THE HORROR STRAIN

Reviews by, Marcus & Hector

[thehorrorstrain-blog]

ANNA AND THE APOCALYPSE (A Review) By Marcus

I used to be a fanatic about zombies. Devouring everything and anything that involved the gruesome dead. Some of my all time favorite horror films are Night Of The Living Dead, Dawn Of The Dead and Zombi. When The Walking Dead premiered I was in horror heaven… but then with each season debuting we got more and more zombie films… we have other shows that play with the zombie mythos… we have an over saturation of zombie options. I stopped watching The Walking Dead because ultimately I got bored. I tend to skip over a lot of zombie films on streaming services only because my interest in them as a threat has waned which is unfortunate because among those many zombie titles I’ve heard there are a few gems. But there is such a notion as there being too much of a good thing. I say this so you fully understand that my interest and love for zombies was, until recently, dead. And then ANNA AND THE APOCALYPSE arrived.

John McPhail’s hybrid genre film is one I’ve been waiting for ever since word started dropping about it from film festivals. I’m a musical fan. I’m an even bigger horror musical fan. Not so many titles in that sub-genre. And then images started dropping with zombies and gore and they looked fantastic. The trailer finally dropped and I was sold. FINALLY the film debuted in my area (you’d think California’s Bay Area would see a lot of these films sooner) and I enthusiastically went to go see it.

It’s a love/hate relationship with this film. But thats not a bad thing.

The look of the film fires on all cylinders for me. From the color palette to the cinematography everything has a wonderful holiday glow to it and the colors pop. The set designs are fun and creative considering the budget and the choreography of the music numbers utilizes these sets nicely. The story is one young people will connect with; a group of high school seniors getting ready to part ways emotionally and physically from each other as they set out on their own paths but of course a zombie epidemic hits putting a halt to their dreams and fears of the future and doing what we all should do and be in the moment… fighting zombies. And the zombies look great, again consider the budget since it wasn’t a big one. Couple that with some solid gore scenes and the horror side of the proceedings made me happy. Casting was also solid with actors who make their characters very likable and have you rooting for them. The story gives all the characters a moment to shine with heroic, emotional, and funny moments. And its an eclectic group of young people whose characters have traits and emotions and concerns that are very real and easy to connect with. The stand out is of course Anna played by Ella Hunt who not only can sing but can convey care & concern, intensity, confusion, and an array of emotions so naturally. Anna’s journey in this film is layered and feels real as she is the one who wants to leave what she knows behind and take on something new and distant from home all the while dealing with a sadistic head master, a douche ex, a best friend in the friend zone, and a widower father. I couldn’t take my eyes off the performance and seeing as this is her first major film project I can’t wait to see how her career progresses with future roles. This is her movie and she owns it with ferocity and intelligence.

Everything about this film worked for as you can obviously tell but what glaringly keeps me from absolutely loving it is the music…

Its a musical. There are a lot of musical numbers and a few worked for me but the rest just took me out of the picture a little too consistently. I definitely don’t want to take away from the people who wrote the numbers. The lyrics I quite liked; very witty and intelligent. Its the actual music behind the lyrics. The production of the sounds just didn’t do anything for me. The sound is akin to a High School Musical sound. Poppy and safe. And this music lover is not a fan at all of that sound. There are bound to be many viewers who will undoubtedly enjoy the music but unfortunately since I’m not a fan of music like that every time a number began I had to focus on just the lyrics and ignore the musical cues that were being hurled my way. I did enjoy the High School Christmas segment the students put on for their family as its incredibly funny and sharp but everything else was a battle for my attention which when in a theater watching a movie can be very trying.

With that said I appreciate this film. I’m glad I got to see it on the big screen. Its a horror musical staged during Christmas with zombies. Its amazing a film like this exists and made it to the big screen. And again I don’t want to take anything away from the musical side; I enjoyed the lyrics I just didn’t enjoy the sounds and music production but thats me and I know many will appreciate the music more than me. But what I took away from the film is a renewed interest in zombie horror which I couldn’t imagine another film doing right now. So thank you Anna And The Apocalypse… your style and passion made me a believer in the zombie genre again.

[thehorrorstrain-blog]

CAM (A Review) By Marcus

I’m a big fan of when a horror film is through and through dark and sleazy. No good guys. No victory in the end that makes you feel like all is right in the world. No hope. Netflix’s newest original horror film is a chilling tour de force journey into the taboo world of online cam girls. Alice (Madeline Brewer) is an ambitious cam girl who while on the road to being a top lady of desire discovers one day that she’s been locked out of her camgirl account and that someone who looks exactly like her is now operating it, and to add insult to injury, running it better than before. Cue the paranoia and frantic heroine trying to solve this disillusioning mystery.

