Review: Desolation

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IFC Midnight has become a sable in the horror industry; churning out its share of fantastic flicks and the occasional dud. Luckily though, for fans constantly looking for the next horror film, IFC Midnight delivers in plethora. And for that, horror addicts should be thankful. One of their latest releases, Desolation, finds its light in the characters who bounce off of each other perfectly.

Following a recently widowed woman, her son and best friend on a hiking trip gone wrong, Desolation takes home invasion deep into the wilderness for a slow-burn that's somewhat tepid but unsettling nonetheless. Desolation stars Jaimi Paige (Peacock) as Abby, the mother of Sam, played by Toby Nichols (Iron Fist). The film also features Alyshia Ochse (True Detective) as Jen and Claude Duhamel (Valentine) as the mysterious stranger the trio encounters.

Jen is obvious cannon fodder to bolster the otherwise impossibly tiny kill count, but it's a shame since the actress is fantastic; a slightly wilder single woman whose confidence is undeniable. Her chemistry with the Paige's Abby - and to an extent Nichols's Sam - truly makes this movie. Without her finesse in establishing a truly special relationship onscreen, this movie could've gone a lot worse.

The plot, while incredibly simple is executed mostly well. The mysterious hiker could have been fleshed out more, but in a real-life case scenario, the victims would never figure out why he does what he ends up doing to them. In some ways, this subtle slow-burn may have actually worked even better if the protagonists received an even brighter ending. The lack of bloodshed could have been more effective had it been even more limited, since what little was shown seemed less like a choice than a fear of pulling the trigger.

 

Ultimately though, Desolation and its short runtime are definitely worth checking out. For the bond between the characters alone, this movie brims with a type of light so often missing from these types of slasher-invasion films. Each of the three is incredibly likeable and noteworthy, even if the fourth member of the cast remains completely elusive. Desolation is simple, taut and other than some flaws, mostly maintains interest. 6 out 10.

Best in Show: Horrors of 2017

In the year that was, the news was filled with plenty of real, terrifying horrors. But, running alongside it and keeping pace were the horror films churned out by 2017. From small-budget indies to big-budget blockbusters, the future of horror was confirmed in this year's fantastic releases. Even among duds like Rings and The Bye Bye Man, fans had plenty of material to devour and to be devoured by. And, while some circuit films have yet to receive a wide release, the movies available to the masses certainly left a mark. This week's list loos at the best horror films of 2017.

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10. A Dark Song

By-and-large one of the most aptly titled horror films of the year, IFC Midnight's A Dark Song plays out like a seething ballad. With darkly comedic moments sprinkled amongst the ashes of this slow burn, A Dark Song features a pair of loners who come together to in the hopes of performing a ritual. The woman, who lost her son, hopes to reconnect with him and the man, whose motives are less sound, pair off perfectly. Their building tension and chemistry between the actors - Catherine Walker (The Clinic) and Steve Oram (Sightseers) - make for a truly compelling experience and the horrors, interwoven with messages of faith

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9. Prevenge
Perhaps one of the weirder horror films to be released in recent years, the British import, Prevenge, is a bit of an enigma. Quirky to its core and blissfully unapologetic, this prenatal flick follows a young, down-on-her-luck pregnant woman, Ruth, who begins hearing the voice of her unborn child from within telling her to murder the annoyances around her. The movie benefits from its incredible pacing. It's a quickly-unraveling, but constantly entertaining story that hosts a ton of odd turns, including a stellar supporting role played by Kate Dickie (The Witch). Prevenge most certainly won't appeal to everyone, but this dark and pointed comedy-horror on motherhood packs quite an uncomfortable punch.


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8. The Void

With a low budget and impressive visual effects, The Void is the rare indie sci-fi film that actually benefits from a lack of expensive CGI. Perfectly balancing the cult and alien subgenres, this movie brings plenty of twists and turns as characters trapped in a hospital quickly realize they're involved in something far greater with far more sinister intentions. The Void makes the most of its simplicity through fantastic characters, ambitious effects and particular style. It's one of the year's must see for fans of the 80s and beyond.

