Review: Aliens: Zone of Silence

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While news of alien abductions and UFO sightings seem to enter the mainstream in intervals, the horror industry has churned out a near constant stream of encounter films for years. While many of these have proven to be terrifying endeavors, like The Fourth Kind and Dark Skies, some have used far too many effects, leaving a product that is less than desirable, like Skinwalker Ranch. But still, the fear of the unknown has stood the test of time, whether through creepy atmosphere or the fact that if and when they come, we'll all have little power to stop whatever they choose to do. The latest film to enter the string of alien flicks is Aliens: Zone of Silence, which is currently streaming on Netflix.

Following a young woman searching for her brother after he disappears in a Mexican desert, annoyingly named the "Zone of Silence." Aliens: Zone of Silence is far too similar to alien flicks before it. Like a mixture of last year's forgettable but entertaining Phoenix Forgotten and the indie horror film Banshee Chapter, this search-and-rescue mission has an ending that anyone could have seen coming, but without the horror that'd allow you to overlook it. It stars Sarah Hestler (American Satan), Peter Gesswein (A Plea for Tenderness) and Jed Maheu (51).


Aliens: Zone of Silence might be worth your time if you're looking to lose an hour and 20 minutes of your life with little recollection of how it was spent. But otherwise, it's best avoided. Less likeable and shallower characters leave this half-baked flick feeling like a dud. Sure it's not offensively bad, but in some ways, maybe it should have been. Then maybe it'd infamously be remembered for something; even if that thing is laughable.


Sure, Phoenix Forgotten was just the desert version of the Blair Witch Project, but at least the characters felt more entertaining and the scares were at least somewhat adequate. But, this bland copycat never really makes any progression or moves that haven't been done better a hundred times over. So much of it relies on shaky, broken cameras and bright lights in the sky that the shallow characters never seem to be in the great of danger.


The fact is, Aliens: Zone of Silence is just plain and boring. There are no thrills, no interesting characters and little to zero plot line. Horror films don't have to be perfect, but they should at least fulfill something. By the time Aliens ends though, you'll have instantly moved on, having forgotten what you wasted time on and that is almost worse than wishing you had your time back. 4 out 10.

Review: Mayhem

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The workplace can be a jungle of uncertainty. Especially in competitive office spaces where even the smallest moments can unravel into failed promotions and blacklisting, jobs can seem almost deadly. Whether it’s dealing with annoying and sometimes manic coworkers or an infuriating boss, some offices are unbearable. Capturing this are a recent string of workplace horror films, most recently done in Mayhem.


Starring Steven Yeun (The Walking Dead), Mayhem follows an unfairly fired employee of a large white-collar corporation where a virus that causes you to act out your worst impulses is released into the air system and the entire complex enters lockdown. Mayhem works through some cheap ploys with poignant and campy comedy and fantastic acting. Other actors include Samara Weaving (The Babysitter), as Yeun's character's love interest, Steven Brand (Teen Wolf) as the buildings big boss figure, and Caroline Chikezie (Aeon Flux) as a cut throat coworker.


The film's strengths most definitely come in its crazed charm. Despite at times feeling strikingly similar to The Belko Experiment  Yeun and Weaving are each powerhouse performers who ooze both chemistry and personality. Even the obtuse and over-the-top side characters like the one played by Chikezie or her assistant are entertainingly juicy. The cast oozes cheese and whether or not it's intentional, it certainly works in favor of the film. Had things been so serious and glum, the resulting product would not be nearly as enjoyable or worthwhile.  


For fans of The Office or any of a number of shows or movies covering the very serious lives of coworkers in an office, Mayhem is a true change of pace. This isn't a soft workplace comedy or a serial drama. Instead it plays like a comic; consistently gritty, but with a sense of graphic-novel novelty. The premise is simple but the execution is all too delectable, making Mayhem worth the mayhem. 6 out 10.

Best in Show: Thanksgiving Horror (Part II of II)

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5. The Awakening
In horror, the proper atmosphere can go a long way. This is why a film like The Awakening is so incredible. Dull and hazy, this movie is chilling. The Awakening is cold. It's the type of film that features a world where every single character is unwaveringly chilly. Even the ending does little to satisfy the onslaught of breezy dread that'll make audiences want to curl into a ball. Like so many movies on this list, there are no warm inviting evenings or cold, but comfy nights.



