Review: Desolation

(imdb.com)

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.

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



(imdb.com)

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.

(imdb.com)

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.

(imdb.com)

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.

(imdb.com)

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. 

(imdb.com)

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.

(imdb.com)

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.

(imdb.com)

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.

(imdb.com)

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.  

(imdb.com)

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.

(imdb.com)

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.

Review: Woodshock

(imdb.com)

Despite what can feel constant ignorance of award shows and critics, horror movies - even modern ones - often go hand-in-hand with art. Brimming with metaphors and featuring some of the best camerawork in the business, horror films can be tasteful and fantastic pieces of cinema. Movies like The Witch and most recently IT are genre films deserving of recognition, and even films like The Neon Demon are more reliant on its art than its horror. So why is it then, that when these artful indie horror movies are bad, they're incredibly bad? Well look no further than Woodshock.

Written and directed by costume designer sisters Kate and Laura Mulley, Woodshock is exactly the type of movie you'd expect from costume-designers-turned-first-time-directors. Missing a concrete plot and dosed in antiquated furniture and décor, this film follows a woman who becomes infatuated with a mind-altering drug. It stars Kirsten Dunst (The Beguiled), Joe Cole (Green Room) and Pilou Asbæk (Game of Thrones).


Kirsten Dunst who has thankfully been on an upward trend in the past years has never seemed more lost in a role. Melodramatic and one note, the troubled young woman she plays is less inspired and more stiffly automated. The emotional depth that she found in films like The Beguiled and on the television series Fargo, are gone and in its place is a woman simply going through the motions of an indie thriller with little depth.  The one brighter spot in this film comes from Asbæk who is the most understandable character throughout.


Nightmarishly bland and unnecessarily sheepish, this drearily artsy film has little substance even if it’s somewhat pleasing to the eyes and ears. In an attempt to find meaning behind the film, it's clear that the directors chose eclecticism and tack on as many spiraling, reflective objects they could find and hoped for the best. The fact is, underneath it all, this movie is distant and cold - its characters feel flat and drifting.


Woodshock will likely be forgotten and it’s probably for the best. No matter its deeper meaning, its purpose or the creators' intention, nothing feels realistic or interesting in what ends up feeling like a tossed together piece. There's obviously a vision, but it could use a revision and then maybe another. Dunst and the others deserve better than this muted kaleidoscope of a movie. So do critics and viewers. 3 out 10.

Review: Super Dark Times

(imdb.com)

In a landscape of ghouls, ghosts and aliens, sometimes thrillers featuring ultrarealistic horrors can be overlooked. Movies like We Need to Talk about Kevin are deeply disturbing because of the actual accounts they've pulled inspiration from and the possibility of its terrifying plot happening to you or someone you know. Others like The Gift or The Invitation are a little more outlandish, but also ground themselves in scares that feel authentically human. Similar to these is the indie master class in tension, Super Dark Times.

Easily one of the most impressive thriller releases in years, Super Dark Times is a sinister coming-of-age film following a group of friends covering up the accidental stabbing of one of their friends. As each are experiencing all that comes with being a teenager, they increasingly become unhinged in an attempt to maintain some sense of normality. Super Dark Times stars Owen Campbell (As You Are) Zach, Charlie Tahan (Charlie St. Cloud) as Zach's more introverted best friend, Josh, Elizabeth Cappuccino (Jessica Jones) as Zach's love interest, Allison, and Max Talisman (Children of Ether) and Sawyer Barth (Public Morals) as aryl and Charlie.


Campbell is especially effective given his trotted territory of coming-of-age films like the lighter Perks of Being a Wallflower. He conveys a sense of burdened youth that is truly compelling to watch. But, the others are nearly as fantastic. Tahan's ability to present a struggling young person and Talisman's purposeful annoyingness are all well thought out and executed. Then there's Barth who's younger character is also one of the film's most strong-willed.


As the movie plays out with its fantastic cinematography and camera work, viewers can expect to be enveloped in this grim world of hazy tones and New York suburbia. The tense atmosphere culminates to an impending dread and while there are no big surprises here, the terrifying intrigue never dies down. Everyone knows this movie won't have a happy ending because, unlike pure fiction, the grounded story of Super Dark Times suggests that everyone - no matter their intentions - pays for their actions and choices.


