I’m usually NOT a fan of found footage horror movies, but I was curious to check this one out when I discovered that it was made on a $15,000 budget and needed to see how writer-director Robbie Banfitch managed to pull this off. Also, the movie takes place in the Mojave Desert, which quite frankly, as much as I find it a very alluring place, it can also emote creepiness as so many people go missing there every year. In fact, it was the premise of one of my short stories, Comets Tear the Skies.
The simple plot is that a group of friends go to the desert to record a music video, and it doesn’t take long before things get really crazy and deadly. For the majority of the film, the viewer is as disorientated and terrified as Robbie wanders the desert in both total darkness and glaring sunlight. What we do see is a gory bloodfest and strange, tremors-like worms crawling around (are they aliens?). We’re never sure what exactly is going on, but what we do know is that our protagonist is in danger, and there’s no escaping the violent onslaught.
This is a strange, bloody cosmic horror in which there’s no moment of levity or respite for any of the people involved. In fact, the horror only continues to progress to the bloody finale that will finally show us what happened to Robbie’s friends, and ultimately what happens to him. Check this out if you love found footage, as this movie really does wonders with its limited budget and the writer/director’s experience, but still manages to create a very chilling movie.
*Thank you so much to Emma Griffiths & Cinedigm for an early screening of the movie.
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Recently, I lent my poem, “This Is War” to the short film Mother by Brad Case. This is an arthouse film in support of women’s rights – and the poem describes the fallout of Roe Vs. Wade this summer.
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Before Alanis, before Dolores, before Courtney – and all the rock girls of the 90s, there was only one singer that mattered to me and her name was Whitney. Her voice was unlike anyone else’s and sure, some will say that Mariah is a close substitute, but Whitney Houston was in a class of her own, which is why losing her was so tragic.
Biopics are always tricky. I honestly love biopics about musicians because watching someone you love to rise to the top and being inundated by their hits is always a fun time. But it’s always a challenge for the director to know what parts of a musician’s life are cinematic enough and finding the right actor to embody someone that has many fans is also difficult.
Having said that, I do think that Naomi Ackie had some huge boots to fill and she did her best to capture Whitney’s essence through mannerisms, accent, and demeanor. And although, Ackie can sing, the director opted to keep Whitney’s voice for the musical moments in the movie, although since Ackie’s voice is in Whitney’s range, she was able to sing in some moments like in the gospel choir, when Whitney was young, and still needed to refine her voice.
Ackie’s performance is spellbinding and for the duration of the film, the audience can suspend belief, and feel like Whitney is actually there with them. As a fan, it’s always a plunge into the dark when going to see a biopic because you hope that the film captures what that artist really means to you. I was happy to see that this biopic decided to be a celebration of Whitney’s life and talent rather than take the tragic route ala Blonde (thankfully!).
If you’re a Whitney fan, I suggest catching this movie as it delves not only into her early days but also doesn’t shy away from depicting her relationship with Robyn Crawford (NeFessa Williams). Since there’s so much material to cover, it’s hard for the movie to focus on every aspect of her life, or show what motherhood meant to her. But that’s always a difficult call for the director to make, what parts of a person’s life are best meant to be representative of them as a person? All in all, this is a fun film to watch if you like musician biopics and want to see a movie celebrating Whitney’s talent and incredible voice.
Now playing in theaters.
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Anyone who knows me knows how obsessed I am with Anne Rice’s novel, Interview with the Vampire as well as with the 1994 movie adaptation. There was a time in my life when I watched the movie once a day for nearly three years, and that’s why I can quote the two hours film verbatim even after all these years. So when I learned AMC was going to have a TV series based on Anne Rice’s novel, I was both excited and skeptical. Would I love it? Or would I hate it? Throughout the months I heard about the changes they were going to make (change of the century, Louis is a POC, and Claudia is no longer a young child but a teen). I didn’t know how to feel about these changes, however, I decided to dive into the series.
The first episode felt jarring, these characters I loved for so many years had fresh faces as new actors brought them to life. But the moment we see Lestat (Sam Reid) reach out and kiss Louis (Jacob Anderson) passionately by the end of episode one, I was both seduced and compelled to keep on watching.
The new actors have managed to embody Anne Rice’s characters unlike any other actors before (and I thought Tom Cruise and Brad Pitt did a good job at the time). But there’s something about the way Sam Reid manages to create an accent that would truly be one that Lestat would have, how he manages to be both repulsive with his violent behavior, yet enthralling when he’s charming. Jacob Anderson does an excellent job of showing Louis’s vulnerability and guilt but also demonstrates his inability to truly get away from a toxic relationship.