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4. Alien Abduction: Incident in Lake County
When the original The McPherson Tape - later remade as the larger budget, Alien Abduction: Incident of Lake County - first came out, it was met with the type of fervor a real life unexplainable experience might have. People watching thought what was happening in the movie was true and although it's aged a bit, the horror remains just as terrifying. A mockumentary with plenty of steam in its engines, this movie follows a family settling in on a Thanksgiving dinner when an electric outage leads to the uncovering of a UFO. Filled with terror, the Thanksgiving dinner quickly becomes absolutely horrific chaos.





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3. The Visit

Despite the snow on the ground, there's something very Thanksgiving-esque about The Visit and its kitschy setting. Without direct mentions to any holiday seasons, viewers can easily settle in to a film that is most definitely set outside of Christmas or Chanukah. With mostly warm grandparents, foods baking in the oven and sweaters galore, The Visit has this familiar and cozy atmosphere - even if the eventual reveal is everything but. The Visit is sometimes comical, sometimes tense and in the beginning, very homey, making it the perfect movie to curl up around and watch.

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2. Kristy

Explicitly set during a college's Thanksgiving vacation, the indie slasher, Kristy, has never gotten the love it deserves. Spooky, dimly lit and incredibly ferocious, this film follows a student who decides to stay back on campus while most students go home. From empty corridors to entirely empty buildings, the film's isolation is something completely opposite of typical Thanksgivings. But, it's spot on this list is more because of the fact that it’s a great movie that is specifically set during Thanksgiving, even featuring its own very college dinner.

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1. The Witch

Want to feel like Thanksgiving is upon us?Watch The Witch. Easily one of the most iconic horror movies of the modern era, this period piece seems destined for November viewing. Inclement, grey weather, the constant threat of winter and the colonial characters are sure to immerse audiences in a world where a Thanksgiving feast is absolutely necessary but absent. The Witch is a stunning film; whether you're a fan of horror or otherwise, yet its best reserved for a time after Halloween when winter is upon us and stomachs crave turkey and corn.

Best in Show: Thanksgiving Horror (Part I of II)

Despite the horror of spending time with extended family around a table filled with food, Thanksgiving has remained a relatively untouched topic in horror. Sure, some films do touch on it and one, rather obnoxious killer turkey film (Thankskilling) is out there to enjoy (?), but pickings are slim. So what separates this list from any other fall horror list, well the films that made it on our Thanksgiving Horror countdown are movies that are either directly related to the pilgrim holiday or help set up the cold winter ahead. They're brooding, dark films lit by candles and backed by transitioning weather.

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10. Boogeyman

Boogeyman isn't a great movie, but it's one of those films that is actually set around Thanksgiving, warranting tis inclusion on this list. Unlike outwardly bad films like the aforementioned Thankskilling, there is real potential with this film. While it is otherwise wasted on cheap jump scares and quickly aging plot devices and tension, this ghoulish story does provide some sense of nostalgia for typical mid-2000s horror. Currently in a bit of a dark ages, these movies may be reflected on fondly in years to come for their cheap tricks and cracked acting.

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9. Hush 
Is Hush about Thanksgiving? Is it even about a family? No and no. But, what it is is a movie that finds a young woman, staying warm in otherwise cold weather, hunted by a man in a hat and jacket. The cold evening is obvious in this one and will chill you to the bone. Like many of the movies on this list, it's a bit of a stretch but in the world of autumnal movies, this one is definitely set later in the year. There are no warm oranges or nights in a sweater y a campfire. It's clearly not winter, but it's most definitely not before Halloween.

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8. The Village

There are plenty of reasons to have qualms with The Village. Critically panned and relatively predictable, the one thing this M. Night Shyamalan film gets right is it’s deeply fall atmosphere. The small, cut off town at the center of this movie is deeply unnerving, but also extremely communal; something those hesitant to celebrate Thanksgiving will resonate with.

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7. Shelley

An IFC Midnight original, Shelley is a prenatal Danish horror movie featuring plenty of warm flickering lights and chilled woods. Set in a remote cabin, Elena is tasked with being a live in maid for a couple with sinister intentions. Easily one of the more underrate films of the last few years, Shelley is a sleepy and bone-cold movie that'll leave viewers deeply unsettled. Definitely more of a late-fall movie than a spooky Halloween flick, Shelley may not feature a feast, but it does feature enough transitional climate to make the perfect film to watch on Thanksgiving.

