it looks like any other woods, but exasperated by the dark brooding stories and mythology surrounding it make for a hike that no one would want to take. It's a dimly lit, grey backdrop to an already dark and desolate film. The woods surrounding the farmland of The Witch is visually one of the most on-point settings in modern horror as it pairs a sense of familiarity with an impending feeling of dread.

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7. Amazon Rainforest (The Green Inferno)

Plenty of films take place in the jungles surrounding the Amazon River and Cannibal Holocaust most certainly did so the most prolifically, but it's Eli Roth's The Green Inferno that deserves the credit for encompassing the deep, lush colors of foreigner's image of the rainforest with the stark realities of its dangers and the mythological threats within. It feeds it's audience with imagery that'll make them fall in love with the idea of visiting but then lampoons that with terrible situations that'll make them want to look away. Tie in the unknown-lands aspects of the characters central to this film, and viewers are left with a truly terrifying journey.

 

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6. "Mount Holliston" Ski Resort (Frozen) 

Okay, so this one's not quite the spring/summer destination others on this list might be, but it undeniably deserves a spot on this list. Following a group of skiers who become trapped on a chair lift on the fictitious Mount Holliston in New England, the visually freezing and stark setting of this film is sure to send chills into its viewers- regardless of the weather outside. It's a grounded, mostly realistic tale of survival that should make skiers and snowboarders weary of chairlifts everywhere.

 

The Overlook: The Ones Below

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Neighbors can be a lot to deal with. From noise to the secretive, on-looking ways of intersecting lives, sharing spaces - even those blocked by locked doors, can prove to be a challenge. Add a few pregnancies on top of that and some darker, sinister intentions and the concept of neighbors becomes all the more unsettling. This is essentially the plot of The Ones Below. Following the lives of a couple expecting their first child and their new, suspiciously creepy downstairs neighbors who are also expecting a child, The Ones Below is a slow-burning and unsettling film.

The Ones Below hosts a beautifully stunning cast who do terrific in their respective roles. In the upstairs flat, Clémence Poésy (Harry Potter and the Goblet of Fire) and Stephen Campbell Moore (The History Boyd) play Kate and Justin, the aforementioned young couple who are expecting Their new neighbors, played by David Morrissey (The Walking Dead) and Laura Birn (A Walk Among the Tombstones), are also expecting a child and for Birn's foreigner, Theresa,, the struggles of pregnancy seem to have her head in a strange place. The One Below places everything on the shoulders of these four proficient actors and the movie greatly benefits because of it. 

 

There's a lot of disturbing moments in The One Below. From the off-color comments made by Morrissey's character to the greatly uncomfortable confrontations between the two couples, this film knows how to dole out goose bumps. But, even worse than these moments are the more subtle ones- conversations unveiling the troubled relationship of Kate and Justin and the strange, startling eyes of the off-center Theresa, all culminate into a nerve-wracking experience.

The Ones Below is beautifully shot; sleek and elegant, but deeply dark and brooding. It is the type of movie that even on the brightest day, could make an audience feel like it's raining out. The Ones Below hosts a collection of perfectly curated pieces of furniture, wall hangings and knick-knacks, it is undeniably easy on the eyes, and completely wills you to yearn for these characters' tastes. Even when things become seedy and the smooth surfaces of the film's plot begin to ripple, viewers will still want in on the lifestyles lived.

While not a proper, conventional horror film, The Ones Below most definitely is one. It is a troubling, brooding movie that makes for a scarily good time. It is the type of revelation that showcases that you never truly know your neighbors. The Ones Below feeds into the discomfort of acquaintanceship and is honestly a must-see, cringe-worthy adventure. Oh, it's currently streaming on Netflix, so no excuses.