We’ve seen paranoia thrillers before that deal with doppelgängers but never in a package so stylishly put together with an intelligent commentary on a component of the sex industry.

The film has a very polished look when it comes to Alice’s set for her camgirl audience. The colors pop off the screen and give the mood a very sexy and jazzy feel reminiscent of De Palma’s sexual thrillers. And when it comes to the scenes outside of Alices ‘worklife’ colors are muted and dreary. The visual balance is very exact and ultimately works, I definitely love the look of this film.

Aside from ‘Orange Is The New Black’ this is the only other work I’ve seen Madeline Brewer in and I was impressed with the performance. I say that because the character is frustrating and unlikeable. There are films where the ‘hero’ ultimately has no admirable qualities or is someone you sympathize with. Alice is such a character but Brewer plays the role so well that even though there’s nothing really substantial about her or her plight in the big scheme of things you still, as the viewer, are willing to go down this sordid rabbit hole with her.  So kudos to Brewer for being able to play an unlikeable character and still make the audience care enough to see her battle through to the end. The rest of the cast is game from the creeper male characters (there is not one likable male character in this they’re all creepfests in their own way) to the nice surprise of seeing Melora Walters (Magnolia, Boogie Nights) playing Alice’s thoughtful mother.

The story itself is a timely one. We’ve heard the opinions we’ve read the arcticles. Theres a very large subgroup out there of people who chase fame and affirmation (and the money that can come with it) in the social media world, Hollywood, sex industry etc etc etc. They post a version of their faces, their videos, and themselves regularly. Women and men bare their bodies and faces. All of this on devices that spread this info and these images across all the world and databases. The very real horror and commentary of this film is having your life and identity stolen AND used for nefarious purposes. The film doesn’t give a solid answer as to why and how this happens to Alice (supernatural? Computer genius villain? Maniacal AI bot?) but in the real world its not far fetched to think a bot utilizes all the video feeds and images you put out to create an online identity you have no control over. For example on Instagram every day fake accounts are created by bots or software that steal images of others for profile pics. So much info being put out on a platform and technology that even now we aren’t fully aware of the power and applications of it. And insidious things, as we all know, do happen to people and the information they share publicly.

For me personally I do like social media and what it can offer but, for example, I always cringe at the countless selfies I see. Some people have accounts that are loaded with selfies or at the very least post one selfie a week. It boggles my mind because thats your facial print (fingerprint if you will) that you are distributing to the world to play with and with the constant selfie posts of different angles who could say what one could do with those images and what they could create. Paranoid? Maybe, I’ve been told that. Not to worry though I’m not awake at night pondering aspects of social medial like that but I do like to be cautious and aware of it. And a film like ‘CAM’ reminds me I’m not off base to have that perspective.

‘CAM’ is a solid horror entry. I despised everyone in it and was still entertained. A film littered with sleazy despicable characters (but very capably played by the cast) especially the lead who even in the final moments did not learn anything of value about what she had just gone through; she’s still chasing money and her vanity. A story that is timely and relevant to the subculture that again chases fame, vanity, and greed on an online/social media platform. A film that is interesting to the eye (which is always a plus for me, I love a film with style). And finally… this film just straight up creeped me out and oozed vileness so much so I need a shower. Kudos to the directors Isa Mazzei Daniel Goldhaber on a job well done. I’ll keep an eye out for what you do next.

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Overlord (A Review) By Marcus

I’m a big fan of movies like this. And when I say ‘movies like this’ I mean a genre film with a budget thats not based on anything or part of a film universe or franchise. Its just an added bonus that the film truly kicks ass at being not only an epic war film but also a batshit crazy horror film.

J.J. Abrams (yes I’m a fanboy of this guy) produces from his Bad Robot studio and Julius Avery (Son Of A Gun) directs. The film is definitely a great collaboration between the two as the film has the production value and action theatrics of a blockbuster (JJ Abrams) as well as the intense and twisted machinations of gritty horror film (Julius Avery). The blend works unsurprisingly well.

The story is pretty bare basics. World War 2. A US platoon air drops behind nazi enemy lines to take out a communications tower that will aid in the beach assault on Normandy. Once behind enemy lines (at the loss of most their men) a rag tag group of soldiers sneak into the village where the com tower is only to discover that scientific/supernatural forces are being played with by a Nazi mad scientist. I’ll leave the rest for you to discover.

