Review: Dismissed

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It's always a little uncomfortable when a child star transitions into adulthood. If done well, this move can come with an entirely new fan base and well deserved accolade. Done poorly and the complete brand change can feel rushed, phony and problematic. Especially in acting, many young stars have found it difficult to move from small screen kid’s television shows to big screen or primetime adventures. Look no farther than Disney which has churned out star after star with some great successes and some awkward failures. Currently on an uptick though, is one of the breakout stars of The CW's Riverdale, Dylan Sprouse.

With his latest feature, an Orphan-esque teen horror film titled Dismissed, the future seems bright for Sprouse, even if the resulting film is ridiculously shallow entertainment. Dismissed follows a new high school student, Lucas, who's hell-bent on receiving an A and getting into Harvard. Things transpire as one might guess when he receives a B on a paper that looks more like a novel than an assignment. Dismissed also stars Kent Osborne (Adventure Time) as the offending teacher, Chris Bauer (The Wire) as Lucas's father and Rae Gray (Fear the Walking Dead) as a victim of Lucas's villainy.


Dismissed is most reminiscent of a Lifetime movie, but with a horror edge. Like a paper-thin Orphan, it definitely is a tossed together project meant to capitalize on Sprouse's recent fame. The plot is far-fetched, the dialogue is often ridiculous and the characters are sometimes flat. Dismissed isn’t even all that interesting given the plethora of other, more superior obsession stories available. Yet, there is something oddly satisfying about this movie.


Despite its many flaky shortcomings, this film finds the light in its actors. Each of the actors is fantastic in their relatively melodramatic and over-the-top roles. Osborne's plays a caring father who will do anything to protect his family well, even if his dramatic dialogue is a bit cheesy and Gray's Becca is scarily gullible. But as mentioned, the truest star is Sprouse who captures the meticulous and unhinged Lucas well.


How does Dismissed end? Exactly how you think it will. This movie offers no surprises, no shock value and very little scares. But as a whole, Dismissed makes it far on its short little legs. It’s an easily digestible, stupidly enjoyable endeavor that anyone could rip apart but most will probably just rather sit around and invest around a television with friends. 6 out 10.

Review: Bedeviled

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Netflix can be a great place to find horror films to watch. But, among the typical favorites there's a lot more that's better left unseen. Films that are so mediocre it feels weird that they'd even be offered. Thankfully, this isn't the case with the easy-to-watch addition of Bedeviled; a movie that, like Unfriended and Friend Request pairs modern technology with horror.

Very much like an extended short, this breezy teen horror flick follows a group of teens in the digital age who download an app similar to Siri. However, unlike the helpfulness of the Apple AI, Mr. Bedevil has far more sinister and tricky intentions. After the death of a friend, the group she was a part of soon attempts to figure out what happened and uncovers way more than they bargained for. Its pinnacle teen horror and definitely entertaining, if nothing else.

Bedeviled is directed and written by Abel and Burlee Vang (Sentient). It stars Saxon Sharbino (American Vandal) as Alice, Mitchell Edwards (Dismissed) as Cody, Alexis G. Zall (Ouija: Origin of Evil) as Nikki, Victory Van Tuyl (Castle) as Haley and Brandon Soo Hoo (Ender's Game) as Dan. Each of the young stars is fantastic playing young phone-obsessed, yet relatively in-depth teens.  The true standout is naturally the central character, played by Sharbino, but in whole these youthful stars seem willing and able to invest in the sometimes cheesy characters that come from teen horror in a way that is refreshing and determined.

Brimming with effective jump scares and camera work similar to films like The Conjuring, Bedeviled isn't the most original or ground breaking, but it is pure fun. And, while it does suffer from some of the glossy any-town finish that seems to always come with teen horror, the youth-charged film is able to surpass expectations and thus, excite audiences. There's just something compelling about this movie that gets more things right than it does wrong. It captures the issues of high school while also steering clear of straight up melodrama and even when it gets a little tedious, it's quickly wound back to a good scare.

