The Cellar (1988)

Director: Kevin Tenney Starring:Patrick Kilpatrick, Chris Miller, Suzane Savoy, Dannt Mora. USA. 1h 25m

From a story that would be dissected for its cultural appropriation and questionable demonising, back in the late 80’s it was part of a movement of creepy Native American legend based horrors, from Wolfen (1980) to Scalps (1983) the idea of a spiritual bankhander from sacred lands, through wooden states, curses and the wendigo began to spring out of Hollywood and this is one of those low level leaks.

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The Exorcism of God (2021)

Director: Alejandro Hidalgo Starring: Joseph Marcell, Will Beinbrink. México/Venezuela/USA. 1h 38m

Every few years there’s another game changing exorcism movie, and these stand out to the weekly releases of the same old tripe. But what makes this heavily laced CGI movie stand out from the rest? First it challenges religious scripture with a bit of cray logic but unfortunately it takes an ice age to get to the fun bits but audiences are entertained with shock moments, jump scares and lots of grisly CGI faces, sometimes with some familiarity to his previous gothic house masterpiece The House at the End of Time (2013). Having grown as a director since then he’s developed his eye but leaves behind the suspense for full out vile visuals but it won’t distract from the silliness that keeps corrupting this horror.

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Una (2017)

Director: Benedict Andrews
Starring: Ruby Stokes, Rooney Mara, Ben Mendelsohn, Tobias Menzies .UK. 1h 34m
David Harrower (based on his play “Blackbird”)

From its moody opening juxtaposed with PJ Harverys iconic Down By the Water there’s a clear insight into how dark and difficult Benedict Andrews drama is going to be. There’s a long and complicated tale that has to be adapted from stage to screen, one that describes a relationship that too many of us couldn’t fathom and even after watching the sterling performances, it’s still a tainted pill to swallow.

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Three Days on a Cross (2017)

Director: Aaron Martinez Starring: Nathran Martinez, Luke Fowler, Jordan Tanner, Mark Gibbons. USA. 1h 48m

I think a trick was missed in this slightly confusing theological movie. The set up follows a pair of voyeuristic researchers in a lo fi sci fi bunker, their main objective is to follow a Jesus-esquema wandering in the desert searching for his daughter after an apocalypse, it’s never clear how they are filming him, who installed CCTV in the desert in this post apocalypse world..

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Broadcast Signal Intrusion (2021)

Director: Jacob Gentry
Starring: Harry Shum Jr, Kelley Mack, Chris Sullivan, Anthony E Cabral .USA. 1h 44m

Jacobs Gentry’s uncanny valley neon lit thriller is a great diversion for horror fans, but unlike other broadcast horrors it fails to give a satisfactory conclusion to its own question but will raise eyebrows though it’s stunning display of solid drama and a deep dive investigation.

While logging tapes of retro TV Broadcasts, a video archivist, James (Shum Jr.) discovers a disturbing clip that he believes is a sign of early hacking, out of his armchair investigation, James is innocently trying to track down the source but it turns into a deadly cat and mouse chair that night lead to solving a slew of murders.

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Resurrection (1999)

Director: Russell Mulcahy
Starring: Christopher Lambert, Robert Joy, David Cronenberg, Leland Orser .USA. 1h 48m

With a recognisable cast and no budget, there’s a clear distinction between Resurrection and the movies it’s imitating, but despite its imilations it’s still a fun watch, but one which could have been extraordinarily gruesome and chilling if put in the right hands.

Christopher Lambert and Leland Orser team up as a bmovie Mills and Somerset as they hunt a deranged killer who’s emabring on a pet project to construct the body of christ, much like John Doe in Se7en this twisted mastermind is incredibly intelligent and masterfully deviant. There’s a huge strive to match the dark oppressing cityscape that Se7en is based in, but having the main officer, John Prudhomme (Lambert) painted as a superstitious cajun there’s a lot of hoops to jump through for a mainstream audience.

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