The Overlook: Burning Bright

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You ever sit down, watch a movie, dislike the movie, but see it all the way through because of the passive enjoyment you received from it? That's pretty much the situation for Burning Bright; a film, that like many animal attack films before it is good entertainment, even if it’s a bad movie. Whereas, a movie like Backcountry is simultaneously good stylistically and story wise as it is thrilling entertainment, Burning Bright is only worthwhile under the pretense that you probably won't care so much. The choices made by filmmakers, including the problematic use of a son with autism, won't win any points in class or tact, but there's something still so enjoyable at the core of the B-horror Burning Bright.


Currently streaming no Shudder, Burning Bright follows a financially struggling sister and brother and their absentee step-father-turned-guardian as they - quite literally - get caught up in a cat-and-mouse game with a tiger during a hurricane. The film stars bon a fide scream queen, Briana Evigan (Sorority Row) as Kelly Taylor a college-hopeful who feels trapped taking care of her sibling after her mom's death, Charlie Tahan (I Am Legend) as Tom Taylor, the brother with autism, and Garret Dillahunt (Deadwood), as Johnny, the worthless step-father without a care.

Trapped in the house without a place to go, Burning Bright makes the most of its confined spaces. From the get-go, it's pretty obvious who released the big cat from its cage and fair warning: the horror portion of the film doesn't begin until 30 minutes in, but this movie offers enough bang in its tiny package to make something fans of the subgenre will like. Additionally, fans of Evigan will be pleasantly surprised to see that, once again, she's able to hold some of the film's flaws on her back. She's a proven force in the genre and despite all of the movie's dated-feel, can make it seem just as good in a world of slicker, more accomplished films.

Perhaps it is the level of escapism presented by Burning Bright that makes it so watchable. Viewers won't be able to help thinking what they would do in a similar, although ridiculous, situation. One particular scene, where Kelly is trapped in a laundry room provides some terrific tension and perfectly captures this level of simulative thinking.

Will you love Burning Bright? Chances are, honestly, no. But, what you get is what you pay for and for a film like this; it’s definitely a find worth some value. Evigan's Kelly is great and Dillahunt's terrible role is just as fulfilling. The gratification alone, given by the somewhat predictable and comical ending, while cheap, is definitely amazing and it’s hard not to be enthralled by all the happenings in Burning Bright.

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: Fear, Inc.

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Dedicated horror fans often complain about how, over time, they've become desensitized to scares. Even movies that terrify most come across as placid to some aggressively consuming audiences. Playing off of this, some filmmakers have attempted to address these problems head on. In the Scream franchise, horror movie buffs who are seemingly ahead of the killer then become victims and in The Houses October Built, the insatiable desire to be scared took a turn for the deadly when a group of friends look for the best haunted house of their lives. This is basically the foundation of last year's Fear, Inc.; a horror-comedy that shows once again what happens when someone bite off more than they can chew.

Similar to Houses October Built, Fear, Inc. features a group of friends who get caught up in a horror service that takes things very, very far. But, with enough differentiation and a healthy dose of blind comedy, Fear, Inc. is iconic on its own. Opening with a horror fanatic who thinks he's setting his friends up with a company responsible for scaring, this film quickly devolves into a twisting and horrific film asking what limits actually exist in a contract and the question, "who is pranking who?"

Like The Houses October Built, Fear, Inc. brings together a wickedly strong ensemble that is able to balance horror and comedy, given the ridiculousness of the plot. The true star and most definite scene stealer is Lucas Neff (Raising Hope) who plays horror junkie, Joe Foster. His character is the funniest and most blankly accepting of his situation. He adds a lighthearted tone to what could be a very dim film. His girlfriend, Lindsey, is played by Caitlin Stasey (Reign), and Chris Marquette (Freddy vs. Jason) plays his best friend, Ben. The cast is rounded out with Stephanie Drake (Mad Men) playing Ben's wife, and Mark Moses playing the leader of Fear, Inc. 

With so many twists, Fear, Inc. is an unexpectedly good movie. Each of the actors is game for the wild roles they play. Whether being hunted or being tricksters, these characters will completely engross the viewer who will surely be content with whatever they're watching. Fear, Inc. also has a fair set of scares to balance out the comedy. Between some truly energetic deaths and Neff's uncanny ability to seem so unaware and invested in what he believes is a prank, Fear, Inc. gives some truly great moments.