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7. Raw/Super Dark Times
While the supernatural seemed to dominate the horror industry this year, two thrilling, grounded films brought a certain unrestrained intensity to the genre. Both Raw and Super Dark Times tell an unhinged coming-of-age story much drearier than typical fare. Raw, which follows a young vegetarian vet student who develops a taste for human flesh, features a sisterly bond that feels deeply real and deeply personal. Then, in Super Dark Times, a group of social outcasts find themselves at the center of an incident that quickly spirals out of control. Each use realism to instill a sense of long-lasting dread in its viewers. Raw and Super Dark Times expanded the boundaries of where horror could go, focusing less on inherent evil and more on the terrors that come with small decisions and mistakes that can change lives forever.


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6. The Devil's Candy

The second IFC Midnight film to make this list is also one of their best ever. The Devil's Candy is a rock-n-roll, metal possession film oozing with stylistic flair. Featuring a stellar cast, including Shiri Appleby (UnREAL), The Devil's Candy is the rare horror film that features a family that's entirely likeable. Each of the three is youthful, interesting and completely watchable. This, alongside a fantastic score and camerawork make for a movie that is an absolute must see - especially now that it's on Netflix.

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5. The Blackcoat's Daughter

It's been a long year. So long in fact that it's hard to believe that The Blackcoat's Daughter didn't receive a wide release until 2017. One of the most ultimate slow-burns ever in horror, this film could be easily overlooked by fans of the mainstream gut-punching jump scare, but it shouldn't. Both sides of the horror coin matter and can be appreciated, and if any film could appeal to everyone, it's this one. Emma Roberts, who's scream queen resume only continues growing, is absolutely amazing in this film which is full of disturbing twist and turns.

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4. Happy Death Day

While the slasher subgenre seems to have taken a backseat in recent years, Blumhouse Pictures' Happy Death Day proves it still had legs. Bitingly funny, at varying points tense, and wholly entertaining, this Groundhog Day-esque movie is surprisingly stellar. Jessica Rothe shines as a college student who relives the same day of her murder over and over again until she can find out the killer. Audiences can expect to be completely captivated by the film's bonkers premise and execution as Happy Death Day gives new life to a disappearing subgenre.

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3. It Comes at Night

It Comes at Night is The Witch of 2017. Perfectly styled and disturbingly dark, this pandemic-based film came hot off of the festival circuit with rave reviews. Naturally, the wide release was met with similar applause as viewers fell in love with the atmospheric tension that runs deep throughout. The dream sequences are horrifyingly anticipatory and with some gut punches to be expected later in the film, audiences can expect to be thoroughly gloomy after it ends. It Comes at Night doesn't necessarily reinvent the wheel but it does a good job at keeping it greased.

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2. IT

Brimming with nostalgia and hosting a collection of perfect young stars, IT captured almost everything that made the Stephen King book so popular. It may not be the scariest film ever, but it’s certainly one of the highest quality horror films in recent years. There are plenty of genre-bending, moments of terror and even great laughs to make every moment feel justified. Overall, It is everything audiences will expect to see. By offering some great retro style, perfect cinematography and great scares, this film feels like a complete product. IT masterfully executed and a polished reminder that that a big-budget, R-rated horror film can have mass appeal and not lose the insidious scares. Here's hoping for more.

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1 Get Out

One of the most rightfully lauded films of the year also happens to be a horror film. Perfectly pairing political commentary and race with horror and inflections of comedy, Get Out is close to perfection. It's easily one of the best horror films in years and probably one of the best films in general. Props to Jordan Peele and the cast who committed themselves to every aspect of this game-changing creation. Some would probably call the success of Get Out a surprise, but horror fans know all too well how many films are deserving of accolades and so often ignored because of their genre. Hopefully though, Get Out signifies a change in critic culture that neglects to include horror just because it's horror.   

 
Honorable Mentions:

Annabelle: Creation

Recapturing what was lost in the first spin-off of The Conjuring, Annabelle Creation was conventional, but definitely terrifying.

Alien: Covenant
Despite "fan" backlash, this nasty flick features great acting, especially by Michael Fassbender, and plenty of scary action.

Split
M. Night Shyamalan's Split was a nice kick-off to what could have been a down-trodden year for horror thanks to early entries The Bye Bye Man and Rings.

