Saturday, September 17, 2016


¡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.)

Wednesday, September 14, 2016


¡QUÉ HORROR! 2016
Candidate #14

ANTIBIRTH
(January 2016)


"I just... I really can't be pregnant, all right? It is not my style…”


So, seriously. Look at that cast.
Natasha Lyonne (pulling down double duty as one of the producers, too!), Chloë Sevigny, and Meg Tilly!
Do I have to say anything more?!

If I do, then this sordid little bit of lo-fi horror from writer/director Danny Perez is, by far, the most off-the-wall, bizarre candidate this year.
Hard partying Lou (Lyonne)--who was definitely not in line when God was giving out maternal instincts--discovers, to her boozy, laid-back annoyance, that she’s beginning to exhibit signs of pregnancy, when, as far as she’s concerned, she can’t be (“… I think I’d remember if I had someone’s c*ck in me”).
As it turns out, “pregnant” is an absurd oversimplification of what takes place in Antibirth.

Check it out for the cast, then stay for the gooey bits…

(Antibirth OS courtesy of impawards.com.)

Monday, September 12, 2016


¡QUÉ HORROR! 2016
Candidate #13

I AM NOT A SERIAL KILLER
(March 2016)


All right. Full disclosure.
As far as I was concerned, there was a lot going for this one, all the reasons why I Am Not a Serial Killer was on my film geek radar in the first place (so I’m so glad it did not disappoint).

Max Records was headlining it.
Records was in Spike Jonze’s astounding adaptation of Where the Wild Things Are. He was also in Ruairi Robinson’s brilliant short film, Blinky. Hell, Records was even in Rian Johnson’s excellent The Brothers Bloom (though in nowhere near the same headlining capacity of either of the former titles).

Billy O’Brien was directing it.
I may not have been too thrilled with O’Brien’s second feature, The Hybrid (originally titled Scintilla), but his debut, Isolation, was a right doozy!
Which brings us rather neatly back to I Am Not a Serial Killer, because this plus Isolation is more than enough for me to politely overlook The Hybrid.

Based on Dan Wells’ novel--the screenplay is written by O’Brien and Christopher Hyde--Serial Killer follows John Wayne Cleaver (Records), a small town teen whose home life (Cleaver Family Funeral Home!) may have just helped contribute to some troubling sociopathic tendencies.
Thankfully, he’s trying to avoid the messy consequences of succumbing to his darker urges (and possibly even using funeral home chores as a coping mechanism), but some brutal killings soon draw his morbid attention, and things soon get very interesting.

With a curious, wry streak of humor running through it, Serial Killer takes some unexpected twists and turns, on its way to that WTF climax, and a commendably appropriate use of Norman Greenbaum’s “Spirit in the Sky.”
With Ruairi Robinson as one of its Executive Producers, and with Doc Brown himself, Christopher Lloyd, in its cast, I Am Not a Serial Killer is a title that you really need to check out, if unconventional and surprising horror is your thing…

(I Am Not a Serial Killer OS’ courtesy of impawards.com & screenanarchy.com.)

Sunday, September 4, 2016


¡QUÉ HORROR! 2016
Candidate #12

SHELLEY
(February 2016)


Elena (Cosmina Stratan) is away from her Bucharest home (and civilization), working for childless couple Kasper (Peter Christoffersen) and Louise (Ellen Dorrit Petersen).
As evident from the one sheet, someone gets pregnant, and then things gradually go downhill from there.

Ali Abbasi’s Shelley (from a script by Maren Louise Käehne and Abbasi) is measured and oblique natal horror--so pregnant women or expectant couples, beware!
Actually, this stuff is creepy and disturbing, even for someone who doesn’t fall under either category…
As Abbasi’s feature debut, Shelley is also a powerful first cinematic shot, and a very promising indicator of what we can hopefully expect down the road…

Parting Shot: Incidentally, Christoffersen and Käehne both worked together previously, on the second season of Bron/Broen, which I’ve talked about here at the Iguana in the past.

(Shelley OS courtesy of shocktillyoudrop.com.)

Monday, July 18, 2016

STRANGER THINGS
(July 2016)


"And you know it, and he knows it, but no one ever says anything until you both start punching and yelling at each other like goblins with Intelligence scores of zero.
"Now everything’s weird.”

For anyone who knows me, it should come as absolutely no surprise that Netflix’s Stranger Things had me by the second scene of its first episode/Chapter.
The scene in question: a D&D session that’s been 10 hours running, threatened by the intrusion of… dun-dun-dun-duuuun… parental concern that tomorrow is a school day.
Set in 1983, Stranger Things is the kind of show that resonates on a very specific frequency, and should appeal greatly to Geeks of a Certain Age, those who know exactly what that scene feels like, those who’ve lived that scene, in one variation or another.

“The bad men are comiiing!”
“Mad hen. Does that mean anything to you? Like a code name or something.”

Stranger Things’ 8-Chapter narrative kicks off with the disappearance of Will Byers (Noah Schnapp), last seen headed home after that marathon gaming session. The search for Will draws in not just his gaming buddies, but also a bunch of adults, a bunch of teenagers, and a few other characters besides.
With Stranger Things, the show’s creators--the Duffer brothers, twins Matt and Ross--have given us a love letter to that very specific ‘80’s Amblin strain of entertainment that Steven Spielberg spearheaded. Taking that as their template, they’ve infused it heavily with dollops of Stephen King, some smidgens of John Carpenter, and then sprinkled on many of the pop culture markers of that era, from the music (Joy Division! Echo and the Bunnymen! The Clash!) to the films (The Evil Dead! The Thing! The Empire Strikes Back!).
It’s a heady (and sometimes, emotionally-wrenching) rush of geek nostalgia, Stranger Things is. (And, speaking of geek nostalgia, look! Winona Ryder!!)