Super Dark Times is a brooding and terribly dismantling film. It's disturbing plot, reminiscent of the violence acted out among youth in real life, hits close to home. It's beautifully shot, filled with tension and ends with the type of foresighted explosion that still doesn't take any of the punch away. Like so many movies before it, Super Dark Times wants you to know what's going to happen, but makes it more disturbing than originally thought. 8 out of 10.

 

 

Review: The Transfiguration

(imdb.com)

Since Twilight snatched the vampire subgenre, it’s been difficult to find serious, incredible horror movies about bloodsuckers. While a movie like What We Do in the Shadows gave fans some of what they crave, the film was most definitely a comedy. Even 30 Days of Night, while terrifying, did little to give faith to the subgenre's legs. Revival seems far off, but for those needing a fix, The Transfiguration should do just the trick.


The Transfiguration is a simple, odd feature grounded in reality, but dark to its core. Following a troubled youth with a pension for blood-sucking, this movie is a chaotic spiral and portrayal of mental health, loss and trauma. Milo is in a bad situation; recently recovering from the loss of his mother and working to make ends meet with an admittedly young, immature brother. He meets another social outcast named Sophie, and together, their odd personalities mesh and coagulate into something more disturbing and out-of-touch. The Transfiguration stars young up-and-comers Eric Ruffin (The Good Wife) and Chloe Levine (The OA) as Milo and Sophie, respectively.


This movie is very obviously an indie. It’s a quiet and bubbling slow burn with an eerie and simplistic soundtrack to boot. The Transfiguration may not be the easiest thing for fans of more straight forward horror to devour, but both Ruffin and Levin are terrific. The pair - while fresh - play their roles perfectly; working in tandem to draw viewers into their budding friendship with dreadful precision. There is something so deeply unsettling about the movie's suspense. Even in its quietness, audiences will suspect the film's tension and the badness that'll stem from its characters decisions.


It may feel a little liberal to call The Transfiguration a horror movie, but it should be acknowledged as such. It's got some troubling, devilish moments that cut through its more drama-based plot, and when the viciousness does happen, it comes with such force it’s hard to deny the film's horror-fueled heart. The Transfiguration is a beautiful, but obviously grim coming-of-age film; its character-driven storyline giving viewers a point-of-view that'll leave them in despair, rather than in satisfaction at their concluding story. 6 out of 10.

Review: Awaken the Shadowman

(imdb.com)

Ever walk into a horror movie, not expecting much but leaving pleasantly surprised? It's a rare occurrence, but one that is welcome. So often, horror movies are harshly criticized on for their tell-all trailers and poor unraveling. But sometimes, there's more to appreciate as a viewer than critics would suggest. Awaken the Shadowman isn't one of these cases. While the intent is there, the recently released Awaken the Shadowman isn't the most offensive film, but it'll surprise no one in its simplistic and underwhelming unraveling.

Awaken the Shadowman follows a couple who return home after the husband's mother disappears. A drunk and lonely woman with a suspiciously connected support group, the man's mother is somewhat of an enigma; collecting random trinkets and making odd decisions. She's the type of character that could have been used much more effectively in what becomes a rather typical cult film. The film stars Jean Smart (The Accountant), who makes a strong effort in her dead role as the substance-abusing mother of Jake and Adam, played by Skyler Caleb (Waking) and James Zimbardi (Watertown), respectively. Adam's wife, Beth, is played by lily Somers (Reboot).


Like many poorly laid out movies featuring mediocre B-horror conventions, Awaken the Shadowman is incredibly slow and makes some incredibly blatant mistakes. Throughout there are an array of inklings of hope; off-center characters and some built in suspense, but a tacky soundtrack and some audibly painful dialogue make what could have been an average film about a cult, something far less. Themes observing the bereavement process, as well as substance abuse are problematic and never progressing, and even when there's a jump toward some sort of symbolism, the movie decides to backtrack into flat mediocrity.


It'd be a lie to say that the filmmakers don't have some inspired tense scenes and scares, but nothing about these moments feel new or groundbreaking. Similar ploys have been done better in less original films, but they are at least well-rounded. The scattershot horror of Awaken the Shadowman makes the film watchable, but certainly not worthwhile. It's a film that makes effort to impress but falls short at every turn.