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6. Howl

There's something very cold and distant about this indie werewolf flick. Filled with dark scenery, Howl is a British horror film that takes place entirely on a train. The exterior shots are rainy and dense fog continuously rolls through. Add on the brooding forest surrounding the stranded and jacketed passengers and this movie's tone is undeniably chilled. But, unlike wintery films featuring characters trotting away from dangers in the snow, these victims can all run - that is, if they don't get caught first.

Review: The Babysitter

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For as long as horror movies have been around, the fear of the outsider coming into a home has existed. Whether it is a step-parent, a salesmen or a babysitter, horror movies have made quite a market for suspicious guests and their terrifying actions. More recently, movies like Orphan and Emelie fought to ensure that audiences were more cautious when letting others into their homes, and the latest Netflix original, The Babysitter, attempts to do the same.

The Babysitter follows a young (?) boy and his eventful night with a babysitter he is secretly in love with. Left far too frequently by his out-of-love parents the boy has a uniquely close bond with the teenager (?). That is until he discovers that after bedtime, his guardian is actually involved in occult rituals with friends. The Babysitter stars Judah Lewis (Demolition) as Cole, the charge of Bee, played by Samara Weaving (Monster Trucks). Supporting cast includes Emily Alyn Lind (Enter the Void), young scream queen, Bella Thorne (Amityville: Awakening), Hana Mae Lee (Pitch Perfect), Robbie Amell (ARQ), and Andrew Bachelor (Meet the Blacks).


Each of the characters is awkward and poorly established. Weaving is the only bright spot in a film brimming with poorly timed jokes and bad acting. Lewis seems uncomfortably old to have a babysitter and even more so to have a bunch of Tonka trucks lying around. He's simultaneously pubescent and prepubescent in his character development. Coming across as at least a young tween, but with room décor, style sense and a lack of agency, he is childish and awkward to connect with.


A veneer of camp attempts to cover the mediocrity and low-brow, immature humor exhibited in The Babysitter. The gore is gratuitous but is neither entertaining nor sickening. Instead, it looks like a Disney Channel film gone PG-13. It's hard deciphering who this film is meant for. The filmmakers seem to have wanted a film meant for a young adult audience, but the cast never has enough of an edge, the humor is neither smart nor naturally obscene enough to warrant interest.


The Babysitter a grossly dated coming-of-age film that's more cringe than spirited. Perhaps if The Babysitter had a clearer direction, better writing and a premise that didn't feel obnoxious, there'd be something redeemable. But, the fact of the matter is, this movie, its dialogue and the tossed together ensemble of zero-chemistry actors leave a bad taste. 3 out 10.

Best in Show: Quick Binge Television (Pt. II of II)

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5. The River (ABC)

In one of the most outlandish, yet adventurous shows in recent memory, ABC's The River brought found-footage to television. Set in the Amazon, this one-season series was an underrated gem that may be gone, but shouldn't be forgotten. Beset at the disappearance of her travel show-hosting husband, Tess Cole and her son, Lincoln, travel to the jungle and become deeply involved in a swirling - and terrifying - mystery. Although sometimes chaotic and misguided, The River deserved better than its raw deal and is a short, must-see for fans of the subgenre.





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4. Harper's Island (CBS) Fleshing out a slasher plotline into an entire series can be a harrowing task. Whether it’s the difficulties around establishing enough worthwhile characters that are loved, but also expendable, or creating an interesting enough mystery to keep audiences interested. This subgenre has found some interesting results on television. In shows like Slasher and MTV's Scream, the success and horrors have been limited, often oversaturated in melodrama between protagonists. But, in Harper's Island, rampaging murder found its home. Grossly underrated with an end twist that would shock even the mo0st diehard Lost fans, Harper's Island floundered in ratings, despite its fantastic premise, terrific cast and engrossing death scenes.

3. American Horror Story: Asylum (FX)

Largely regarded as one of the best American Horror Story seasons, Asylum brought Ryan Murphy's cast and crew to an insane asylum for the critical hit's second installment. Deeply terrifying, this season featured everything from religious themes and slasher aspects, to odd sciences and aliens. Perhaps too stuffed with, well, everything, Asylum seemed to be in a constant, entertaining identity crisis. With all the well-done and intersecting plethora of subplots, there was something for everyone to love, but also something for everyone to hate. And, while there are some messy critiques to be made, the end result was something totally original, compelling and horrifying.