Bedeviled won't win over non-horror fans. But, in a world saturated by some truly awful choices, genre enthusiasts should find plenty to hold them over. The cast is great in their roles, the main antagonist is creepy and the jump scares, while somewhat predicable, succeed through creepy voices, jittering limbs and aggressive chase. Bedeviled doesn't try to recreate the wheel but it certainly keeps it greasy-quick. 7 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.

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.  

The Overlook: The Loved Ones

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

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


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


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


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

Best in Show: Geriatric Nightmares (Pt. II of II)

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5. Mary Shaw (Dead Silence)
Before horror director James Wan invested himself into the world of Insidious - feature a horrific ghost lady - he reinvigorated our fear of puppets and the ventriloquists who operate them in Dead Silence. Brimming with jump scares and a genuinely terrifying old lady in Mary Shaw, Dead Silence is deeply unsettling. She is a relentless entity with control over some horrifying dolls. Mary Shaw is easily one of the more underrated horror villains out there, often forgotten alongside bigger projects in Wan’s repertoire.


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4. Woman in Black (The Woman in Black)

Is the Woman in Black an old woman? Maybe not, but her dark, frumpy outfit and ghastly image certainly evokes a sense of geriatric horror. She's the type of character that isn't the most distinguishable in age; after death her ghoulishness isn't easily linked to what her age could have been. While she chases young people more than adults, she is all around scary and will stay caught in your brains for some time.

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3. Deborah Logan (The Taking of Deborah Logan) 

On the list of old people in horror, no one is more worthy of inclusion than Deborah Logan in The Taking of Deborah Logan. While Deborah's feeble stature and disarming personality may make you think you're about to rest easy, be warned, you're about to see something that'll surely keep you awake. Equally endearing as it is horrifying; this found-footage film will make you question the sincerity of your cuddly grandma, but also will you to hold her a little closer. Deborah is, by and large, one of the scariest old women in horror. Whether her mouth is agape or she is simply telling you off as many stubborn old women do, Mrs. Logan is anything but friendly.

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2. Mrs. Ganush (Drag Me To Hell) When Drag Me to Hell came out, it drew the attention of plenty horror fans. Featuring plenty of comical laughs and some eccentric imagery, the film was an enigma among off remakes and conventional horror films. Mrs. Ganush, the witchy villain that curses loan officer Christine is all types of spooky. Her haunting composure, visceral stare and wicked demeanor all make for an elderly character that should strike fear in viewers. The movie's comedy will certainly throw you off, but Mrs. Ganush will constantly remind you that what you're watching is most definitely a horror movie.

1. Nana & Pop Pop (The Visit)

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Talk about a plot twist. At the center of 2015's The Visit is what seems to be a loving - although odd - pair of grandparents, is instead something far more sinister. When Tyler and Becca go to visit the parents of their mother who hasn't seen or heard from them for many years, things start off well enough; cookies, games and plenty of grandparent activities. But, as things slowly unravel it becomes clear to both the siblings and the audience that things are really, really wrong. Nana and Pop Pop are weird, really weird. So weird in fact, that they do things like crawl around in the dark, chase their grandchildren under the porch and say things that aren't quite right. The Visit balances some more comical moments with absolutely terrifying ones. The grandparents are deceivingly old, but by far some of the scariest antagonist in horror history.

Best in Show: Geriatric Nightmares (Pt. I of II)

So often, horror fans turn to creepy children and commend their talent and ability to scare often overlooked but most definitely necessary, elders in horror can provide some truly terrifying moments. This week's list covers the most horrifying old people in horror. So grab your quilts, your knitting needles and a cat because these aren't your typical, loving grandparents.

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10. Old Woman (Devil)

While perhaps too young to be called "elderly," Jenny O'Hara's role as the old woman in M. Night Shyamalan's Devil is everything an older woman in horror should aspire to be. Deceptively innocent and entirely unsettling, O'Hara's character may end up being a part of a relatively predictable twist, but it doesn't stop her from greatness. She's an iconic older female in horror and worthy of this spot.