Awaken the Shadowman isn't a disaster, but it isn't great. It's the type of horror movie that is best overlooked, but on the chance you're viewing list has run dry, it's not the most painful endeavor. In the world of dentistry, Awaken the Shadowman is more a cavity than a wisdom tooth extraction, but it's definitely not a routine cleaning or polish. 4 out of 10.

 

Review: We Go On

(imdb.com)

The horror genre is broad; often seeping into an array of other industries in an attempt to amass critical acclaim and draw in new audiences. Indie films like Into the Forest are heralded by critics and sometimes lauded by audiences who felt duped by these types of movies' lack of straight up scares. But, the definition of horror is broad and making the club exclusive to only a certain line is only detrimental to the genre. That's why films like We Go On are important.

While on the surface, We Go On may seem like a horror movie - it follows a man who picks up a ghost after witnessing his corpse - this film doesn't follow any particular formula. It's more of a character piece drama that observes a character so bent on living his life in fear that he finds it hard to exist. And, while the decomposing ghost he often witnesses is unsettling, it's not overtly terrifying; and it doesn't have to be. The Shudder exclusive We Go On is a really well-done, small movie. It's got a quizzical plot and a strong direction that sometimes becomes muddled but, definitely pulls through.


We Go On stars Clark Freeman (YellowBrickRoad) as Mark, a mentally fragile man looking for proof of an afterlife. Annette O'Toole (Smallville) plays his caring mother, Charlotte, and Jay Dunn plays the overdosed ghost, Nelson. Freeman is an interesting casting choice and one that may confuse some viewers, but for those open to his character's struggles, will be a welcome change to the typical idea of what a mentally unstable man would look like. On the outside, you'd expect Freeman's Mark to be a strong-willed character but the filmmakers make a point to showcase him as especially frail, constantly needing his mother's reassurance. At the very least, it's interesting.


We Go On isn't the scariest movie. But, what it lacks in scares it makes up for in an interesting plot and good acting. As Mark sets out to meet candidates who can prove an afterlife, the audience encounters three very different forms of paranormal experts. The combination of them and the mythologies surrounding each could be expanded on in a better world, but each is welcome additions to horror films which typically focus on one. The film takes a little while to establish itself, but once the hoaxes are over and Mark stumbles on the body, things truly pick up and make for a solid, if not at all a little unsatisfying ending.


Overall, We Go On may be too much to swallow for some. There are random scatter shots that disrupt the film's entertaining and original concept, but ultimately for those willing to barrel through, there is certainly enough to appreciate. Freeman is an unexpected surprise and an effective lead, the plot line is compelling enough and there aren't really strong enough flaws to do too much damage. We Go On isn't the best, but for a movie that's trying to do something different, it's certainly worth it. 6 out of 10.

 

Review: Dead Awake

(imdb.com)

When 2015's The Nightmare was released, sleep paralysis became a mainstream and well-talked about topic. So naturally, the horror industry, in a continual effort to provide new and exciting stories, would attempt to capitalize on fans' renewed interest. The most recent of these films, named Dead Awake is an unfortunate elaboration of the disorder. Like sleep paralysis, Dead Awake is a film trapped in its place - never really pushing itself in any direction.  Similar to Nightmare on Elm Street but without any of the campy fun or genuine scares, this movie will surely be forgotten.

Dead Awake stars Jocelin Donahue (The House of the Devil) as twins Beth and, more notably, Kate. Unfortunately for the young horror alumna, Donahue comes across as lackluster. Whether it's the jarringly plain plot or balancing two characters at once that throw her, Donahue's performance is nothing like her stellar turn in The House of the Devil. The cast is filled out with Lori Petty (A League of Their Own) as Dr. Sykes, Jesse Bradford (Flags of our Fathers) as Beth's boyfriend, Brea Grant (Dexter) and Jeffrey Reddick (creator of the Final Destination Franchise) as her friends, and Jesse Borrego (Con Air) as a mysterious outsider. They too are all relatively flat.

From the get go, Dead Awake is flimsily set up; sacrificing its potential for baseline storytelling and predictability. The film falls into place in perfect linearity. When Kate enters her birthday party, the camera pans to each of the potential victims and viewers can quickly figure out what's going to happen, in what order and with what retribution. They'll hope there will be some break away from the norm or even some entertaining death scenes and scares, but this film accepts its mediocrity and embraces it.