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2. The Enfield Haunting (Sky Living)

Before The Conjuring 2 swept the box office and won over critics with its own retelling of the infamous Enfield Poltergeist, Sky Living's miniseries, The Enfield Haunting, shook UK viewers to their core. Scary and well told, this controversial story is executed with great precision. It's dark and brooding atmosphere is sure to chill bones and it's action packed 3-episode layout makes it feel like a long, but terrific movie. Those who missed it on the first go around should do all they can to locate it and watch. It's a strong, forceful rendition that challenges the prowess of Wan's creation.

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1. American Horror Story Murder House (FX) 

American Horror Story: Murder House helped herald in a new generation of horror television. While other programs existed and will continue to exist years after this fantastic creation, nothing will ever touch the pure surprise of Murder House, its amazingly accomplished cast and the heart and devotion to horror that rests in this shows core. Easily one of the scariest installments of the series and by far the best laid out, Murder House exceeds as a horror show and a moving and compelling piece. Near flawless in its execution, each character, visual and scare were thoughtfully put together to create something all could enjoy. Even when the going gets a little gory for some, it always wrapped back to something mass audiences could know and love. Murder House is something that'll never be recreated or recaptured. It was a fleeting moment, but one that'll be remembered for years to come.

Best in Show: Quick Binge Television (Pt. I of II)

For years, horror television has been on an upward climb to the top of entertainment. Shows like The X-Files and The Walking Dead have amassed large, dedicated fan bases, while older classics like Are You Afraid of the Dark? and The Twilight Zone continues to sparkle in the back of our minds. But, the former are long-running and if behind, near impossible to catch up on, while the latter are great on single watches, but are episodic anthologies that don't need your love or adoration for the consistent characters. That's why this week's list covers shorter series (vague term, oh well) that you can sit down and watch in, say, a week. Miniseries, limited series and concluded shorter series are all included to ensure, no matter the time constraints, there's something to watch and invest in.


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10. Channel Zero: Candle Cove (SYFY)

With the release of the follow-up to the limited series recently debuting, there is simply no better time to watch the self-contained 6-episode SYFY original, Channel Zero: Candle Cove. With terrifying puppets, some great camera work and cinematography, this series builds a spooky atmosphere that'll engross viewers more every episode. It's loopy and twisting plot is odd, but will maintain interest and while some of the acting is a little mediocre, the characters and story are all entertaining enough to keep it all worthwhile.

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9. The Exorcist (FOX)

The second season of this FOX television show has just started airing, but left behind are much of the original cast and story first featured. The first season is a call back to horror classics, most namely The Exorcist of which it considers itself to be a direct sequel of. The second season will continue the unraveling story of two central characters, but their move to a different home and family will surely make the first season feel terrifically separate. The first season is arguably largely underrated, as it keeps a firm line in mainstream horror territory, rather than taking the plot in an action, drama or arthouse direction. Sure, there's a central family that'll tug at the heartstrings, but this show isn't made for anyone other than horror fans, and for that, we should be appreciative.

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8. Dead Set (E4 - now on Netflix)

Based on the British version of the reality show, Big Brother, this 5-episode series brings the zombie apocalypse to a group of hopeful reality stars trapped and cut off from the outside world. When things start to go haywire, it's pretty clear that something is wrong, but for our \contestants, what exactly is happening begins as a mystery. This show is gory, sometimes a little comical and with a fantastic turn by breakout star, Riz Ahmed (The Night Of), it's a must-see.

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7. American Horror Story: Roanoke (FX)

Despite its complex premise, this UnREAL-like season of American Horror Story, is one of the most organic and straightforward of the season. Featuring a sleuth of actors, characters and actors who played characters, this show-within-a-show is creative, and honestly scary. With some cheap jump scares, some terrifying tension and an unravelling plot that leaves a bloodbath in its wake; Roanoke was a welcome change from the limited series' convoluted artsy years.

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6. IT (ABC)

Before Bill Skarsgard took over as Pennywise the Dancing Clown, Tim Curry starred as him in the iconic IT miniseries. While its graphics are dated and the plot gets a little off the rails, this ABC series gave viewers plenty reason to be afraid of the dark. Featuring an equally absurd and horrifying clown demon, IT tells a story nearly everyone knows now. And, while the new one is a fantastic entry in Stephen King's world, the original miniseries is quite the accomplishment that shouldn't be forgotten.

Review: Gerald's Game

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Often left to fill supporting roles or evil antagonist ones, middle-aged to older characters in horror movies are rarely central. Even films where the couple is older, their teenage kids are often the focus. Movies like Insidious brought a stronger sense of centrality with Lin Shaye's Elise, but even these characters are almost always left to be the mystical medium or ghost hunter. Bookshop owners, groundskeepers, parents; all of these titles are given to older actors and actresses in the horror industry. But where are the starring roles? Where are the roles featuring the childless couple stalked or haunted on a remote plot of land? Well, Gerald's Game offers just that.