I think Anne Rice would be proud of this adaptation, especially since we finally get the true toxic romance that she was only able to hint at but couldn’t be completely explicit about (same with the movie).
Meanwhile, I’ve fallen back into my former obsessive tendencies in regard to this book. I’ve already rewatched the series three times, and have lost count of how many times I’ve specifically watched the scene where Louis and Lestat have their final dance.
If you haven’t checked it out, I completely recommend it. After all, as Lestat says, “I’m going to give you the choice I never had.”
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Let’s be honest, sometimes the happiest season of the year can be rather downright scary. Stores overrun with people, last minute gift-shopping, having to deal with problematic relatives, trying to avoid cringe-worthy office parties, I could go on and on. These movies explore the horrors of the Christmas season, packing a scary punch!
BLACK CHRISTMAS
Forget about the remakes, they all suck. The original with Olivia Hussey (best known for her role as Juliet) is the one to watch. As winter break begins, a group of sorority sisters, including Jess (Olivia Hussey) and the often inebriated Barb (Margot Kidder), begin to receive anonymous, lascivious phone calls. Initially, Barb eggs the caller on, but stops when he responds threateningly. Soon, Barb’s friend Claire (Lynne Griffin) goes missing from the sorority house, and a local adolescent girl is murdered, leading the girls to suspect a serial killer is on the loose. But no one realizes just how near the culprit is.
SILENT NIGHT, DEADLY NIGHT
An orphan raised by nuns (Lilyan Chauvin, Gilmer McCormick) grows up to be a killer toy-store Santa Claus. At the time, this movie was a box office hit, earning 2.5 million out of a $250,000 budget.
THE LODGE
Not gonna lie, this is probably one of my favorite Christmas themed movies out there. During a family retreat to a remote winter cabin over the holidays, the father is forced to abruptly depart for work, leaving his two children in the care of his new girlfriend, Grace. Isolated and alone, a blizzard traps them inside the lodge as terrifying events summon specters from Grace’s dark past.
THE ADVENT CALENDAR
This was so creepy and twisty, I watched it for the first time last year and was left wanting more. When Eva receives an antique wooden advent calendar, it seems at first that it only guarantees a countdown to Christmas filled with sweets. However, with the calendar comes a set of rules and the promise of wish fulfillment for those who follow them.
WIND CHILL
If you want suspense with a dash of creepy then you might want to check this one out.
Just before their university campus goes quiet for the winter break, a young woman (Emily Blunt) asks a classmate (Ashton Holmes) for a lift home. The two students set off on their trip and begin to get to know each other. But, when a reckless motorist drives them off the road, they find themselves stranded in the snow on a remote highway. As the night grows colder, the two are confronted by a horde of menacing apparitions — and struggle to escape with their lives.
INSIDE
I don’t know what it is about the French when it comes to horror, but they really go above and beyond. This may fall in the category of “torture porn” but it’s still worth the watch. A scissor-wielding psychopath (Béatrice Dalle) terrorizes a pregnant widow (Alysson Paradis) on Christmas Eve.
SILENT NIGHT
Watch this for the ensemble cast alone, as it’s got some of the best Brit actors. A couple invites their closest friends to join their family for Christmas dinner at their idyllic home in the English countryside. As the group comes together, it feels like old times — but behind all of the laughter and merriment, something isn’t quite right. The world outside is facing impending doom, and no amount of gifts, games or wine can make mankind’s imminent destruction go away. Surviving the holidays just got a lot more complicated.
KRAMPUS
More of a horror comedy than full-on horror. While the holiday season represents the most magical time of year, ancient European folklore warns of Krampus, a horned beast who punishes naughty children at Christmastime. When dysfunctional family squabbling causes young Max (Emjay Anthony) to lose his festive spirit, it unleashes the wrath of the fearsome demon. As Krampus lays siege to the Engel home, mom (Toni Collette), pop (Adam Scott), sister (Stefania LaVie Owen) and brother must band together to save one another from a monstrous fate.
P2
Who doesn’t like to see Wes Bentley being creepy? Just me? Angela (Rachel Nichols) is working late on Christmas Eve. When she finally decides to leave, she goes down to the parking garage to get her car, but it won’t start. Thomas (Wes Bentley), the garage’s security guard, offers to help. He also invites Angela to dinner, but she refuses. Thomas, crazed, knocks her out. She wakes up in Thomas’ office, chained to a chair and in different clothes. Now Angela must fight for her life in order the escape from the garage.
BETTER WATCH OUT
Another dark comedy with a psychological horror twist. Ashley travels to the suburban home of the Lerners to babysit their 12-year-old son Luke during the holidays. She must soon defend herself and the young boy when unwelcome intruders announce their arrival.
