Intruders

Intruders
 

Intruders centers around Anna, a shut in who suffers from agoraphobia. Her fear is so paralyzing that when three men break into her house looking to steal her stashed money, she cannot bring herself to flee. But the intruders don't realize that they decided to not only break into the wrong house, but to intrude upon the wrong person.

The film opens with a shot of the house and within 10-15 minutes the viewer is aware that the house is not just a home, but a character. It feels covered in memories and lived in, a cluttered but organized type mess that comes to stand as a metaphor for Anna's mind. The intruders to which the title refers to not only invade her home, but invade Anna's life as well, as the house and her life are interlocked in an unspeakable way. The connection between Anna and her house lead to an unpredictable, thrilling, and sad game of cat and mouse. I'll remain vague to avoid spoilers here.

The set up to Intruders happens rather quickly and effectively. We see all we need to see and learn all we need to learn in the first 20 minutes to be able to grasp and follow the drastic turn in the story once the home invasion takes place. The invasion itself happens rather quickly and subtly, the filmmakers chose not to turn this scene into a drawn out and over dramatic event. It was a smart decision because it made the scenario seem very grounded and real and was more jarring this way; a home invasion can happen just like that, real quiet and quick, and they are in your home.

Beth Riesgraf gives a fantastic portrayal of the multi-layered Anna. She does a stellar job at selling the condition she suffers from, and demonstrates believable shock in the scene where she is dragged out onto the porch, terrified of the outside world. Anna is a very complex and layered character that demands a lot of skill and talent and Riesgraf nails it. She's cold, icy, and machine like and vulnerable at the same time, it's hard to fully sympathize with the character as events unfold, yet you do a little. Just a great understanding of the character and perfectly played.
Rory Culkin doesn't have too much to do here but he does a decent job with what he has. The stand out among the intruders is definitely Martin Starr. Hiding behind a beard and looking like Ben Affleck from Argo, he gives such a great performance in such a different role for him that even though I knew he was in this, it never once crossed my mind that that was him!
The film slows down a bit in the final act after an exciting and interesting buildup. Instead of action it dives into psychological thriller territory and character development that I thought added depth to the overall story. I'm not sure if every viewer will be thrilled with the end result as it is a bit of a mixed bag. I was left with a lost feeling as daunting as the big, maze of a house, not sure what or who from the film to latch onto as the credits rolled. But who said a film has to leave you with a definite feeling? It's a ballsy script that doesn't look to make friends with the viewer, but rather display a layered story with a complex lead character. And at that, it succeeds.
Because of that, unfortunately, not everyone will embrace Intruders. But It's a solid story with solid acting and played with expectations enough for me to cautiously recommend it.

Cherry Tree

Cherry Tree

Cherry Tree tells the story of Faith, a 16 year old loner of sorts who is distraught over the fact that her father is dying of leukemia. In order to save his life, Faith makes a pact with the leader of a centuries-old witches coven who is posing as her school's field hockey coach. But as witches go, things are not what they seem and the pact is not as clear cut as Faith initially believed.

Cherry Tree had a lot going for it: an underused sub-genre in horror with a story about witches, perfectly cast lead roles, a unique looking witches coven wearing very creepy hooded masks, and an impressive visual atmosphere that surrounded the witches coven whenever they were on screen. The final outcome, however, is as hollow as an empty cauldron.

Let's start with the positives. Naomi Battrick is perfectly cast as Faith. She has a wise beyond her years vibe and simply exudes sadness and fragility. These characteristics are vital to the story because when the head witch, Sissy (played by Anna Walton), offers the deal to save Faith's father's life it's important to believe that Faith would buy into the somewhat outlandish offer. To avoid spoilers, I won't say what Sissy asks for in return because it's pretty obvious where the story is headed once you figure out what that is. Anna Walton is also perfectly cast as Sissy. She has an otherworldly and ethereal yet unsettling presence that is needed to SELL the outlandish offer. So that necessary relationship between the two leads is there to sell the whole situation to the viewer, but even the strong leads can't save the lazy script.

What adds to the disbelief of the pivotal “let's make a deal” scene, is while Sissy reveals to Faith that she is really a witch, the two are walking through Sissy's house which looks like the set of a Hammer films Gothic horror saying it was a gift from the Dark Lord, and Faith continues to follow her and really doesn't seem too bothered by any of that!

Perhaps Faith just loves her father so much and he means the world to her so she is willing to endure all this crazy witch stuff. Unfortunately the film gives us little to no interaction between Faith and her father. We are just supposed to believe that that's the case because the film shows us next to nothing.