Adapted from the 1992 Stephen King novel of the same name, Gerald's Game follows a couple looking to revitalize their relationship at a vacation home in rural Maine. Upon arrival, the pair encounters a large stray dog before the husband sweeps his wife into the bedroom. There, he spices up their intimate life and handcuffs her to the bed. He then proceeds to have a heart attack and die, leaving her trapped.

Gerald's Game stars Carla Gugino (Sucker Punch) and Bruce Greenwood (Hollywood Homicide) as Jessie and Gerald Burlingame. The pair works absolutely fantastic with each other, despite some visible age differences. Throughout the film, Gugino is the truest star, holding most of the dialogue, tension and plot on her back alone. She creates an accomplished character that entraps the viewer in her emotions and struggles. But, Greenwood is also great as a banter-providing vision in Jessie's slow descent into insanity.

Throughout the movie, viewers can expect to be horrified, disgusted and moved. Despite its single - although beautiful location - this movie provides quite a rollercoaster of emotion. As predictable as the dog's reappearance is, there's nothing placid about its mangy animal unpredictability and instinct. The inclusion of a man "made of moonlight" provides some terrifying and mysterious fodder to the thrilling story and the eventual attempts to escape makes for something brutal and wincing. The glossy and well-shot setting, dim and spooky, is perfect for the fall and by the film's end, audiences should feel sufficiently terrified. The film suffers a little from pacing, as many slow burn films do. But, it gives enough padding and direction to maintain interest; a testament to Gugino's abilities as an actor.

 

2017 could be named the year of Stephen King. With two successful adaptations already strong-arming the media industry this year, King's prolific work proves to transcend time. But, where IT found its sparkle in the courage of youth, Gerald's Game finds its strength in the perseverance of the experienced and well-traveled. It's a dark and brooding film with a soul that'll pull heartstrings and scare simultaneously. Gerald's Game is a slow-burn that'll leave you crispy. 7 out 10.  

Review: Little Evil

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After the success of Krampus, it seemed like comedian Adam Scott could transition to just about anything. From countless roles in indie comedies and romance films to his turn as Ben Wyatt in Parks and Recreation, his career is filled with plenty of iconic gems. His recent role in the Netflix original, Little Evil, continues Scott's trend in the world of indie projects.


Little Evil follows Scott's Gary as he interjects himself into the lives of Samantha and her son, Lucas, played by Evangeline Lilly (The Hobbit) and newcomer Owen Atlas (Astronaut Camp). Lucas proves to be a troubling young boy with possibly sinister roots. He, along with Samantha, continuously face difficulty and despite Gary's best efforts, things don't seem to be looking up. Little Evil is a parody of films like The Omen and plays out in similar fashion.


Scott, Lilly and Atlas try their best throughout the film but to no avail. Scott's role is too similar to better written ones before it. Lilly and Atlas aren't much better. Lilly isn't ever given a chance to shine as she spends the majority of the film as a loving mother and while Atlas has the chance to play a creepy kid, he doesn't seem to understand the art of the cold stare or unsettling quietness, something necessary to join a line of terrifically terrifying kids. The one piece of light in this film is Bridget Everett's (Patti Cake$) much needed role as comic relief character, AL.


Perhaps it’s the lackluster, far-too-predictable jokes or the pure lack of scares - two factors that made Krampus extremely effective - but, Little Evil seems out of touch and bland. Stale and blatantly advantageous of Scott's typical brand of humor, everything about Little Evil feels unnecessary. Like a cheap rip off of a better film, Little Evil is less an accomplished piece of work and more like a knockoff Dory the Searcher coloring book you'd find in a 99 cent store. Little Evil tries its best to convey low brow humor but without the commitment to make it comically tasteless. Some parts seem more bent on creating a loving family angle rather than tear into horror movie tropes using comedy.


Little Evil is a movie that's perfectly comfortable in its mediocrity. Never exceeding expectations or eliciting a laugh more than a few times, this film didn't need to be made and probably shouldn't have been. It's got very little working for it and a multitude of things working against. Sure, there are moments of heart, but they're quickly ditched by very boring placidity. Little Evil could be perfect as a stumble-upon watch on a rainy day, but there are far better options available in any occasion.

Review: The Transfiguration

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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.

