THE DARK AND THE WICKED (April 2020)

THE DARK AND THE WICKED

(April 2020)

“She would sit... right beside him, just whispering. But she wasn’t talking to him. Not like she used to. It was like… there was someone else. Someone here.”

Bryan Bertino is back ‘round these parts with the upsetting, emotionally wrenching dirge that is The Dark and the Wicked.

The rural horror film sees the Straker siblings return to their family farm in Thurber, Texas, where their mother lives with their bedridden (and rapidly deteriorating) father.

Louise (Marin Ireland; The Umbrella Academy Season 2) and Michael (Michael Abbott Jr.) intend to stay for a few days, to help, perhaps to lend emotional support, in what looks, in all likelihood, to be their final farewell to their father.

But it’s clear their mother (Preacher’s Gran’Ma, Julie Oliver-Touchstone) doesn’t want them there. She says as much.

With Bertino at the helm, you can be damned certain there’s a good reason for that…

“What does it matter whether you believe? You think the wolf cares if you believe he’s a wolf? Hmmm? Not if he finds you alone in the woods.”

Anyone who’s seen Bertino’s The Strangers* knows his complete, stranglehold control over onscreen tension, and that masterly deathgrip is plainly evident here as well, so much so that painfully ordinary domestic fixtures (a light switch, a telephone) become objects of dread and revulsion.

But that’s really only just the entrée.

‘Cause the main course is the full-on assault by wicked and unholy powers on the bonds of family and love.

Decide for yourself if this is a meal you want to partake of…

“Devil, devil, devil.”

* Landing on the ¡Qué horror! 2008 list, there’s a review of The Strangers here.

Meanwhile, Bertino’s third directorial effort, The Monster, crashed onto the 2017 rundown.

And, for completion’s sake (and because if you haven’t seen it, you most definitely should), Osgood Perkins’ The Blackcoat’s Daughter (on which Bertino was a producer), likewise made a spot for itself on the 2016 rundown.

(The Dark and the Wicked OS courtesy of impawards.com.)

A Rundown of the 13 Best Horror Movies I've Seen in the Past Year
[10 of 13]

THE MONSTER

(October 2016)

Right out of the gate, writer/director Bryan Bertino carved out a slot for himself on the 2008 ¡Qué horror! rundown with his feature debut, The Strangers.
Though circumstances have thus far prevented me from checking out his 2014 follow-up, Mockingbird, he is back ‘round these parts with The Monster.

As with The Strangers, Bertino balances character with the tense thrills produced by a horrific set-up; in this case, it’s a mother and daughter stranded on a lonely road, at night, in the rain, with the titular (and savagely hungry) beast lurking in the woods.

There are strong performances here from Zoe Kazan and Ella Ballentine, and Chief Tyrol himself, BSG’s Aaron Douglas, also shows up for the fun.

If you’re in the mood for some suspenseful and moving horror, then hunt down The Monster.

(The Monster OS courtesy of screenanarchy.com.)

¡QUÉ HORROR! 2017

Candidate #10

THE MONSTER

(October 2016)

Right out of the gate, writer/director Bryan Bertino carved out a slot for himself on the 2008 ¡Qué horror! rundown with his feature debut, The Strangers.
Though circumstances have thus far prevented me from checking out his 2014 follow-up, Mockingbird, he is back ‘round these parts with The Monster.

As with The Strangers, Bertino balances character with the tense thrills produced by a horrific set-up; in this case, it’s a mother and daughter stranded on a lonely road, at night, in the rain, with the titular (and savagely hungry) beast lurking in the woods.

There are strong performances here from Zoe Kazan and Ella Ballentine, and Chief Tyrol himself, BSG’s Aaron Douglas, also shows up for the fun.

If you’re in the mood for some suspenseful and moving horror, then hunt down The Monster.

(The Monster OS courtesy of screenanarchy.com.)

A Rundown of the 13 Best Horror Movies I've Seen in the Past Year

[6 of 13]
The Osgood Perkins Slot

Tie number 2...

THE BLACKCOAT'S DAUGHTER

(September 2015)

Osgood Perkins (son of Norman Bates himself, Anthony Perkins) gets a slot all to himself this year, and we kick off with his feature debut, The Blackcoat’s Daughter.

Originally titled February, the film follows Kat, Rose and Joan, the former two left largely alone and unattended at their virtually empty boarding school. Both are in a delicate condition (one, emotional, the other, physical), and soon, the quiet in the halls and rooms is shattered by the undeniable fact that this is, after all, a horror movie.