The film never really works to become a lovable indie release. It's got glossed over aspects that seem more similar to bigger releases, but even this isn't done well enough, and the mediocrity running through its vein and a host of lackluster jump scares only perpetuate a cycle of contrived storytelling. Dead Awake is far too pragmatic, shooting for complacency rather than excellence in a way that feels lazy, rather than daring.

Dead Awake plays too deeply into typical horror formulas - featuring everything from a kind, but ignorant psychologist to a mysterious foreigner, but it never compliments this plainness with anything joltingly terrifying or fun. It is a truly bland experience and by the time it's wrapped, if viewers haven't fell into a deep slumber, chances are they'll believe their time could have been better spent napping. 4 out 10.

 

Review: The Devil's Candy

(imdb.com)

While disturbed men with questionable mental statuses and the crimes they commit may not feel fresh or new, IFC Midnight's latest distribution, The Devil's Candy somehow impresses.  Between the edgy, metal family at the center of this thriller and the dread felt throughout, The Devil's Candy is the one of the most refreshingly disturbing films of the year. It's the type of movie where every cliché and typical plot point is overcome with a sense of renewal. There's the man in an orange tracksuit who has all of the telling signs of a criminal and a family that moves to a secluded farmhouse, and yet, there is enough in this film to keep it relevant and ultimately, terrifying. Clocking in at less than 90 minutes, The Devil's Candy offers jackrabbit pacing infused with deeply embedded, human fears.

 

As noted, The Devil's Candy follows an artist father, played by Ethan Embry (Late Phases), as he and his wife, played by Shiri Appleby (UnREAL), and their daughter, played by Kiara Glasco (Christmas Magic), move into a recently reduced-price home. Turns out, the prior owners had died, leaving their voices-hearing, tracksuit-wearing adult son, played by Pruitt Taylor Vince (Constantine), homeless. Things spiral out as the father's artistic vision becomes intertwined with the demonic actions of the tracksuit man. Sounds like a lot to keep track? The movie is surprisingly easy to follow despite it's complex backdrop and for a horror film, that's a good thing.

 

The Devil's Candy benefits from a really, really outstanding cast; both Embry and Glasco do equally fantastic in their role as a tight knit father-daughter duo - sometimes acting more like friends than a parent and child pair. Embry is good at playing an artist who begins to lose track of time; his crazed eyes and shaky body doing giving all the more physical substance to the role and Glasco most certainly has a future if she wants to stay in horror (I see future final girl in her future). Then there is Appleby who is particular stunning and surprisingly effective as a more level-headed mother turned scream queen. This movie rests solely on us feeling attached to this family, and the resulting film has a lot to thank the cast for.

 

Other noteworthy aspects include a fantastic score and strong camerawork. The score itself builds a lot of tension. One place this is certainly commendable is in a flash sequence of Embry's character painting interwoven with the tracksuit man sawing and cleaning a body. It's stellar work like this that moves this film past basicness. Here is also where some of the film's best camerawork comes into play. With such a short runtime, The Devil's Candy certainly makes a lot of strong moves to engross audiences. Side note: for the HGTV-lover, the move-in montage is especially fun.

 

The Devil's Candy shows that while supernatural events may occur, the most evil things are surprisingly grounded in humanity. The tracksuit man may be possessed, but he also may just be disturbed; his life inexplicably interwoven with the visions of the father. Stranger things have happened and crimes have been more supernaturally solved. One thing is clear though:  as a well-shot, well-acted, ungodly tense film with little time to spare, The Devil's Candy is a taut thriller worth watching. Whether 

Review: Arbor Demon





(imdb.com)

Camping can provide quite the adventure on its own, add in horror elements and traversing in the forest quickly becomes a nightmare. Movies like 2014's Backcountry and Preservation, or the classic Blair Witch Project, gave those looking for it, a startling look at what can go wrong when you go into the woods without proper preparation. Queue this year's Arbor Demon. Quietly released and lesser known, Arbor Demon leads audiences into a camping trip gone horribly wrong when a group of hunters unsettle a monster that invades their site.

Arbor Demon is a creature feature that no one asked for but any fans of the subgenre will be fine with. While poor in practical effects and makeup, the feat of placing the movie almost entirely in broad daylight is pretty daring, and for that it earns points. The film stars Fiona Dourif (Cure of Chucky) as Dana, the girlfriend who sets the whole trip up, Rob Bouton (Crackerjack) as her boyfriend, Howard, and Jake Busey (From Dusk Till Dawn) as one of the hunters, Sean.

