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: Hidden

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For a movie that came out of nowhere and was seldom seen, the aptly titled Hidden seems to have found new light. Successfully charting on iTunes' horror section and becoming an indie hit, Hidden is the type of revolutionary pandemic film audience's should be compelled to watch. The film first came out in 2015 and was quietly distributed, only found by those who were looking for it.

 Like so many post-apocalyptic films before it, Hidden begins with the typical daily survival tasks of a family of three. However, as the film progresses and the couple and their daughter are forced to leave their home, audiences will quickly realize that this horror-thriller is much more than meets the eye. Hidden stars Alexander Skarsgard (True Blood) as the father Ray, Andrea Rideborough (Birdman) as the mother Claire and Emily Alyn Lind (Revenge) as daughter Zoe.

Hidden is a relatively high-tension film given its title, which as noted seems more meant for its release than its plot. From the opening moments, everything feels uneasy; there are moments of hushed silence, food shortages and the omnipresent monsters in the distant outlook.  The "monsters" (in quotes because, spoilers) are terrifying as they attempt to kill the family and their escape is all the more harrowing because of it.

The second act packs a whopping punch as viewers get their first true look at the outside, post-apocalyptic world. This is where things crank up as the now homeless refugees attempt to find safety in a dangerous world closing in around them. By the time the film reaches its final climactic moment, viewers can expect to be stunned. Like a good M. Night Shyamalan twist, the turn of events in Hidden is outstanding. From the star moment for child actress Lind, to the sub-textual true monsters of the film, Hidden overcomes any practicalities as it makes a mad dash toward originality.

Overall, the biggest strengths of Hidden are its great acting and ability to create unplaced suspense/ Skarsgard is especially good in his starring role and is able to take on the "father" role quite well. Rideborough, while dealt a smaller role, is equally as talented, providing emotional depth to this stark film. As noted, a surprisingly adequate child actor comes into the spotlight with Emily Alyn Lind, who's Zoe is great.

Hidden hides the roar of a lion in its subtle release and title. It's the type of movie best watched at night, with full investment in the darkened bunker that is the family's home. By allowing yourself to be consumed into what looks to be a much simpler movie, the twist becomes that much better. And, even if you start to figure it out early, it doesn't stop it from still being an exciting journey and entry into the subgenre.

 

Best In Show: Possession Films (Pt. II of II)

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5. The Conjuring 2

Horror sequels are tough work. Pulling them off successfully is pretty rare, and when accomplished, deserves many accolades. The sequel to the even more terrifying first, The Conjuring 2 is the rare horror film that continues a storyline without disruption. The choice to follow Ed and Lorraine Warren was a brilliant idea as any number of their case files could be adapted to film. Not to mention both Patrick Wilson and Vera Farmiga are stellar actors who deserve some nominations somewhere for these movies. The Conjuring 2 is a scary, scary movie and the possession of the young girl is great, but The Conjuring 2 is also about far more than the possession, instead the true focal point of the story is on the pair of demonologists.

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4. The Babadook

Because Mr. Babadook has become somewhat of an icon, I actually forgot that at the very core of this film is the possession of Essie Davis' single mother character. The Babadook is an amazing film that goes deeper than pretty much any modern horror movie with the exception of this year's Get Out. It's an examination of a single mother’s constant struggles to deal with a difficult life, and only after this is fleshed out does the possession actually come in to play. The Babadook also wins points for avoiding the over-the-top mystical character that offers advice on dealing with demons and wins points for having such strong central characters and terrifying scares.

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3. The Conjuring

While The Conjuring is maybe one of my favorite movies ever, I consider it to be much more o a haunted house film than a possession. Yes, Bathsheba possesses the mother and yes it's a main storyline, but for all of its amazingness, The Conjuring isn't so much a strictly possession and exorcism movie. I love it and think its terrifying but, it loses points on this list for the fact that there are two exorcist movies that are more deserving. The Conjuring is superbly acted, well shot and incredibly done, and everyone knows this so I won't continue to harp on.





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2.The Last Exorcism

I've heard some mixed things about The Last Exorcism and yet, I cannot see its faults. The Last Exorcism is the most recent full on possession film that has had commercial success. It's terrifying, updated from classics like The Exorcist and is by-and-large, underrated. The Last Exorcism has some of the best scare sequences in modern horror and Ashley Bell's role as a possessed girl in red boots is fantastic. The ending is also really relentless and for all of the tepid responses about how this movie isn't anything groundbreaking, I would argue that it doesn't need to be. The Last Exorcism is a plain Jane of horror- its purpose is solely to scare and intrigue audiences, not make them think. And, on those accounts, it works stupendously.



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1.The Exorcist

Maybe it's to stave off hate or because it's one of the few classics I really, truly enjoy even today, but the OG Exorcist deserves this top spot. It is so iconic and so well done that even today, it's compelling. I originally thought the graphics and pea soup vomit of this film would have been a turn off in the modern era, but this is a movie that cannot be beat. it stands the test of times and I would watch Regan's head spin over and over. The Exorcist is required viewing, even if you don't like old movies.

 

Review: SiREN

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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.