Under Perkins’ assured directorial hand, the off-kilter air that is in evidence very early on quickly settles into an unease that pervades the rest of the film’s running time, helped in no small part by Perkins’ younger brother, Elvis (himself a musician with 3 albums under his belt), who scores the proceedings with a jangly, atonal touch.

With Bryan Bertino (whose The Strangers nabbed itself a ¡Qué horror! 2008 slot) as one of its producers, and genre faces James Remar, Emma Roberts, and a nearly unrecognizable Lauren Holly along for the darkly disquieting ride, The Blackcoat’s Daughter is a must-see for anyone who treasures horror that doesn’t feel the need to over-explain itself.

THE GIRL IN THE PHOTOGRAPHS

(September 2015)

"I'll tell you what it is, kids.
"It’s that every f*cker in the country thinks they’re a photographer now, okay? And everyone can share an image, and it’s awful. It’s awful because it makes everything just like watery piss.

“Then you have this guy who creates an image that you actually can’t f*ck with, that you actually can’t ignore…”

Serial killers are like zombies and vampires; you need to look really long and really hard to find films about them that are actually worth your time and your attention.

Nick Simon’s The Girl in the Photographs is definitely worth your time, not just because it’s an excellent (and at times, frankly brutal) serial killer thriller, but it’s also one of the last things the late, great, and sorely missed Wes Craven worked on. (At the very top of the end credits roll, the dedication, “For Wes.”)

So if you feel any allegiance at all to the late Mr. Craven, then the least you can do is check out the film that he believed in enough to Executive Produce, before he had to so abruptly leave us…

And while that should be enough reason, if you find that you still need some more motivation, then Kal Penn’s total douchebag fashion photog Peter Hemmings is one of the definite draws of the film.

There’s also Mitch Pileggi, effectively de-Skinner-izing himself as the ineffectual Sheriff Porter, and Katharine Isabelle--late of the equally sorely missed Hannibal--in a brief role.

Plus, the D.P is Dean Cundey! Halloween! The Thing! And if your cinematic tastes lean more towards big-a$$ Hollywood productions, Jurassic Park! The Back to the Future trilogy! Cundey also shot the brilliant Psycho II, which leads us to one other notable…

The film’s screenplay is credited to Osgood Perkins, Rob Morast, and Simon.

So, yeah. Psycho. Perkins. (Osgood also actually played “Young Norman” in Psycho II.)
This double whammy is a promising sign for Perkins’ sophomore directorial effort, I Am the Pretty Thing That Lives in the House, which already garnered some good notices from its TIFF premiere last month. (Incidentally, the double whammy we're looking at right now also premiered at TIFF, last year, just 2 days apart.)

So, yes, The Girl in the Photographs.

If you want a bit of brutality in your ¡Qué horror! viewing…

“This guy knows I’m from Spearfish. He’s doing this… this photography thing with his victims as… as… as an homage, as a… as a nod, a nod to me, Spearfish’s most famous citizen and only known living artist.

“Frankly, I’m flattered.”

(The Blackcoat’s Daughter, February, and The Girl in the Photographs OS' courtesy of impawards.com.)

¡QUÉ HORROR! 2016

Candidate #15

THE BLACKCOAT'S DAUGHTER

(September 2015)

Osgood Perkins (son of Norman Bates himself, Anthony Perkins) first landed in ¡Qué horror! territory earlier this year as co-writer on Nick Simon’s The Girl in the Photographs.
Now he’s back, joining Simon’s effort as a 2016 Candidate, with his feature debut, The Blackcoat’s Daughter.

Originally titled February, the film follows Kat, Rose and Joan, the former two left largely alone and unattended at their virtually empty boarding school. Both are in a delicate condition (one, emotional, the other, physical), and soon, the quiet in the halls and rooms is shattered by the undeniable fact that this is, after all, a horror movie.

Under Perkins’ assured directorial hand, the off-kilter air that is in evidence very early on quickly settles into an unease that pervades the rest of the film’s running time, helped in no small part by Perkins’ younger brother, Elvis (himself a musician with 3 albums under his belt), who scores the proceedings with a jangly, atonal touch.