Nails
While nowhere near perfect, Nails is a little indie film with a lot of potential.

 

Worst in Show: 2017 Horror (Pt. II of II)



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5. Wolves at the Door
Horror fans eat up pretty much all types of brutality in film as long as the result is warranted, fictional and generally in tasteful,  good fun. So when the marketed-as-a-horror-film true account of the grisly Manson Family Murders was unleashed in the form of Wolves at the Door, it should have come as no surprise that this unnecessary, distasteful and one-dimensional depiction left little to satisfy viewers. Told through a true perspective with little added depth, this movie would have done far better to stay clear of any real life cults, members or slain victims with living relatives. At least then the very blatant The Strangers rip-off would feel a little more spirited and tactful.

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4. Be Afraid

Indie horror can lead to some pretty great little gems. Unfortunately, Be Afraid is far from sparkling. Confusing, immature and generally dumb, Be Afraid should have stayed out of the public purview. It's a laughable and disjointed little film with little to enjoy and little to write on.

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3. The Bye Bye Man

The Bye Bye Man is a rough film to get through. Melding teen horror, far too many conventional scares and poor CGI, this almost jokey movie didn't raise any hopes for the 2017 year in horror. The Bye Bye Man is filled with unlikeable and generally unreasonable characters with little meat. Like so many made-for-the-masses horror films, like Ouija, this movie felt deeply insincere and unstylish; two things that could have been changed and brought the movie a long way past the mediocrity viewers were left with.

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2. Rings

Objectively, Rings is the worst horror film of the year. In a rare first-person perspective, I've not forgotten how terrible this film was and how more than half of the audience in my theater stood up and walked out midway through. The experience was painful, but unlike anything I'd ever witnessed. No movie I've seen in a theater - big or small - has caused such a unanimous uprising. Tepid, poorly acted and incredibly tension-free, the CGI-fueled Rings felt insulting to both the original Ringu and the American remake. It wholly deserves every criticism it gets, and probably more. In fact, had it not been for one film's release, it would most certainly take the top spot. 

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1. Jeepers Creepers 3

In a second rare first-person perspective, I'm going to declare here and now, that I never saw Jeepers Creepers 3. But almost as objectively as one could look at Rings and personally as a human being, I can say that this movie is surely garbage. Directed by convicted child molester Victor Salva, Jeepers Creepers 3 picks up after the first film and... Well honestly, it doesn't matter because this movie was an offensive cash grab. It's an insult to horror fans everywhere that spend much of their time arguing that the genre isn't filled with creeps and criminals. That's it.

Worst in Show: 2017 Horror (Pt. I of II)

For what has been a mostly stellar year in horror, from big budget masterpieces to smaller indies, there have been a number of misses in the industry this year. So, as the prospects of ripping open some presents begin to take over minds all across the country and much of the world, we're taking a moment to rip open some of 2017's worst horror movies. Like those fantastic releases this year, these terrible horror films come in all shapes and sizes. Sequels, reboots and indies, alike found plenty to groan over. Here are the ones that warrant the loudest noises of displeasure.

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10. Amityville: The Awakening

In Amityville: The Awakening, Bella Thorne continues to jumps deeper down the scream queen rabbit hole and horror fans ask why she's being allowed to. What makes her marketable in these roles? In this film, viewers will continue to wonder. Bland, typical and far less impressive than most haunted house films, Amityville: The Awakening does answer the question as to why it had such a tumultuous release- it just wasn't worth releasing.

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9. 12 Feet Deep  

Winning points for concept, but losing the majority in execution, it'd be easily to believe that 12 Feet Deep would be the claustrophobic thriller of the year. Supposedly about a pair of sisters' fight for survival trapped in an Olympic pool, this movie brings in too many other plot lines in an almost anxious fear of the silent, overarching dread it should have driven (swam?) home. 12 Feet Deep isn't the most offensive release of the year, but it’s certainly one of the biggest let downs.

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8. Darkness Rising

IFC Midnight has been quite a savior for horror in recent years. Distributing some of the biggest names in modern horror, the typically sleek distributors have dealt out some duds, but mostly their releases have been great. Unfortunately, one of their duds - this year's Darkness Rising - is a mark too big to ignore. Annoying, unintelligible and poorly told, Darkness Rising definitely brings the darkness. If only there was something scary within it.  