 

Review: The Void

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Alien: Covenant is fast approaching, but until then what do sci-fi/horror fans have to look forward to? I present The Void. Easily one of the most entertaining and mysteriously outrageous as it is grounded, The Void is a terrifying concoction of the cult and alternative dimension subgenres. It's the rare sci-fi/horror movie that seems realistic - thanks in part to a stunning cast of actors who bring a level of humanism to their roles.

The Void follows a police officer who brings a disoriented man to a desolate hospital, only to bear witness to a grand plot of portal openings and monstrous creatures. The recently charred hospital that is this film's setting, hosts a number of lingering characters who have yet to move to one of the more well-kept hospitals in the rural area. There's a trio of nurses, a doctor, a pregnant teen, her grandfather, a male patient and later an additional pair running from the cult. Each of these characters provide depth and interest to the storyline; especially noteworthy given horror's tendency to use a cast like cannon fodder rather than story development.

The Void stars Aaron Poole (The Conspiracy) as police officer and central character, Daniel Carter, horror icon Kenneth Welsh (The Exorcism of Emily Rose) as Dr. Richard Powell, a friend of Daniel's father, Daniel Fathers (Dark Matter) as a man running from the cult outside the hospital and Kathleen Munroe (Resurrection) as experienced nurse and wife of Daniel, Allison Fraser. Other cast members include Ellen Wong (The Carrie Diaries) also supports as an inexperienced nurse-in-training, Kim, Mik Byskov (The 100) as a fellow cult escapee, Grace Munro () as the pregnant teen, Maggie and James Millington (The Freshman) as her grandfather.

As noted, this movie excels at creating characters that feel worthwhile. For Poole who holds much of the camera's attention, his role as Daniel is especially terrific given his realistic and subtly comical responses. Other especially great performances come from Wong, whose character goes from somewhat useless to undoubtedly scrappy and Munro's Maggie who is scarily frantic for her and her baby’s life. The understandable, but constantly frustrating man played by Fathers, is also entertaining enough, as is the other members mentioned previously.

The Void is also bolstered by a pension for suspense building. No matter how ridiculous or off-the-rails its final scenes got, everything felt horrifying. Even scenes that had a sense of placidity - like those featuring the cloaked cult members standing in the lot - were unsettling at the least. There's also plenty of homage to movies like The Thing, with impressive practical effects and well-timed gross out scenes worthy of the history books. In fact, there are no true flaws in The Void. This is a film that is truly committed to its mythology and no matter where that mythology goes or how susceptible that world could be of critiques, the confidence at which it plays out is hard to undermine.

The Void is deserving of each and every one of its praises. It is horror-inducing, it is funny and it most certainly is well-done. It’s the type of movie an array of people could find something to love and is setting an early standard for best lists of 2017. From the very first scene where Daniel comes face-to-face with a cult member (Personal note: I pinpointed this scene as one that would give me nightmares, and within an hour of falling asleep I was jolted awake by a dream of it), to the final intense moments of survival, The Void never lets up. 9 out 10.

 

Review: FirstBorn

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Netflix has one of the best horror selections on streaming services. From acquisitions of The Babadook to random finds like Last Shift, there are numerous, worthwhile options. But, despite all of the adequate options, there are almost an equal number of bad options. Nothing encapsulates this dilemma more than FirstBorn. Among some of the most prominent films on the site, FirstBorn sticks out as a sore thumb.

Whereas, Netflix had seemingly dropped the bad-horror shtick as their choices got better and competitors like Amazon Prime fell out of the race, FirstBorn is a strange addition and one Netflix should remove. Of course this movie isn't the only bad horror movie on Netflix but the permanence of it on every tab will undoubtedly give viewers pause as to whether it'll be worthwhile or not. Well, it's not.

FirstBorn is tepid. Poorly written and most offensively, not scary, it fails on numerous, grating levels and one should wonder how much the service paid to have this movie on their site. The film follows a young couple whose first child brings along some demons after birth. It's not a groundbreaking idea, but where somewhat unoriginal movies have overcome these creative shortcomings with new styles, scares and storytelling, FirstBorn feels like a sad, boring rehash of movies like Insidious.