With Bryan Bertino (whose The Strangers nabbed itself a ¡Qué horror! 2008 slot) as one of its producers, and genre faces James Remar, Emma Roberts, and a nearly unrecognizable Lauren Holly along for the darkly disquieting ride, The Blackcoat’s Daughter is a must-see for anyone who treasures horror that doesn’t feel the need to over-explain itself.

It’s also a promising sign for Perkins’ follow-up, I Am the Pretty Thing That Lives in the House, which has already gotten some good notices from its TIFF premiere a week ago.

(The Blackcoat’s Daughter & February OS’ courtesy of impawards.com.)

A Rundown of the 13 Best, Most Recent Horror Movies I’ve Seen
[12 of 13]
THE STRANGERS (May 2008)


… Bryan Bertino’s debut feature is one taut, nasty little motherfrakker. Once the thrills kick off, they don’t really let up.

Read the entire review here.

(The Strangers OS courtesy of impawards.com [design by Ignition Print].)

THE STRANGERS
(Review)

What you are about to see is inspired by true events.
According to the FBI, there are an estimated 1.4 million violent crimes in America each year.
On the night of February 11, 2005, Kristen McKay and James Hoyt left a friend’s wedding reception and returned to the Hoyt family summer home.
The brutal events that took place there are still not entirely known.

So The Strangers tells us right off the bat, before effectively setting the stage with a 911 call, then winding the clock back to the night in question, and the “brutal events” that led up to that call.


Now, for the record, Bryan Bertino’s debut feature is one taut, nasty little motherfrakker. Once the thrills kick off, they don’t really let up.
We’re thrown right into the middle of Kristen (Liv Tyler) and James (Scott Speedman) on the night in question, and clearly, there’s been some incident, an argument, perhaps, or something more; we find ourselves in the middle of a strained, awkward moment in their relationship.
It’s this initial section of The Strangers, where we spend time with the couple on a particularly troubled night, that involves us in their lives, and their emotional dilemma, Tyler and Speedman delivering performances engaging enough to keep our attention.
It’s also this initial dramatic section that serves as an excellent counterpoint to the intensity and suspense that take hold, once things take a turn for the worse.


The thing is though, I’m not a huge fan of these kinds of movies, the ones that purport to be “inspired by true events,” where we see people suffer and, more often than not, die, while the film itself doesn’t really illuminate anything beyond the adage “sh!t happens.”
When this sort of movie is done right—as Bertino’s The Strangers is—it’s thrilling and keeps the audience at the edge of their seats, their collective breath held, their eyes riveted to the screen.
But it really isn’t “entertainment,” not in the sense of an experience I’d look forward to repeating by watching the film over and over again.
Regardless of how close or distant the film is from the reality it’s purportedly based on (on many occasions, the “inspired by true events” tag is more marketing ploy than a genuine indication of the film’s narrative being based on any specific murder case), there’s no denying that this is still the kind of situation that can actually happen. There are no cannibalistic mutants in this, no zombies or vampires or parasitic aliens. Just psychos with really sharp implements.
Bottom line, I always feel ill at ease watching this sort of movie. (Of course, that could be Bertino’s entire point.)


Taking all of that into consideration though, this one’s definitely a gut punch, and Bertino structures the narrative well, while handling both the drama and the thrills with a deft hand.
I’m certainly looking forward to the director’s next effort. (He’s reportedly got three lined up, including Green Eyes, with producer Scott Rudin.)

“I think what scary movies allow you to do is you can take any character that has a background and cut them to the core. Like, at the end of the day, no matter whether they're a good person or bad, we're all going to react instinctively and I love the concept of being able to do that.
“What I love about horror films is if you go to see a great drama, you're going to leave emotionally exhausted. You go to a great horror film and you're going to leave emotionally exhausted, so when I decided to make something like this, I said, ‘What if I took both and put them together?’ Could that reach people even more? Because I don't think people do it enough.
-- Bryan Bertino

Parting shot: Reviews of David Moreau and Xavier Palud’s Ils (which presents a similar scenario) and Michael Haneke’s Funny Games U.S. (which is a statement on these kinds of movies) can be found in the Archive.

Parting shot 2: After seeing The Strangers, I came upon a Bertino interview where he basically says that the depicted events in the film aren’t actually based on one particular real life crime, so the “inspired by real events,” at least in this case, indeed looks to be more marketing tool than anything else.

(The Strangers OS courtesy of impawards.com [design by Ignition Print]; images courtesy of bloody-disgusting.com and shocktillyoudrop.com.)