Which ones are you going to be checking out?
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Fun fact: the first time I watched this film it was at an outdoor theatre sponsored by my local church (that year we had a hot young monk helping with the church’s fundraising and somehow got away with showing this film, The Ninth Gate, and Final Destination). Having said that, this movie was considered the hottest teen film at the time, as well as having one of the best soundtracks after Romeo + Juliet (and that one was hard to beat!).
The movie is a modern adaptation of the French novel, Dangerous Liaisons (a film was made in 1988 and now Starz recently did a series). So instead of being at a French court, Cruel Intentions bases itself on the lives of rich Manhattan kids, focusing on step-siblings Kathryn and Sebastian.
Kathryn is pissed off because her ex dumped her over the 4th of July weekend for a naive virgin, deeming her too “slutty” for him, and wants Sebastian to help her destroy her ex by corrupting his current girlfriend Cecile. But Sebastian, notorious for ruining the lives of young girls with his charm and sociopathic ways has his eyes set on virginal Annette. Kathryn wagers that he cannot seduce Annette and if she wins, she will get his retro Jaguar, however, if she were to lose, she alludes that she would be down to have anal sex – and thus the bet is made.
The movie opens with Placebo’s Every You, Every Me – and with lyrics such as, “Sucker love, I always find someone to bruise and leave behind,” it quickly captures the mood of this movie. Now, upon this second viewing (I never rewatched it after that time from the outdoor theatre) it’s pretty evident that Sarah Michelle Gellar (who played the manipulative Kathryn) essentially carried the movie with her boss girl ways, cold cruelty, and sensuality. Although every gal viewing this movie couldn’t help but to fall for Ryan Phillippe’s charming take on Sebastian. Rewatching the movie, I was quickly reminded of why at the time I didn’t find his character charming, and I soon realized upon my second viewing that the actor looked very similar to this guy from school (who yes was cute) but had this knack for always trying to pick me up or find ways to touch me that at the time I found annoying and borderline harassing.
The movie was massively successful, it earned $75 million out of a $10 million budget and at the time was one of the raciest teen films. Nowadays, we’re more used to series like Euphoria, so Cruel Intentions seems very tame in comparison, but overall, it’s still a fun movie and that’s mostly because of its talented cast and cool soundtrack (the best use of Bittersweet Symphony you’ll ever see onscreen). Some things are dated (such as gay shaming), but some things still speak true today (such as Kathryn’s frustration with having to keep up a fake facade in order to be liked because women get a bad rep when they admit to liking sex). Despite all the flashy fun that the movie delivers, it goes without saying that there are problematic moments such as homophobia, racial insensitivity, and downplaying sexual assault. It was a product of its time, but we shouldn’t overlook some of its problematic issues.
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When child star Jupe was on set for the sitcom Gordy’s Home, the titular chimp went berserk when a balloon pops causing havoc on set, killing and mauling the actors and staff from the show. During Gordy’s violent moment, Jupe and the camera focus on a white shoe that belonged to Jupe’s TV sister, standing upright with a tiny spot of blood. Later in life, we notice that he keeps this shoe in a memorabilia room. Some have mentioned that the upright shoe could be a manifestation of a bad miracle. However, I think the upright shoe is a symbol for the saying, “Waiting for the other shoe to drop,” and in a way, Jupe has lived his whole life waiting for the other shoe to drop, and when it does drop, this time he isn’t so lucky as he was in ’98.
Animal Abuse in the Film Industry.
The theme of animal abuse in Nope was extraordinarily evident from the very beginning when the movie starts with sound footage of a chimp, Gordy becoming violent during a filmed sitcom episode. Soon after, we notice the film industry being just as careless with the horse Lucky, on the set of a commercial, despite OJ basically begging the white cast and crew to be mindful of the animal and not to do anything that may startle it. But they didn’t listen to him, thus resulting in Lucky kicking out – and the director firing both the horse and his handler OJ. The film in a way wanted to show what happens when humans try to tame animals that aren’t meant to be tamed, and that in the end, their true nature will come out and the humans will suffer for their arrogance.
The Meaning behind FE1111.
Angel’s truck has a sticker with FE (standing for Fry’s Electronics) while 1111 is a reference to Jeremiah 11:11 famously referenced in Jordan Peele’s sophomore film US. The biblical reference is, “Therefore this is what the Lord says: ‘I will bring on them a disaster they cannot escape. Although they cry out to me, I will not listen to them.’” Meaning that God has no intention of saving man for something they brought upon themselves (usually caused by the human obsession with greed and power).