Overall, what makes Fear, Inc. so special is its originality. It toggling between entertainment and horror is cringe-worthy in the best way possible. Even while viewers see and know that the characters have something to be afraid of, the band of friends still accepts it as a joke. This type of disruption is so perfectly captured it's hard to deny this movie as addicting.

The Overlook: They Look Like People

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Anyone who's ever been in any type of school knows what it's like to do the majority of the work on a project. So considering the immense amount of work and time required to create an entire film, this undertaking would seem unimaginable for most. For Perry Blackshear though, writing, directing and producing a particularly good thriller, seems to come easy. The Look Like People is undoubtedly deserving of audiences time, given the amount of effort that must have gone into its creation.

Following close friends who reunite in New York City; The Look Like People is a psychological mind bender. MacLeod Andrews (Tuesday Morning) stars as the downtrodden and possibly disturbed Wyatt and Evan Dumouchel (40 Days and Nights) plays as Wyatt's friend, Christian. Throughout the film, Wyatt is troubled by his belief that humans are being replaced by other worldly creatures setting the stage of the apocalypse. The movie mostly plays out in Christian’s apartment where they try to resolve the potential doom of humanity and figure out what is real and what is not.

They Look Like People has numerous twists and turns and despite being somewhat guessable, maintains a sense of suspension. When the two men are trapped in Christian's apartment and Wyatt begins to break, you feel for both characters whose lives are being turned upside down by some dark force, whether it is real or supernatural. Even when Wyatt makes actions that would deem him villainous, it's hard to root for his downfall, after all he's recently broken up with a girlfriend and is clearly going through some crisis. This is where They Look Like People works best- discovering the humanity underneath the chaos.

If every movie has its flaws then the flaws of They Look Like People are hidden well. Sure, with an obviously smaller budget, some choices were limited, but even somewhat lesser-known actors and a few muddled moments can't sink this ship. It's the type of movie that while sometimes confusing, makes sure to wrap back for its lost viewers by the end. They Look Like People is a knowingly weird film, but it's also unsettling and will easily draw in art-house and horror fans alike.

 

 

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.

 

The Overlook: In Fear

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For filmmakers attempting to break new ground in horror, coming up with new settings seems to be the way to go. From films that take place way up high like Flight 7500 to ones that venture beneath the ground like The Descent, a horror film that goes some place new always adds interest. That's why 2013's In Fear deserves recognition.

In Fear tells the story of a new couple who become deeply lost in the Irish countryside on their way to an isolated music festival. The majority of the film takes place in the couple’s car as they're pursued by an attacker in the dark. In Fear comes with all of the problems faced by a car-based horror movie, from wayward signs and a broken navigator to low fuel, and because of it, the movie sometimes crosses into conventionality. But, what saves this film is an overbearing sense of dread and claustrophobia which truly makes In Fear worthwhile. In Fear stars Iain De Caestecker (Shell) and Alice Englert (Beautiful Creatures) as the newly formed couple, Tom and Lucy, and Allen Leech(Downton Abbey) as Max, a stranger they encounter on the back roads.

In Fear is a relatively easy movie to follow, but definitely comes with some unsettling twists and turns. As the couple set out for the country side after a tiff at a bar and proceed to get lost on random roads, the growing sense of alarm creates compelling tension that will make viewers brace themselves for whatever happens next. Then, as the sun sets, the truly eerie feeling of In Fear sets in. We've all been there - on a backcountry road under the cover of night, where everything seems like endless darkness. This is where In Fear truly thrives.

The film's acting is also spot on. For Englert and Caestecker, their ability to work as a fledgling couple is innately truthful. The subtly at which they function - close with possible love on the horizon, but still early enough in their relationship where anything could end it, is noteworthy and for Leech not much needs to be said as prior credentials include the acclaimed Downton Abbey. This cast of young actors is certainly above averageness and deserves recognition for their ability to work with a very grounded idea and make it superb.

There are flaws in In Fear, but none are quite noticeable to make an impact on the resulting product. Some parts could be more clearly laid out, but the film as a whole constantly raps back to make sure viewers weren't left behind on the last bend. In Fear also makes the most of its indie camera work, making basicness feel closer to home.

You know that feeling you have when you're in complete darkness and you start to hear a ringing in your ear? That is essentially the base of In Fear. There are scares mixed throughout, but it is the overarching presence of nothingness that is truly terrifying. It's a quieter film, but one that is nonetheless, impressive.