This is the ultimate problem and theme throughout Cherry Tree, there's just not much there. At all. In the films defense, I feel as though it wasn't so much interested in the journey of the character's as much as it was interested in the experience of the viewer. But again, if that's the case, it falls way short as any true moments of unique atmosphere or engaging imagery are few and far between. There are also some annoying plot devices used that demonstrate a weak script and leaves the talented Naomi Battrick with nothing to do in the final act but run around looking distressed when everything seems all too easy and lacked any suspense or tension whatsoever.

I'm convinced this movie was conceived with a few images and a basic story line and it was simply pumped up with sub-par filler and convenient plot devices that put it's thin story and thinner characters on full display. Cherry Tree wants to think it's style will carry it over it's little substance. The problem is, it has neither and comes across as a threadbare mess.

Deathgasm

Deathgasm
 

Deathgasm tells the story of two teenage, metal-head, outcasts in a small town who mistakenly summon an ancient demon by playing music they found in the home of an aged, long lost metal legend.

When the main character, Brodie (played by Milo Cawthorne), meets his fellow band mate Zakk (James Blake) in a record store, there is a wonderful moment where the two size each other up as they silently lift metal albums up to show the other what they like. This scene embodies the spirit of Deathgasm: just like the characters know their metal, the filmmakers know their metal, horror, and humor and show this to the viewer with every scene. The kills, the constant humor, the blood, the lighting all culminate to create the biggest dark party unlike any other movie I've seen all year, Every scene is filmed to make you laugh, make you smile a little evil grin and it succeeds with this on every level! It's a Night of the Demons meets Lords of Salem metal mash-up splat fest that tears shit up from the opening to the closing credits.

Brodie is not the living stereotype that his metal image portrays; he is polite, smart, well spoken, and sits in the park licking ice cream cones. And yet he is all metal in his view of the world, full of rage and pain and a sense of un-belonging. It's a brilliant character and a spot-on, strong, and sympathetic performance from Milo Cawthorne.

Zakk, on the other hand, is the stereotypical metal-head. He's rude, crude, careless, and a bit of an overall oaf. He's also superbly played by James Blake and is pretty damn funny. Kimberly Crossman plays Medina and has the likeness of metal goddess Lita Ford and looks like the Prom Queen of every high school in America while maintaining a sweet innocence at the same time. She's perfectly cast and rounds out the strong ensemble in Deathgasm.

The film also looks absolutely fantastic. It definitely made the best of it's low budget and every penny spent can be seen on screen. The effects, gore, and make-up are all top notch and wonderfully over the top in the vein of Evil Dead 2 and Dead Alive. Hats off to the entire effects team involved with the film for creating a great visual product for the viewers to feast their eyes on.

My one and only complaint about Deathgasm was the voice of the demon at times was a bit hard to fully understand. It had a great slurred, throaty, scratched vinyl sound but I had trouble catching every word.

Deathgasm is the dark side and party side of metal, it mixes humor and horror flawlessly as it focuses on little moments that carry the film from laughter to cringing. Every frame contains a studded leather jacket, metal music, crude humor and references to Satan. Deathgasm is one hell of bloody headbanging, rocking movie and if you haven't seen it, right now is the perfect time to put it on!

Dollface

Dollface

Dollface follows a group of college students doing a research paper on local serial killer legend Dorchester Stewart, better known as Crinoline Head. In order to properly investigate, the group goes to the scene of the murders that happened back in 1996.

The film opens with an airy, dreamy, curious, and slightly creepy score playing over a flashback to 1980 that quickly describes the origin of Dollface. While the scene doesn't provide much substance for the makings of the killer, it does the trick to set up the beginnings of a very troubled boy. It also works as a new story set-up for any viewers who haven't seen the first film featuring the killer, Crinoline Head. With that said, it isn't necessary to view Crinoline Head in order to enjoy Dollface, it functions just fine as a standalone film.

Being a slasher flick, the kills are as front and center as the killer himself. While there is plenty of splattering blood, the on screen gore itself is very minimal, so gore hounds may feel a little letdown by Dollface. But what the film lacks in gore it makes up for in creativity. Some of the kills are very cleverly set up and one in particular had me cringing as I saw it coming; whatever you do ladies, don't “pop a squat” in the woods.

As for the killer, the look of Dollface is pretty well and simply conceived. The filmmakers made a wise decision to not show or focus too much on the human face behind the broken doll mask. Exposing the human face behind the killer's mask always seems mostly unnecessary and distracting. And the mask, while not as terrifying as Leatherface or a simplistic hockey mask, is frighteningly out of place and creepy enough to pass as unique and effective.