FirstBorn stars Antonia Thomas (Misfits) and Luke Norris (The Duchess) as the new parents. They seek the help of Elizabeth, played by Eileen Davies (Sightseers). Each play their role as leveled and fulfilling as expected, given the weak script and rehashed ideas. No one is particularly bad, but most certainly no one is particularly good. As noted, this film could have done a lot with old ideas. Many horror movies aren't spectacularly new but, at the very least, they should offer a new point of view.

This movie is cringe-worthy throughout. It's reliance on sharp, loud noises are more distracting and removing than jump-inducing and the use of any atmosphere building is entirely absent. By the film's end, any viewer who is still awake deserves a prize. Its blatant mediocrity is offensive and without any stimulation, it becomes a true snooze. So, save some time and rewatch The Babadook for the eightieth time, no judgment necessary.

 

The Overlook: The Watcher



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Sometimes when looking for something to watch, you just want something easy and cheesy like a Lifetime movie, but most certainly a step above that. This is essentially what The Watcher is. Equal parts horror as it is melodrama, The Watcher is, well, easy to watch. It's a slightly trashy, but perfectly suspenseful film with darkened halls and sounds in the night. There's acting and a script that waiver between dismal and fantastic and the film succeeds with varied success. The Watcher is most definitely a shaking film, but it's also enjoyable and for that, noteworthy.


The film focuses on a couple who move into an old home in a typical, nosy suburban neighborhood. When strange happenings start to occur, it becomes clear that there are much more sinister entities at work. The Watcher stars Erin Cahill (Boogeyman 3) and Edi Gathegi (Gone Baby Gone)as the young couple, and Denise Crosby (Pet Sematary) plays an intrusive neighbor whose son, played by Riley Baron, is somewhat offensively depicted as having a disability. Each of them do mediocrely in their roles; Gathegi is the only one who does consistently well, although Cahill makes valiant efforts, despite being brought down by a constricting woman-in-torment role.

The bad of this film has all been outlined above; from somewhat offensive portrayals of those with special needs to some over the top acting that could be tossed up between a weak script or poor skills, The Watcher leave's some yearning. But, where it works, The Watcher really works. There are numerous parts - especially those featuring the birdlike man, that are especially suspenseful and while it eventually gets somewhat lost in translation, the establishment of the film is relatively powerful. The former neighbor is also pretty terrifying as he peers through fences and shows himself into the couple's home.

The Watcher is strongest at creating an atmosphere of fear. It's off-putting and weird style, propelled by scary notes and the impending arrival of the birdman, later seen in visions, is definitely creepy. The film additionally wins some points for it's unsettling turn in the last act. For what could have leveled out as a typical ghost film. The Watcher isn't something to hold a candle to, but it is cheaply entertaining enough to be worthwhile. For those mindless nights of boredom, it's definitely not the worst thing on Netflix and that's saying something.

 

Review: Here Alone

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If you're like the millions of people who wait day-by-day for new episodes of The Walking Dead, then these moments of lull can feel desperate and empty. In fact, even if you're not a fane of the program, but still love zombie films and all things post-apocalyptic, the wait period between new material can feel endless. Rest assured though, more is coming and more will continue to come. The subgenre is perhaps the most profitable due to it's escapism aspects and there doesn't seem to be any shortage of potential with the subgenre. Queue the release of Here Alone; a perfectly well done, heartfelt film that'll appeal to broader audiences and fans alike. It's sad, it's unnerving and best of all, it's suspenseful.

Here Alone follows a young woman's fight for survival a year after the world is destroyed by a virus. The film stars Lucy Walters (Power) as Anne, the woman central to the story, Shane West (Nikita) as her husband, Adam David Thompson (A Walk Among Tombstones) as Chris, a man Anne comes across on her journey, and Gina Piersanti (It Felt Like Love), as the man's would-be stepdaughter, Olivia.  