The Overlook: Demonic

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A recent trend in horror movies is uniting criminal investigations to exorcisms. Movies like The Exorcism of Emily Rose and Deliver Us from Evil and Fox's The Exorcist TV series paired cops and detectives with ongoing or aftermath discoveries of butchered victims, occult symbols and often, a couple survivors. While sometimes repetitive, these movies and shows offer fresh takes on humans interacting with demons and the devil. That's why 2015's Demonic is worth a watch.

Recently added to Netflix, Demonic follows a group of friends who enter a haunted house and get more than they bargain for. Alongside these flashbacks are a detective and psychologist attempting to solve the eventual massacre of the teens. Demonic stars Maria Bello (Secret Window) and Frank Grillo (Warrior) as psychologist Elizabeth Klein and Detective Mark Lewis, respectively. Cody Horn (End of Watch), Dustin Milligan (Schitt's Creek), Scott Mechlowicz (EuroTrip) and Megan Park (What If) play the group of teens, with Milligan starring as troubled young man with disturbing dreams. His character John, Horn's Michelle and Mechlowicz's Bryan are the only remaining members of the party upon the police's arrival.

Demonic has a lot of flaws. From some shaky acting from supporting characters to some mediocre story points, there's a lot to criticize. But at its center, there's still something entertaining about this movie. Milligan is absolutely fantastic as the central character and possible murderer - even if his character has some inconsistencies. Had the filmmakers left him more solemn throughout, rather than give him some jokey moments, his character would be even more solidified.

Additionally, the nonchronological storyline, while interesting comes with its own host of issues. Most importantly, the aftermath scenes are far more entertaining than the typical and at times, overly conventional teens-exploring-a-haunted-house ones. But, while this film could have fallen completely into the waste basket, these later scenes mostly focusing on Bello's and Grillo's characters provide plenty of buffers. Both Bello and Grillo bring a heightened level of acting to some of the weaker characters and cast.

This movie isn't perfect. But, in a constant craving for more, horror fans can rest assured that empty space will be filled. It's a movie that revels in its basic functions, but provides enough jump scares and star power to drive it home. Demonic is a great choice for a casual afternoon, even if not necessarily a horror-filled night.

 

 

 

The Overlook: We Need to Talk About Kevin

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Sometimes, the scariest movies are the ones that feel all too real. Films that seem pulled from the headlines can make for the darkest, most unsettling times. From Jaws to The Strangers, these kinds of films make anything seem plausible. They scare generations out of the water, inspire people to lock their doors and ultimately, live their life more cautiously. That's why We Need to Talk about Kevin, while grounded in reality, is most definitely a worthwhile horror film.


We Need to Talk about Kevin intersects and winds around the eventual imprisonment of Kevin, a high school student with a disturbing personality. From childhood, his mother is troubled by his existence and his actions, and her role as a mother is disjointed and questionable. As the film progresses, Kevin's acts get increasingly intensive, ending horribly for those around him. We Need to Talk About Kevin stars Ezra Miller (Perks of Being a Wallflower) in the title role as Kevin, Tilda Swinton (Doctor Strange) as his mother, Eva, John C. Reilly (Kong: Skull Island) as the somewhat oblivious father, Franklin, and Ashley Gerasimovich as the innocent daughter Celia.


One of the best parts of this movie is, without a doubt, its amazing actors. Each command so much attention to their roles- even the young Gerasimovich conveys so much emotion that it’s hard to find weaknesses. Swinton and Miller play off of each other perfectly. Their ability to capture such intrinsic features like Eva's internal battle between motherhood and hatred for her son and Kevin's disturbing slow boil, make for some great moments. Even the typically comical Reilly gives a truly ignorant, but level-headed portrayal as a father who just wants the best for his family.


From the get-go, viewers may not fully realize the extent of Kevin's quirks. But, by the end, they'll be looking for psychopathic signs in others. One particularly unsettling moment involving Celia will be engrained into the brains of audiences. It’s such an effectively amoral and stark attack that heartstrings will definitely be tugged, and viewers will definitely be upset. We Need to Talk about Kevin gives plenty of these scenes. Ones where viewers will want to stop, but will be unable to. They'll be simultaneously turned off by the atmosphere, but continuously compelled to delve further until the film finally ends and the credits roll.


Through and through, no one will turn away from this movie. It is dark and incredibly passionate. From opening to close, We Need to Talk about Kevin is something incredibly special. Its acting, pacing and climactic moment all culminate in something that must be seen. Whether you're a horror fan or a fan of family-centered dramas, this movie's prowess is undeniable. It’s now streaming on Netflix.