First: the problems. While both Dourif and Bouton make worthwhile efforts to establish a relationship that seems believable, progress is consistently muddled by Busey.  Busey seems pulled from the street into this movie and both his acting and his character hobble Arbor Demon. Whereas a third party in a movie about a loving couple normally is used to build the storyline and provide outside insight, it feels like Busy's hunter inserts himself in too plain and obtuse ways, seeming less natural and more like commentary that you'd hear on a bonus disc, not the film itself. As previously said, it is also important to note how bad the monsters look in this movie. Like an episode of Face Off where multiple people are sent home, there is not a lot to please the eye in Arbor Demon. It's a great little movie with a lot of potential but, the big reveal is definitely offset by what looks like a Walmart mask.

Arbor Demon does offer its fair share of positives though. For a creature feature, it's surprisingly low-key and grounded. Its final moments are over the top, but throughout the movie, nothing really happens that makes you laugh unintentionally. In addition, its spin on horror- using daylight, rather than the cover of night, also lends a hand to the movie's desire to be different. Arbor Demon isn't particularly scary, but for what it lacks in scares, it certainly makes up for in aspiration.

Arbor Demon feels like an early 2000s SyFy channel movie. Between nostalgic fades and weirdly placed music interludes, it actually becomes a fun throwback. Sure the pacing and some of the scares aren't great, but there's something simple about Arbor Demon that makes it entertaining enough. I give the movie 5 out of 10 tents because that's where the majority of this movie takes place.

Review: SiREN

(imdb.com)

In 2016, a low-budget creature feature can be hard to pull off. Between the CGI-blasted action movies and the quiet visual effects of the fantasy genre, this subgenre has become somewhat of a poster child for mediocrity. Bad graphics simply do not work like they used to. And, if they don't work, you better hope and pray that something else about the movie does. This weird middle space is where we find 2016's SiREN. Lesser known than some of the other indie releases of 2016, but certainly passable, SiREN feels like a horror movie that should be worse than it is. As a feature length adaption to Amateur Night from horror-anthology, V/H/S, SiREN shouldn't work as well as it does.  Expanding a short story or film is a difficult task but one SiREN seems unafraid to take on.

SiREN follows a group of groomsmen and a soon-to-be husband on the night of his bachelor's party. When a night of mediocre strip clubs and drinking takes a turn for the unexpected upon venturing into a unsettling, niche strip club, things quickly unravel. As it turns out, one girl is being held captive, and the friends decide to help her escape. Then- plot twist, maybe she wasn't endangered because she actually was the danger. The film stars Chase Williamson (John Dies at the End) as groom Jonah, Hannah Fierman (V/H/S) as the captured Lily, Hayes Mercure (New Girl) as should've-been best man Rand,  and Justin Welborn (The Final Destination) as creepy club owner, Mr Nyx.

What drives this movie the farthest is its plot. While beginning rather shallow, the transformation of helping Lily escape from Mr. Nyx to finding out that the friends actually needed to escape Lily is definitely entertaining enough. In fact, by the time viewers reach the final climactic moment, they will be drawn into the film, unable to escape. There are definitely weaker parts in the movie; some scenes seemed tossed around to expand the length of the film, but there is enough going on and enough velocity in those going-ons to keep audiences watching.

The biggest problem in SiREN is its actors. While Williamson, Fierman Mercure and Welborn are fine enough, the supporting cast however, is weak at best. The odd, leech-haired woman, most of the other groomsmen and various outsiders all bring this movie down a notch with overacting and cheese. Surely some of this felt intentional, but most of them just felt like a part of a film school project. The movie's other problem is, as noted in the first paragraph, the graphics of the monster. At first, the mysterious Lily seems like a ghostly and terrifying seer, but when her wings spread and her teeth show, the Splice-like creature is less compelling and more meh.

 

SiREN is a great movie to watch on a cold, rainy day when you have the time. While it may not be theater-worthy I will not deny that this movie kept my attention long enough to finish. Its eccentric feel, final scene and entertaining plot line make for an easy watch, even if flaws hold it back. I give this movie 6 out 10 giant, sharp teeth.