The Overlook: Demon

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It can be really hard for foreign horror films to break into American markets. Even after finding niche communities just as Under the Shadow and Goodnight Mommy did, foreign horror is a difficult pill for some to swallow. Between focusing on subtitles and still maintaining the scary atmosphere of the film, these movies are pulling double duty. But for those willing and able to multitask, there are numerous gems to be found. While last year's Japanese film, Train to Busan certainly deserves the recognition it receives, the quieter release of the Polish horror film. Demon should not be "overlooked."

Directed by Marcin Wrona (The Christening), Demon follows a young couple as they wed. Throughout the dreary and drunken reception, strange occurrences create for one of the most insane spirals from fun to glum in modern horror. Possessed by a dybbuk, groom Piotr, played by Itay Tiran (Lebanon) is the true star of the show, but his bride, Zaneta, played by Agniezska Zulewska (16.03), is equally stunning. The pair is flanked by a host of supporting actors playing family members and local village people.

Demon is a slow burn. It consistently bubbles like the muddy ground from which Piotr discovers a body. At varying times, it burns so slowly that viewers will feel lost figuring out what is really happening and what is only being seen and felt by Piotr, but ultimately, Demon trucks along toward a climactic ending. The moments that work best are those where Piotr breaks into his possession and those featuring Zaneta or her father's attempts to cover up the problematic night with additional booze. The drunken night makes for increasingly confused, but ultimately complacent guests who only propel the film forward.

Visually speaking, Demon is compelling. Faintly lit and consistently damp, the old farmhouse setting of the film is filled with shadows. The dank spaces, contrasted with that of the barn reception create the type of atmosphere other filmmakers should take note of.

It's hard to pick out many flaws in Demon. It's more simplistic approach to horror never escapes realism. Even when production gets out of hand or the acting gets a little ridiculous, the film relentlessly recaptures attention to it's strange and dark plot. There are moments of cultural relevance that create an almost educational customs experience for foreign viewers and while the language barrier may be a turn off to some, it's never truly distracting from the tone set.

Demon is the most nightmarish wedding witnessed. Imagine getting uncontrollable food poisoning on the day of your wedding and still choosing to carry on that is essentially the film's plot. Only, apart from the fever, things are much more sinister and for viewers looking for a truly creepy ride, Demon should settle their cravings.

The Overlook: Shelley

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Titled "The Overlook," these articles are meant to give more exposure to movies the nine readers I have may have overlooked (get it?).

From Rosemary's Baby onward, prenatal horror has developed much like the fetuses of their subgenre content. Seemingly ready to explode, pregnant mothers in horror have reached somewhat of a tipping point. Whereas years ago an occasional movie would have a woman facing her possibly doom at the hands of a questionable birth, now the prenatal ward seems overrun. Even movies who's focus is away from the pregnancy, like Annabelle, feature pregnant women fighting off an inside threat.
 

However, just like in any over-saturated subgenre, small gems might just peak through (see the addition of Train to Busan to the zombie one). This is the world where we find Shelley. Telling the story of a live-in maid named Elena who agrees to have her employers baby, Shelley is a slow, dreary burn. From its beginning moments, director Ali Abbassi showcases an innate ability for character development. That, paired with outstanding turns by the three leads- Ellen Dorri Peterson (Blind) as Louise, a heartbroken mother with issues,  Cosmina Stratan, (Dupa dealuri) as the maid Elena and Bjorn Andresen (Gentlemen) as the concerned husband with twisted intentions, all work well to captive viewers.

The resulting product is compelling. Sure Elena's employers are odd, but their intentions seem good and their hardships are difficult not to feel empathy for. Every character seems intimately woven to matter and they each begin loving enough, in fact, it's only when the oddities begin that the viewer is given any pause as to the couple. This is where the film turns it's attention and becomes less subtle. From a witch doctor with questionable credentials to the plethora of awkward stand offs between the two women, Shelley becomes quickly unsettling.

Shelly is sometimes lethargic - it's placid, woodsy backdrop and candlelit rooms could make a grown elephant sleepy, but that's part of what makes the movie so special. It's alluring and atmospheric setting makes settles you in, only to pull the rug from you at the film's climax.

Shelley is quiet, its subtle surroundings and rather peaceful landscapes provide a contradictory façade. It's setting working alongside the dark and bubbling plot, propelling Shelley past boredom.

It's currently on Netflix, so literally 98 percent of the world has no reason not to see it.