As I said the film has a budget. Those who have seen the film are praising the opening act which is something to behold. The film definitely cements in itself a classic cinematic war sequence; the air drop and the chaotic destruction around it is epic and frighteningly authentic. You forget you’re about to watch a horror film and are already locked into the war film aspect. And once the film delves into the nazi zombie realm we are left with special effects and gore that utilize both authentic props and make up and CGI. The horror aspect of the movie definitely utilizes what fans are clamoring for from the effects side of a horror film.

And then there is the casting. Jovan Adepo (Fences) once again proves he’s a talent to watch as he plays a thoughtful soldier who walks that dangerous path of being the voice of reason in an unreasonable situation. Mathilde Ollivier is a standout as the only female role in the film who holds her own with the all male cast. But the one who really caught my attention and gives the film some classic horror cred is Wyatt Russell as the badass explosions expert. Wyatt Russell is KURT RUSSELL’s son and channels his father in this film. As I observed his performance I couldn’t help but recall Kurt’s performance in John Carpenter’s The Thing. Wyatt plays it with a cool intensity and even when violently interrogating a Nazi keeps a composed rage. I really was impressed with Wyatt’s performance in this as he commanded every scene he was in and completely owns the path his character walks from beginning to end. I’ll be keeping an eye out on his future films.

As a horror fanatic and a student in the war film genre I was absolutely pleased with this film and I can only implore those of you that are reading this to go see it. The film unfortunately didn’t make a big impression on the box office which means it won’t last long in the cineplex. And thats a shame. OVERLORD is one of those films that you’ll discover on Blu/4k/DVD and say to yourself ‘I should’ve seen this in theaters.’ Don’t be that person. I love Marvel films as much as the next person but genre films like this with an intelligently crafted story, a solid budget, and formidable cast… BLENDING TWO DIFFERENT GENRES… are a rarity in this day and age. Go see OVERLORD. Its worth the price of admission.

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Halloween & Suspiria ( A Review) By Marcus

Let me begin this review of mine by confessing that two of my all time favorite films are the original Halloween and Suspiria. John Carpenter’s horror classic always captured my imagination as a child. A silent killer who could pop up anywhere in a suburban neighborhood was fuel for my nightmares. Seeing it the first few times as a  child was always a visceral and intense experience. It wasn’t until I got older that I started to appreciate the choices Carpenter made as a filmmaker. From story, to cinematography, to score, to iconic casting. The film continues to reign supreme as an example of a perfect horror film and classic in cinema in general. And then there is Dario Argento’s first foray into the supernatural and oh my how that film utterly enhanced and strengthened my imagination and perspective of art and design. Suspiria is an all out assault on the senses with beautiful and gothic images and colors and set design paired with a striking and violent story about ballet dancers and witches. Add a pulsating score by Goblin that enhances the experience and you have a film that bleeds style and horrific beauty; every viewing of this film I discover something new which is a testament to Argento’s genius concerning this project. I could write pieces on both these films alone I love them so. So to say I was both excited and nervous about both these new films is an understatement.

Halloween 2018 is written by Danny McBride (The Foot Fist Way, Eastbound & Down, Vice Principals) Jeff Fradley (Your Highness, Vice Principals, The Foot Fist Way) and also the director of the film David Gordon Green (George Washington, Pineapple Express, Joe, Stronger). These gentlemen have made it clear since this project was announced that they are bonafide Michael Myers fans. And it shows. Choosing to ignore the convoluted franchise this team chooses to make Halloween 18’ a direct sequel to the original. 

What a refreshing move for this franchise. Gone is the sibling connection between Laurie and Michael. Gone is the supernatural motives for Michael. We pick up with Michael on Halloween day 40 years since his killing spree. A combination of factors are gonna lead to Michael returning to Haddonfield to remind the town why they should fear this unholy holiday. Returning the franchise to its roots and resetting the story of Michael is a bold and appreciated move. 