The Overlook: The Invitation

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With slow-burning horror all the rage right now, it's only natural that more and more indie filmmakers are using their limited budgets to create films needing little effects and a whole lot of atmosphere. For horror films, sometimes, the best things in life are cheap or free. That's why altering things like lighting in a home, filming empty doorways or utilizing unwavering expressions can be great tools to scare viewers without ever needing CGI or costly practical effects. 2015's The Invitation fits into this category of movies.

More thriller than horror, The Invitation is sure to please even those less inclined to being scared. But, with enough sprinkling of horror conventions and creepy atmosphere, The Invitation has quickly become a favorite of devoted horror fans and critics. It follows a couple attending a dinner party of the man's ex-wife and mother of his recently deceased child who, for unknown reasons is very, very different. After meeting another man in a support group, the ex-wife is a completely different person. Seemingly unhinged, the ex-wife and her new husband begin unfolding dark plans.

The Invitation stars Logan Marshall Green (Prometheus) and Emayatzy Corineadli (Miles Ahead) as dinner guests, Will and Kira, and Michiel Huisman (Game of Thrones) and Tammy Blanchard (Into the Woods) as odd hosts, David and Eden. With each being stellar in their respective roles, the film's reliance on its characters exceeds expectations of indie films. Blanchard is especially terrific as the unsettling and deeply troubled Eden and her relationship with Huisman's David is incredibly profound and disturbing. The characters are all great and even when the movie loses control in its climax; they all come across as grounded.

The movie is, in its entirety, well put together. Every moment is cohesive and purposeful. As it slowly bubbles to a boil, The Invitation will have completely engrossed its audience. The subtly utilized by director Karyn Kusama (Girlfight) and work of cinematographer Bobby Shore, make for a truly compelling film that's sure to sit deeply in viewers and scare them. Nothing about The Invitation is typical. Even when predictable, this film will surprise audiences. Viewers will know something is about to happen, but when it does it'll come with such force that they'll lurch into their seats. Ultimately, there is a strength backing The Invitation that is undeniable.

 

Review: Man Vs.

(imdb.com)

Reality television is one of America's most peculiar institutions. By far one of the most hated, but also one of the most often watched, reality shows collect some truly odd characters based in real life. Subverting this in what is perhaps the most post-modern, meta ways, numerous filmmakers and networks have made a move toward reality television shows that are knowingly scripted. Shows like Lifetime's Unreal, or the comedic Bajillion Dollar Propertie$, are scripted series featuring similar formats that either follow fictional contestants or the fictional production teams behind the camera. Seeking to tack itself onto this blossoming genre is the Canadian horror film (newly added to American streaming sites), Man Vs.

Like all of those Discovery channel shows following a man entering the wild to live on his own, Man Vs. is a near literal interpretation of these series. The film enters the horror genre however, about midway through when strange moments quickly become horrifying events and our main character comes face to face with something otherworldly. Man Vs. stars Chris Diamantopoulos (The Three Stooges) as host Doug Woods. He is the film's main focus and carries much of the movie on his back.

The biggest setback of Man Vs., outside of some truly awful visuals is the leads confusing personality. Diamantopoulos' character is disjointed since he's simultaneously supposed to be a courageous outdoorsman and television host of a show now in its third season, but is somehow instantly afraid of going in to what seems to be a simple forest. Even before anything bad happens, he is inexplicably wary of this adventure. Had he gone in confident and with little worries, perhaps the story would be more believable. This is the film's major flaw and one that'll set the tone for subpar results.

It's important to note that the filmmakers instantly receive credit for the movie's original plot. While the whole isolation thriller is very been there, done that, making the character a television host who intentionally sets himself up for a struggle, feels fresh. Even if not always true to actual production, one of the strongest aspects of Man Vs. is that it does offer that insight into reality television that media junkies crave. Similar to what Lifetime's Unreal has done for The Bachelor franchise, Man Vs. swipes much of its inspiration from survival shows like Man Vs. Wild and Survivorman with entertaining results.

Man Vs. is a relatively slow burn with very little rounding out a straightforward survival tale gone wrong. In various moments, there are efforts to showcase something new and scary, and at many of those parts the film manages to make ground. But, with an oddly established character, bad CGI and a relatively leveled plot, there isn't quite enough to make Man Vs. a homerun. While watchable, Man Vs. could have used a little more. 5 out of 10.