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7. The Mist (TV Series)

What began as an intriguing recreation of the Stephen King novel of the same name, quickly divulged into a schlocky and redundant piece of bad special effects, mediocre acting and unlovable characters. The Mist isn't a movie and thus it’s difficult to compare to others on this list, but in a way, that makes it almost worse. Given an entire season to bring in the fears and unleash terror on audiences, The Mist serves as a blatant reminder that horror is only good, when all of its pieces work together. Not helping its situation is the previously released feature film of the same name that is far superior.

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9.  Cold Moon

Just yesterday, Cold Moon received a scathing review from HOR(iley)ROR noting it as competition for worst of the year. However, upon reflection, it gets somewhat of a pass in light of movies that are somehow even worse. A mystery thriller with supernatural elements, this film follows the aftermath of the murder of a young woman in a small southern town. Digestible but not much else, Cold Moon feels entirely senseless. The violence? Senseless. The characters? Senseless. And the plot? Completely senseless. In multiple scenes it becomes clear how difficult it must have been to sell this movie to any distributer. There is little rhyme or reason for any of the film's direction and in the end... Well, chances are you won't make it that far.

The Overlook: The Loved Ones

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In horror, subtly can do a lot to add to a film's tension and atmosphere. On the flip side, visual gut punches can make for one hell of a romp. Typically, Australian horror goes for the ladder. Movies like the cult classic, Wolf Creek, and this year's Killing Ground, offer plenty of no-holds barred violence and vivid imagery. Another Australian horror film that shouldn't be missed is 2009's The Loved Ones.

Written and directed by Sean Byrne (The Devil's Candy), The Loved Ones follows a teenager kidnapped by a crazy father-daughter duo after he denies the daughter's offer to attend a school dance together. As per the case with most horror movies of similar premises, the eventual escape attempts, saves and murders are gory bloodbaths of seismic proportions. The film stars Xavier Samuel (September) as the lead, Brent Mitchell whose father recently passed, Robin McLeavy (48 Shades) as crazed Lola, and John Brumpton (Storm Warning) as her father.


Each of the cast members - even supporting ones - are impressively cohesive throughout. They fully commit to their roles and all the ridiculous, over-the-top scenes that follow. Byrne's craft is equally strong. Showcasing a very visible style and direction specific to him, Byrne is anything but typical. This aspect is most visible in a clear passion for heavy metal characters and score. Both in The Loved Ones and the recently released IFC Midnight-distributed The Devil's Candy feature plenty metal music. His films are similarly styled featuring vigorous attacks and unblinking scenes.


Is The Loved Ones scary? Maybe if you're currently enrolled in high school with some people who could possibly be crazed stalkers. Otherwise though, The Loved Ones is much more an insane joyride of gruesome and strange fun. There is plenty to appreciate throughout this movie. From the weird zombie-like people who are suggested to be devolved former victims to the unsettling trashiness of Lola, The Loved Ones would never fit in to the horror mainstream, but it also would never want to.


The Loved Ones is best seen with a sense of levity. Not to be taken so seriously, this dark and troubling film injects enough humor into its core scariness to transcend the horror genre. For Byrne's first film ever, it's definitely an impressive feat. Its quality is high above that of most low budget horror films and is certainly worth finding on Hulu.

Review: 68 Kill

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Grit and gore; two words that make for a pretty wild ride in the world of horror - or at least should. In the best cases, movies that fully embrace gratuitous violence, tap into some shock comedy and make the most of their bottom line, can be amazing little cult films. Films like last year's Green Room prove just how special these cinematic moments can be. In the worst cases, these movies are unbearable foolishness in the worst way. Luckily, IFC Midnight's latest, 68 Kill is more so the prior.  


Written and directed by Trent Haaga (Deadgirl), 68 Kill follows a financially struggling couple who attempt to steal from girlfriend Liza's sugar daddy. In the process, Chip, Liza's girlfriend, realizes just how untamed his wild girlfriend truly is. As the film progresses and the body count rises, 68 Kill becomes a wild ride in low-income suburbia. With plenty of players in the game, Liza and Chips uphill battle becomes even more tumultuous.