Of course, the thing about nostalgia is, it works on our emotional attachments to the familiar, to the things we grew up with. As such, there are a whole slew of visuals and story beats in Stranger Things that will recall, to varying degrees, those benchmarks of our past.*
But, given the way the show takes those elements and weaves them into the narrative whole, we still end up with something new. Reminiscent of something(s) old, oh yeah, definitely. But still, in the end, something new. (Or, new-ish, at the very least.)
To a certain extent, Stranger Things does the same thing The Force Awakens does, work from the template of something old and established, and dress it up with some new elements.
In point of fact, there’s something more pure and honest about the way Stranger Things uses that particular approach.
Let’s be honest: no matter how good it is, The Force Awakens, is after all, still constructed to be a franchise re-starter, while Stranger Things appears to be simply, a new story that proudly wears its influences on its sleeve. (Of course, should Stranger Things suddenly explode into a multimedia juggernaut, then we can reexamine that assessment.)**

“You always say we should never stop being curious, to always open any curiosity door we find.”
“Dustin…”
“Why are you keeping this curiosity door locked?”

Now, while the contingent of young actors on the show are across the board excellent, Millie Bobby Brown (who was also one of the noteworthy elements of BBC’s Intruders) and Broadway vet Gaten Matarazzo (Gavroche on Les Misérables) must be commended for their performances; Matarazzo’s Dustin Henderson is officially the latest entry on my personal Awesomest TV Characters Ever! list.
Oh, and Amy Seimetz’s got a single ep guest spot here, too! (Just thought I’d throw that out there.)

So, if you happen to be a Geek of a Certain Age, you’d be doing yourself a mighty disservice if you didn’t check out Stranger Things.
And you know what? Even if you aren’t, check the show out anyway.
Look! Even Stephen King likes it!

My only question about the Netflix series STRANGER THINGS is whether or not it will be popular enough to crash their servers. It might be.
--Tweet from Stephen King


* For the record, there are also some visuals that recall more recent titles, like Silent Hill and Under the Skin. (You’ll know them when you see them.)

** Having said that, I will still freely go on the record to say, given the way they opted to close the 8th Chapter, please please please let there be a second season…

(Stranger Things OS’ courtesy of impawards.com.)

Tuesday, July 5, 2016


¡QUÉ HORROR! 2016
Candidate #11

THE WITCH
(January 2015)



"O God, my Lord, I now begin,
O help me and I'll leave my sin.
For I, repentant now shall be,
From evil I will turn to Thee.
None ever shall destroy my faith,
Nor do I mind what Satan saith.”

Writer/director Robert Eggers’ feature debut, The Witch (or, The VVitch: A New-England Folktale, if thou preferest) is an astounding piece of period horror.
“Inspired”--as the film tells us at its climax--“by many folktales, fairytales and written accounts of historical witchcraft, including journals, diaries and court records,” The Witch follows the travails of a family living on the edge of a deep, dark wood, beset by misery and sinister occurrences.


“Black Phillip, Black Phillip,
King of sky and land.
Black Phillip, Black Phillip,
King of sea and sand.

“We are ye servants,
We are ye men.
Black Phillip eats the lions
From the lions’ den.”

Though most everything in The Witch is noteworthy (including Craig Lathrop’s production design, Jarin Blaschke’s  cinematography, and Mark Korven’s creeptastic score), the film’s casting should not be overlooked, particularly, the fact that the only readily recognizable genre face here is Kate Dickie.*
Suspension of disbelief is always a sight easier when the screen isn’t filled with Hollywood names. And if you love your horror--and treasure the lingering echoes of eeriness left behind by a tale of dread well told--then this is a story you’ll definitely want to get sucked into without any distractions.

“Wouldst thou like to live deliciously?”


(The Witch OS’ courtesy of impawards.com & hcgart.com.)

* At least, to me.
I imagine some Harry Potter fans may recognize Ralph Ineson, who, like Dickie, also appeared on Game of Thrones. I, however, was never a Potter fan, and for the life of me, cannot recall who GoT’s “Dagmer Cleftjaw” is, nor what he looked like…

Saturday, June 18, 2016


¡QUÉ HORROR! 2016
Candidate #10

THE INVITATION
(March 2015)


While I wasn't particularly crazy about Karyn Kusama’s previous genre efforts (the live action adaptation of Aeon Flux and Jennifer’s Body)*, her latest feature, The Invitation, is another matter entirely.


Working from a screenplay by Phil Hay and Matt Manfredi (who’d previously worked with her on Aeon Flux), Kusama crafts an exquisite example of slow burn horror as a group of friends who haven’t seen each other in a couple of years are brought back together by the titular invitation, for a night of talk and drinks and a gradually escalating sense of wrongness.


Now, given that that’s all you’ll get here in terms of what the film is about, if seeing familiar genre faces makes you more comfortable, then the likes of John Carroll Lynch, and Michiel Huisman (who’s been conspicuously absent of late from Orphan Black, though is very much present on Game of Thrones), and Logan Marshall-Green, are here for the festivities.
Marshall-Green, in particular, needs to be singled out, as he pretty much anchors the film’s proceedings as Will, who is still dealing with the trauma of a personal tragedy, and is the one most attuned to the wrongness I made mention of earlier.

So, yeah. The Invitation.
RSVP, regrets only.

* I’ve still to find the opportunity to see Kusama’s feature debut, Girlfight, so, who knows, she might have kicked my film geek a$$ really early on, if only I’d caught it when it was first released…

(The Invitation OS’ courtesy of impawards.com & aintitcool.com.)