 

 

 

The Overlook: Viral

(imdb.com)

Recently, I wrapped up a list of best outbreak horror films. Mostly hefty in subject matter and rarely easy on the eyes, the movies listed included pandemics like the ones seen in Contagion and 28 Days Later. In fact, finding a pandemic horror movie that is suspenseful and scary, but still has air to it, is difficult, Movies like Cabin Fever 2 may provide some form of this but these are typically too cheesy and foolish to matter, which is why finding Viral on Netflix is pretty great. Serious, but ultimately easy to engage with, Viral is a teen horror film that works.

Viral follows two sisters, played by Analeigh Tipton (Project Almanac) and Sofia Black D'Elia (Warm Bodies), who must face an oncoming pandemic without their parents. D'Elia's Sofia is the more serious, level-headed of the two and Tipton's Stacey is reckless, often choosing her boyfriend, played by Machine Gun Kelly (Nerve), over safety, Each of the three are particularly effective at conveying the young spirit of negligence, even if at times they try to take the outbreak seriously. A party scene in particular, fully captures this immature essence as even Sofia, breaks and decides to participate in the evening's events.


With the exception of the name "Stacy" joltingly called out one too many times early in the film, the film is pretty heartfelt and entertaining. The characters are all strong in their choices and work effectively off of one another. The movie's last scenes where one of them contracts the sickness are effectively moving and never cheap or over-the-top and its short runtime definitely ensures that the audience won’t be too bored.

Viral probably won't impress diehard horror fans, but it is in no way as bad as some of the industry's most annoying teen horror movies. Whereas movies like Ouija and The Bye Bye Man strongly adhere to a middle ground; incapable of truly scary moments in a dedication not to fans, but instead to making money, it's clear that Viral wasn't afraid to take chances. Viral is effective because it draws on tropes but never allows those to supplement for story.

Viral is a pretty great low-stakes pandemic film; its lightning- fast pace making it a speedy, but suspenseful watch. The film benefits greatly by feeding on and then overcoming the typical hallmarks of teen horror; dumb decisions, a pair of snarky sisters, a dumb boyfriend and no parents in sight, all work in tandem to create an atmosphere that's youthful and buoyant, providing a typically unseen point of view for outbreak films.

 

The Overlook: The Exorcism of Molly Hartley

(imdb.com)

There are hundreds of exorcism movies out there. From the classic, The Exorcist, to the critically acclaimed The Conjuring, many horror movies at least feature some form of possession and eventual exorcism. However, like any movie subgenre, a surplus doesn't necessarily mean an abundance of quality and for streaming sites like Netflix and Amazon Prime; these subpar movies have seemingly found a home. Sifting through the worst can be difficult, but if done well, can lead to some rough gems like The Exorcism of Molly Hartley. 


Offering the compelling point of view of a character ardent in her awareness that she knows what is happening to her, The Exorcism of Molly Hartley feels fresh, even if its special effects and execution of possession staples are weaker. The film takes place almost entirely in a psych ward where the lead character Molly - played by Sarah Lind (WolfCop) - is swiftly brought after killing two random side characters. Here she encounters our supporting cast of characters including a stunning Gina Holden (Harper's Island) as Dr. Hawthorne and former priest John Barrow, played by Devon Sawa (SLC Punk). Sawa is noticeably weaker than the other two, but luckily for the film, Lind and Holden are powerful enough to persevere.

Despite a blatantly low budget and questionable production value, The Exorcism of Molly Hartley is an entertaining flick worth a watch. Molly Hartley has all of the hallmarks of exorcism films - featuring displaced voices and references to the occult - and the film wastes little time establishing the story's backdrop; helping make a film that's far better than it could have been. All of this, paired with an original setting and a lead actress who makes the most of the material she's provided, make The Exorcism of Molly Hartley good enough.

The Exorcism of Molly Hartley has a twisting plot that'll leave viewers wondering what events are supernatural and which are clearly made up in Molly's head. Naturally, given the fact that it's a horror movie, audiences will tend to agree with what Molly believes is happening to her., but the film offers enough contrary positions to keep the film moving  Even the use of the tired "rogue exorcist" trope is forgivable given the film's other efforts in originality.

As noted, The Exorcism of Molly Hartley is nowhere near award-worthy. But, for all of the awfulness that fills out streaming sites' edges, this piece of work certainly feels like one of the best. Molly Hartley does take some time to win over viewers but once the legwork is done, this film becomes quite the entertaining romp with an especially effective ending.