The group of students all do a solid job in their roles, but Leah Wiseman was a clear standout to me. She has the look of Taissa Farmiga: a non expressive face coupled with very expressive eyes that gives her an instant bit of mystery and depth. She brings an acute realism to every scene whether it be her naturalistic delivery of lines or little reactions to others as they speak, that made her rise above the rest of the young cast. She'll next star in Dollface writer/director Tommy Faircloth's next project, Family Possessions, which is in pre-production as of this writing.

The real star of Dollface is the great Debbie Rochon. Of all her performances, this is some of the best acting I've seen her do. She really slows down here and allows for her characters seemingly painful past to show up on her face as she speaks. It's a very strong role that she elevates with a fully realized understanding and portrayal of her character. She is also beyond funny and downright hilarious, her lines and delivery kept me laughing every time she was on screen! Kudos to Ms. Rochon, with over 250 acting credits to her name she is still at the top of her game.

Dollface doesn't re-write the rules of the slasher genre, it doesn't break new ground, or offer any clever (or annoying) twist ending. It plays as a straight up slasher homage/satire and does a decent job of keeping the viewer entertained. It's worth watching for Debbie Rochon alone, but I found myself laughing, cringing, and ultimately having a pretty good time.

A Christmas Horror Story

A Christmas Horror Story

The four stories in A Christmas Horror Story take place in the fictional town of Bailey Downs on Christmas Eve, perhaps a happy accidental nod to the George Bailey character in the Christmas classic It's a Wonderful Life. They are woven together by Dangerous Dan, a local radio DJ played by William Shatner who works as a narrator of sorts for the film. This character is much like the Adrienne Barbeau character in another recent holiday horror anthology, Tales of Halloween.

Each story in A Christmas Horror Story seems to be created for true horror fans. They are dark and detailed with often brilliant color schemes that highlight both the classic feel of Santa Clause and the underlying evil of Krampus, both of whom play roles in the film.

The stories include a family looking for the perfect Christmas tree in a not so perfect place, a not so joyous Christmas spirit, a student documentary that turns Christmas Eve into a not so silent night, and a North Pole zombie fest full of not so friendly elves. The theme throughout the film is “not so”. These characters experience a not so merry Christmas, and it's not that they asked for it or wanted it, but they did unknowingly bring it upon themselves by making not so good decisions that underline the fragility and weakness of the human condition. These back stories and character flaws are introduced as each story unfolds and the characters find themselves in hellish and unimaginable scenarios. The film is well written and well made with a variety of horror stories that are as different from each other as Santa Clause is from Krampus. The cast in each segment all give solid performances and this is a major win for the film as it plays it's horror straight and not for laughs. One weak performance can throw off the believability or wreck the suspension of disbelief in such genre films.

I've heard this film referred to as a comedy-horror, but I found it to have a quite serious tone. Sure, Santa fighting zombie elves that speak insults like a possessed Regan from The Exorcist is amusing, but every aspect of these stories aren't played for laughs, they are played to frighten and thrill. And that is exactly what they do! A Christmas Horror Story manages to be a horror movie that is entertaining, full of surprises, has a strong focus on horror, and is a lot of fun! There are several strong moments that kept me thrilled and smiling including a bloodthirsty Elf using a tree as a battering ram to break down a door, a (not so) dead girl makes a startling first appearance, and an epic battle between Santa Claus and Krampus, the ultimate showdown of Good Vs. Evil!

I highly recommend this movie to every horror fan. Instead of the family, feel good movie or holiday slasher classic, watch something different and new this Christmas and check out A Christmas Horror Story and have a merry and gory and fright filled Christmas!

Charlie's Farm

Charlie's Farm

Charlie's Farm tells the story of four friends who are looking to do something different, looking to go on a little adventure. One of them gets the idea to go see Charlie's Farm, a homestead in the middle of nowhere that was the site of a murderous, cannibalistic family (headed by Bill Moseley in his usual, scene stealing performance) who were killed by a mob of local townsfolk many years before. The family's son, Charlie, was never seen after that night and while many believe he is dead, some say he still wanders the farm to this day.

Charlie's Farm begins with a great opening sequence showing two hopeless victims who are trying to escape a killer. The two are trapped in a basement and the scene is lit with a dingy green light that gives the picture a dirty and eerie feel as we hear heavy and fast footfalls above; this killer is a big guy. When the two meet their inevitable demise it's rough and quick and brutal with wonderful blood splatter sounds.

Unfortunately, that's the best part of Charlie's Farm.

We cut to a group of friends who are bored and decide to go see Charlie's Farm, the infamous scene of gruesome killings. What follows is a generic road trip sequence, complete with goofing around in the car as happy, upbeat music plays, as they travel several hours to the farm.