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There’s a special place in Hell for those who scorn women or find themselves on the receiving end of female fury. Here are 5 horror movies with female villains that are just as beautiful as they are deadly.
JENNIFER’S BODY
When a demon takes possession of her, high-school hottie Jennifer (Megan Fox) turns a hungry eye on guys who never stood a chance with her before. While evil Jennifer satisfies her appetite for human flesh with the school’s male population, her nerdy friend, Needy (Amanda Seyfried), learns what’s happening and vows to put an end to the carnage.
TEETH
Dawn (Jess Weixler) is an active member of her high-school chastity club but, when she meets Tobey (Hale Appleman), nature takes its course, and the pair answer the call. They suddenly learn she is a living example of the vagina dentata myth, when the encounter takes a grisly turn.
AUDITION
This disturbing Japanese thriller follows Aoyama (Ryo Ishibashi), a widower who decides to start dating again. Aided by a film-producer friend (Miyuki Matsuda), Aoyama uses auditions for a fake production to function as a dating service. When Aoyama becomes intrigued by the withdrawn, gorgeous Asami (Eihi Shiina), they begin a relationship. However, he begins to realize that Asami isn’t as reserved as she appears to be, leading to gradually increased tension and a harrowing climax.
THE LOVED ONES
Hell hath no fury like a prom queen scorned. When Brent rejects Lola’s invitation to prom, he sets off a chain of events that leave him the victim of her twisted revenge. Now, the only guest at Lola’s terrifying and demented prom, he must fight to survive what could be his final dance. Will Brent withstand this nightmare of drills, nails, glitter and syringes, or become one of Lola’s “loved ones”?
THE RING
It sounds like just another urban legend — a videotape filled with nightmarish images leads to a phone call foretelling the viewer’s death in exactly seven days. Newspaper reporter Rachel Keller (Naomi Watts) is skeptical of the story until four teenagers all die mysteriously exactly one week after watching just such a tape. Allowing her investigative curiosity to get the better of her, Rachel tracks down the video and watches it. Now she has just seven days to unravel the mystery.
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It must be nice to live in a world where you don’t see the darkness in people.
PLOT SUMMARY:
When eighteen-year-old Dylan wakes up, she’s in an apartment she doesn’t recognize. The other people there seem to know her, but she doesn’t know them – not even the pretty, chiseled boy who tells her his name is Connor. A voice inside her head keeps saying that everything is okay, but Dylan can’t help but freak out. Especially when she borrows Connor’s phone to call home and realizes she’s been missing for three days.
Dylan has lost time before, but never like this.
Soon after, Dylan is diagnosed with Dissociative Identity Disorder, and must grapple not only with the many people currently crammed inside her head, but that a secret from her past so terrible she’s blocked it out has put them there. Her only distraction is a budding new relationship with Connor. But as she gets closer to finding out the truth, Dylan wonders: will it heal her or fracture her further?
GRADE: B+
REVIEW:
I’ve enjoyed this author’s previous books and overall this book was also enjoyable to read. The book quickly begins in a rush of events – kickstarting the protagonist Dylan’s journey. Dylan has DID but she doesn’t know it at first and loses track of time and wakes up in an unfamiliar location. Overall, I really enjoyed the novel because it was interesting to see how Dylan dealt with both this new diagnosis and how she dealt with her past trauma that caused her personality to split. My only issue was that everyone in Dylan’s life was so supportive of her and her condition – her mother, her best friend, her new boyfriend, and even her stepmom and dad. The only person who wasn’t as supportive right away was her twin brother. Now, I haven’t met anyone with DID so I don’t know how accurate the portrayal was – however the fact that everyone quickly accepted, and she faced no struggles felt a little unrealistic. But I could suspend belief for the sake of the story because I really did enjoy the narrative and the characters we got to meet – especially all of Dylan’s alters.
I recommend this book for those who have an interest in DID that isn’t in a horror setting (as it often is used).
*Thank you so much to NetGalley and Wednesday Books for the digital copy of this book in exchange for an honest review!
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2021-2022 have been filled with so many thrilling new horrors. From creepy child abductors, to finding strange large eggs in the middle of the woods or trying to escape crazed killers wielding chainsaws yet again, here are a few of my favorite new horror movies that I enjoyed that will get you in the mood for Halloween!
The Black Phone (Peacock)
X (Showtime)
Fresh (Hulu)
Hatching (Hulu)
Orphan: First Kill (Paramount +)
The Sadness (Shudder)
Texas Chainsaw Massacre 2022 (Netflix)
The Yellow Wallpaper (Prime Video)
Hellraiser 2022 (Hulu)
Torn Hearts (Epix)
From Hatching
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The Inkblotters 