69 Kill stars a particularly strong performance by Matthew Gray Gubler (Criminal Minds) and equally as strong, and definitely more terrifying one, courtesy of AnnaLynne McCord (90210) as Chip and Liza. Alisha Boe (Split) is also featured as a witness to the eventual murder of the sugar daddy, and Sheila Vand (A Girl Walks Home Alone at Night), plays a trashy convenience store clerk with her eyes on the prize. These two young stars are powerhouses in a film that offers a fair share of distraction and comedic ploys.


The best thing working for 68 Kill is its willingness to go off the edge. Despite its faltering moments of silliness, this movie offers plenty of comically intense fun. From a scene that so casually announces that Liza's brother has a pension for dismembering young women to the constant and quite literally skull-bashing, 68 Kill never blinks. It isn't nearly as stylistic or polished as the critically acclaimed Green Room, but for fans of that movie, they can expect a similar experience. Its aggressive, unrelenting, but never loses a sense of lightheartedness.


Overall, 68 Kill is more than watchable. It's a romp of a good time and despite some questionably on-the-nose moments that feel almost too off-center, 68 Kill never loses site of its product. The actors are at some of their best, the characters are some of the most daring and while maybe some parts may feel one-note, the result as a whole is particularly entertaining. 6 out 10.

Best in Show: Top Three of 2017 (So Far)

2016 was a pretty fantastic year for horror. Featuring a diverse collection of theatrical and indie released films; it was a year that gave us some terrific sequels and prequels, as well as originals. From the artistic The Witch to the terrifying The Conjuring 2, 2016 proved that some of the best, most original movies were coming from the horror genre. in a sea of remakes, even less well-received films felt newer than some of the more questionable choices in Hollywood. That's why, in 2017, hopes are high. Already this year, we've seen duds and stars, and this week's list looks at the three best, while mentioning some of the worst.

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3. It Comes at Night

While never completely fresh or revolutionary, It Comes at Night is amazingly well-done. It creates such a tense atmosphere that the weight of the world rests on the shoulders of the viewer. The dream sequences are horrifyingly anticipatory and with some gut punches to be expected later in the film, audiences can expect to be thoroughly gloomy after it ends.

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2. The Void

With an amazing marketing campaign, iconic costuming and some terrific special effects, The Void is truly impressive. Balancing a variety of subgenres, this movie is sure to appeal to most movie watchers. Between believable acting, 80s stylizations and an abundance of scares,  the sci-fi cult film, The Void feels entirely new in a genre inundated by similarities. The Void is the rare horror movie that, despite some occasional shortcomings, features so many amazing things, that its hard not to root for. It's a film you want to recommend over and over again, because it is a must see. The Void is fun and scary and encapsulates so much of what horror used to be, it's a welcome throwback.

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1. Get Out

Get Out made quite the splash when it was released. Capturing race relations in the United States within the context of an easy-to-understand horror movie, this film is surely a modern classic. While not scary for the typical reasons, this movie is, through and through, eye-opening, pure entertainment. Its funny, dark and suspenseful. Even as audiences begin to figure out exactly what may be happening, Get Out demands constant attention. It's a thrilling journey and by far the best horror movie to be released this year.

 

Honorable Mentions: Alien: Covenant, Split, The Blackcoat's Daughter and The Devil's Candy

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Dishonorable Mentions: Rings, The Bye Bye Man and Be Afraid

Between terribly timed scares, stuffy atmospheres and mediocre acting, each of these three films fail in very similar ways. They're completely unaware of their shortcomings and fall apart on so many levels that their releases are pretty surprising. Rings, a follow-up/reboot of the original pairs of the American remakes, suffers greatly from awful CGI, unbelievable performances and a plotline that is more nightmarish than the weak scares and atmosphere. The Bye Bye Man is just as bad, featuring nothing redeemable outside of a fun catchphrase. But, like the overly plugged line, this is a movie you shouldn't think about, shouldn't say and most definitely shouldn't see. Then there's the indie release of Be Afraid which even taken lightly given its smaller budget, feels lazy and poorly made.