Beautifully shot in Upstate New York, Here Alone begins as a stark portrayal of life in the wilderness. Viewers enter into Ann's life unsure of what had happened, only that the difficulties she has faced have led her to the dismal conditions she finds herself in. There are flashbacks showing her husband and baby, but similar to many movies like it, it's easy to tell that they're no longer with her, a definite bid for audience's sympathy (a tactic that, time and time again, works).

Here Alone is a more subtle film than the nonstop action so well known to the post-apocalyptic subgenre. However, it offers more than its fair share of vision and suspense. The introduction of the unseen monsters in the woods alone is enough to cause pause, as Ann ventures into an abandoned home in search of food. And, when she eventually gets caught on a fence, the short moment will dole out goose bumps. This theme of subtlety continues as we witness flashbacks to Anne's eventual solitude, a brief climactic encounter in the woods and the perfectly paced climax.

The one flaw, more like a thorn in the side than a fatal blow, is the slow start of young actor Piersanti, who unfortunately comes across as more unsure of her role than unsure of how to live through the troubled times her character faces throughout the first half of the film. But, even this is overcome by the midway point when a dare leads her into a lake to swim and she unfolds as a character to care about. In fact, by the midway point, all three of our central characters matter and will inevitably pull at the heartstrings of audiences.

While never groundbreaking, Here Alone accomplishes enough in its character study of survival instincts to not be diminished by its conventionality. As far as post-apocalyptic films go, this one is far tamer than most others. Reminiscent of Into The Forest, Here Alone is mostly quiet, but not to be underestimated. It's an interesting film that puts viewers in the shoes of its characters and for that, it deserves some recognition.

 

 

The Overlook: The Windmill

(imdb.com)

For those left with emptiness from the severe lack of slasher films circulating the horror industry right now, look no further than The Windmill. Recently added to Netflix, this under-presented film about a group of tourists stalked by a supernatural killer while visiting Holland's acclaimed windmills, is the closest thing to a straight up slasher audiences will have seen in a while. Even as mystical, occult moments occur, The Windmill is - at a very base level - just a bunch of people being plucked off one-by-one; a tired but consistently entertaining horror convention that has all but disappeared recently.

The cast, while extensive, all do variably well in their roles and when they're killed off (spoiler, it's a slasher), you sometimes care, but most of the time - as is typical for slasher films, you don't. The Windmill stars Charlotte Beaumont (Jupiter Ascending) as Jennifer, a known stowaway with questionable mental stability, Bart Klever (The Pool) as Abe, the bus driver, and Adam Thomas (Altar) as Curt, one of the passenger's sons. The rest of supporting characters are practically cannon fodder, as predictable, but each give worthwhile moments of intrigue.

As noted, The Windmill follows a group of diverse tourists all with storied pasts and secrets as they embark, and later break down, on a road connecting Holland's windmill attractions. The Windmill hosts a variety of twists and turns, a lot more ineffective than not, but is ultimately an easy-to-watch, entertaining movie without stakes. The film's biggest strength is in serving up mid-2000s horror on a silver platter. For such a low budget, they offer worthwhile graphics and some pretty sudden deaths. The Windmill is reminiscent of See No Evil and offers the same level of strange fun.

The Windmill gets weird. There is no denying how odd this movie gets when the slasher aspect gets left behind by a convoluted supernatural plotline that is both confusing and awkward. If the movie had remained somewhat grounded, it most definitely would have been even better. But, as per usual, some horror movies like to add unnecessary distractions that only weaken them. Think how Annabelle went from cult-ghost movie to crazed-Insidious demon; it is that level of transition.

Overall, for a stumble-upon on Netflix, The Windmill is great. It's not terribly acted and is most definitely one of the more bearable additions on a streaming site known for some weak entries. The Windmill is like Chiller network: good for a sleepy night in, but nothing to write home about.