The idea of going to the legendary farm becomes almost an obsession with Jason and Mick (Dean Kirkright & Sam Coward), but it is never really understood why. Other than being bored and hoping to see “some cool shit,” no reason whatsoever is given for their sudden and strong desire to see the place. It's not as if they are counselors at a camp or break down near the farm or get lost on it, no, they just choose to go there. With no conceivable connection between the characters and the location that is the name of the film, I as a viewer felt a bit lost during Charlie's Farm with nothing to really latch on to or care about. Even with several warnings not to go to the farm, including some resistance inside the group from Natasha (Tara Reid), they are blindly determined to see it and push on. And with no one or nothing to ultimately root for, Charlie's Farm feels like a flat and lifeless picture.

The movie isn't without it's bright spots. The dialogue is written and delivered the way people speak and this helped the characters seem like actual people and I appreciated that attention to detail. Another part of the film that pays attention to detail are the special effects. There are some creative kills with solid practical effects work, a job well done by the effects team! And while the group is exploring the farm there are some beautiful shots of the surrounding scenery like old farm equipment, rusted fencing, and twisted up barbed wire.

When Charlie himself shows up (Nathan Jones), he is a big friggin dude. He looks like a hillbilly version of a possessed Sabertooth from the X-Men movies. Charlie grunts and yells throughout his killing spree and I found him a lot more effective in that opening scene where his quick, menacing, and heavy footsteps was enough to be terrifying.

And Kane Hodder shows up in a throwaway and meaningless role.

While Charlie's Farm isn't a terrible film, the good aspects of the movie aren't enough to save it, as it is a by the numbers slasher flick that doesn't try to offer anything new, it just...is.

Krampus

Krampus

While Krampus isn't exactly an “independent” horror film, I still found it necessary to review for a few reasons. One, it is the horror genres big offering for the holiday season. Two, it was written by Micheal Dougherty who is responsible for the cult, horror hit Trick r Treat. And three, it just looked awesome!

Krampus tells the story of Max, a pre-teen boy who wants Christmas to be like it used to when he was a younger child. While holding onto a belief in Santa Claus and the magic of the season, his family seems to have lost touch with the Christmas spirit. When relatives come to visit, the family dysfunction comes to a boil and Max loses hope and gives up on Christmas cheer thus unleashing the evil spirit of the holiday, the shadow of St. Nicholas, Krampus!

From the opening moments of Krampus, I knew I would love this movie. The opening credits play over slow motion filming of mad and frenzied holiday shoppers tripping over each other, trampling store employees, and fighting over items they want to buy. The silent scenes are accompanied by comforting Christmas music that plays over the juxtaposing crazed images. This opening sets the tone for the entire rest of the film: it's funny and terrifying, and brilliantly mixes a holiday horror story while relaying a classic Christmas message of family at the same time.

Krampus works so well because it is a a film that pays attention to detail. With a character based depiction of the average family, the stress and nostalgia of the holidays, and a blatant admiration for classic holiday movies, Krampus creates an atmosphere that almost every movie goer can relate to. A brilliant homage is paid to classic Christmas specials with a flashback sequence that is told using CGI that simulates the look of Rankin-Bass stop animation. The film also has the shadow of Gremlins hanging over it with the murderous little toys brought by Krampus squealing in high pitched mischievous giggles like the Gremlins themselves and the young Max (Emjay Anthony) resembling a young Zach Galligan.

The entire cast is spot on here and the comedy plays well within the horror. Adam Scott and David Koechner play off each other nicely as the two fathers with opposite view points on almost everything while Allison Tolman is very effective and funny in a subtle and strong performance. But it is the always great Toni Collette who stole the show for me. She plays the mother of Max as caring and sensitive and doing her best to have a nice holiday. But when the evil Krampus and his sack of killer toys come down the chimney, her performance takes on a tough edge that I found captivating.

Krampus moves at a quick pace and it doesn't take long for the horror to settle in. The film is filled with random, loud noises when Krampus comes to town that are truly terrifying! The sounds swirled around the theater like the snowstorm on the screen and filled it with roar like screams and bangs and thuds and stomps that sounded like an intensified and possessed version of Jurassic Park. Giant killer Jack-in-the-boxes, little murderous gingerbread men, demonic dolls, and ghoulish elves invade their house and fill the screen in a holiday horror masquerade massacre of a climax that is an absolute balls to the wall blast to watch. Computer graphics are blended well with the many practical effects to give Krampus and his tidings of evil the look of a 1980's creature feature while the music of the film reflected the mayhem and horror of the situation with a touch of evil playfulness.

With Trick r Treat and now Krampus, Micheal Dougherty is 2 for 2 with creating classic movies to represent a holiday. Krampus is a big movie in every way, big on fun, big on detail, and big on storytelling. I'll find my way back to the theater to see it again before Christmas and it will find it's way into my regular yearly rotation of holiday must watches!