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9. Mr. and Mrs. Ulman The House of the Devil

Must be the season of the Devil because The House of the Devil has been clearing lists on this blog for the past few weeks. Extremely multidimensional and easily applicable to plenty of horror tropes and angles, this film has a lot to offer. And, when it comes to scary old people, this movie's got it down. The Ulmans are deeply troubling. From their first scene and encounter with Samantha, it's clear something isn't quite right with the darkly lit, black-wearing couple. The unveiling of their sinister intentions won't shock anyone, but the results are absolutely terrifying.

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8. Lorraine Massey (The Shining)

One of the scariest parts of the mega classic, The Shining, is the crazed woman first encountered by Danny in room 237. The Shining is legendary and the horrific Lorraine Massey deserves the notoriety often reserved for the Grady twins. Her character is deeply unsettling. From shape-shifting to her ghoulish figure, she is truly the stuff of nightmares.  Whether coming after Danny or making out with Jack Torrance, Lorraine Massey is a scary reminder that looks can be deceiving and even the least visibly menacing characters can be horrifying.



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7. Minnie and Roman Castevet (Rosemary's Baby)

It's so nice when you move into a new apartment and the neighbors are friendly. But, sometimes, friendliness goes a little too far and the results are downright unsettling. In Rosemary's Baby the elderly neighbors of the Woodhouses are exactly what you'd want to avoid in an apartment hunt. Sure, they come across as sweet and innocent but, like many older characters in horror, this pair is deceptively evil. Kind of similar to the Ulmans of The House of the Devil, this classic and infamous duo never seems quite right in the head.

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6. The Old Woman (Insidious)

While Insidious is filled to the rim with scary creatures, ghoulish characters and ghastly children, it's the old woman in a black gown that is truly at the core of this horror film. What makes her so scary is the fact that she moves subtly through The Further while still maintaining an ice cold grip on her victims. If Josh was any of us, I'm sure we'd be equally afraid to take photos knowing there's a chance she's nearby. While some of the bigger bad spirits in Insidious get some of the scariest scenes, there's no denying the permeating fear and dread presented by The Old Woman's perseverance.

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: 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: 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: Cooties

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Ever watch a movie and think, why? Why does this film even exist? The fact of the matter is, not every movie is necessary. Without a message to drive a story home, many of these films are panned by audiences and critics alike. But if done well, even the most unnecessary film can be worth watching. Whether filled with well-timed scares or even cheap comedy, small indie films can make a big impact by giving audiences something to talk about.  2014's Cooties is one of those films.

While not always best or most purposeful, Cooties is pretty fantastic. Filled with some truly low-brow comedy and an ensemble of strong actors with aggressive character choices, Cooties is the type of movie that'll inspire no one, but entertain most. Following a group of teachers who must band together against some raging zombie students, Cooties is as exactly as ridiculous as its premise sounds. There's schlocky humor, mediocre scares and some blatantly bad storytelling, but for all of its issues, Cooties is undeniably fun. 

Cooties stars Elijah Wood (The Lord of the Rings) as the newly hired substitute teacher and writer, Clint, Rainn Wilson (The Office) plays a gym teacher, Alison Pill (Milk) plays a former childhood lover and fellow teacher, and Jack McBrayer (30 Rock),  Nasim Pedrad (Scream Queens) and Leigh Wannell (Insidious Chapter II) all play fellow teachers, as well. Ian Brennan (Glee) plays the school's edgy vice principal. While each role is only given so much time to shine, all are fantastic.

At times, the movie becomes too on-the-nose, but its less of a problem and more a stylistic choice. From a hardline racist student aptly named Patriot, to a perfectly timed joke suggesting Wood's character is a hobbit, this movie is definitely aware of its comedic ploys. Very much in the vein of campy films before it, Cooties isn't so concerned with scaring its audience, but is more so interested in providing fun, if not sometimes, cheap entertainment. It's got enough going for it to keep the energy, even if it gets a little weak at parts.

What makes this film so effective is the heart at the center of Cooties. Each and every actor connected to this film seems fully invested in all of the antics this movie has to offer. Whether making an off-color remark, receiving a "cooties shot" or passing out Ritalin to the crazed children, this cast never lets on that they're not in on the joke. Cooties is undeniably light-hearted fun. It's never amazing, but it's definitely a punch of upbeat entertainment.

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.

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.

 

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.