I absolutely love this film. Two viewings and the urge for a third cements this as my second favorite Michael Myers film. First off the look of the film is impeccable. Every scene oozes a Halloween/Fall vibe thats very beautiful to look at and is an absolute requirement for a Halloween film; you need to feel that cozy festive vibe. This film captures that especially once Halloween Night arrives the lighting and shots are epic and creative. One scene in particular stands out when the camera follows Michael as he surprises a lady making dinner in her kitchen. Next is the sound of the film. Not only did John Carpenter return as a producer and consultant but he also collaborated on the score alongside Daniel Davies and Cody Carpenter. The soundtrack far outshines anything in this franchise, dare I say even the original. With shades of Goblin and Vangelis I still can’t get enough of the score the standout being ‘The Shape Burns.’ I’m a very happy filmgoer when music and visuals are paired together perfectly. The casting of the film is more than solid; a gathering of characters actors who we may not get to know too well in this film (I have a feeling they are saving more of that for later) but perform their parts pitch perfect. And when it comes to Michael actor Jude Courtney brings the best physical embodiment of Michael since the original film; I can think of no better praise than that. The story itself in my opinion is groundbreaking and timely which leads to my absolute favorite aspect of this film and why it works so well for me and that is the queen… JAMIE LEE CURTIS.

Jamie Lee Curtis is back as Laurie Strode and delivers one of my favorite performances of 2018. I’m gonna delve into spoiler territory but I’m assuming many have seen the film at this point but if not heres your warning. I loved the concept of female empowerment in this film. When we catch up to Laurie we discover she’s a tough albeit unhinged survivalist. Whereas in the first film she plays the classic damsel in distress. What felt refreshing in this film is that Laurie never comes off as in distress or incapable, in fact Laurie is prepared through and through for what Michael throws her way. PTSD plays a major role in this film. PTSD is a very real and debilitating mental problem. I found it novel and inspiring though how this film uses the pain and suffering Laurie feels from the first film as a motivation for her to obviously become stronger and more aware of the world around her and to not let that world ever catch her off guard again. Bad things happen to people. I absolutely sympathize with those who struggle to wrestle with those demons the rest of their lives. PTSD isn’t given enough attention or credit in our culture and for too long has gone overlooked. Think of that first film if it were real in the 70s. Young Laurie would’ve been bandaged up quickly both mentally and physically and then probably would’ve been asked to go back to regular society and adjust accordingly. But after facing such trauma nothing will ever be the same for a person; I believe that in my soul for those dealing with PTSD today. But what I also believe is that we are capable of taking that trauma and letting it define us in stronger and more efficient ways which is what is displayed in this film. Laurie represents that. She took the evil and horror she faced and channeled that into becoming more stronger and confident and prepared than anyone else around her. Laurie’s family views her as a crackpot and selfishly ask her to get over her past. They also refuse to see her survivalist attitude as something to appreciate and respect but rather an excuse to condemn her. This echoes how people have viewed PTSD in our culture. I myself found it refreshing to see a horror movie where a female character is just as strong and intelligent, if not more, than her male hero counterparts in other horror films. In this film Laurie is always a step ahead of Michael as evident by the epic ending when Laurie wishes Michael a Happy Halloween. Jamie Lee Curtis is perfect note for note in conveying Lauries fierce intelligence and raw ferocity. Pair that with her daughter in the film (played fittingly by Judy Greer) and you have a beautiful representation of female teamwork and strength saving the day. 

What works well in the film also, and without distracting, is the obvious love and reverence of the franchise. There are nods to the history of Michael everywhere. My absolute favorite being the Silver Shamrock masks running amok around Michael. The fan service in the film is executed honorably. And that ultimately sums up this 11th film in the Michael Myers franchise. It is an honorable addition to the legacy that will hold up well and age gracefully. And for me I took a lot away from how they represented Laurie and the strength of a woman. For too long women have been made to be in distress and unfocused in these films compared to how males are represented. 

And that seems like a great segue into director Luca Guadagnino’s epic remake of SUSPIRIA. With an all female cast with just a few minor male roles this film also represents thematically, physically, and mentally the awe inspiring light and darkness of woman. 

A period piece that resonates today set in 70s Berlin distraught by a Wall, a war, and riot police. In the midst of this is the Markos Academy of Dance where a whole other political battle is at work involving a coven of witches and their unsuspecting collective of dancers. Into this world walks in Susie Bannon escaping her strict Protestant upbringing. She is the catalyst for things to run amok and go bump in the night at this place of creative dance.

The casting is sublime for the most part. Tilda Swinton again tears up the screen and deserves all the accolades and awards that should come her way for her 3 tour de force roles in this film. The rest of the female cast are all strong and game for this type of film and I couldn’t help but be impressed by Chloe Moretz’s few moments which are both whimsical and frightening. Mia Goth again shows she’s more than capable in the horror world (I quite liked her in Gore Verbinski’s A CURE FOR WELLNESS) and exudes an eccentric energy to the proceedings. My only concern was Dakota Johnson. Still she has not won me over just yet with her performances but I will give her the praise for her physicality in this role. The dances and the energy she brings to them is incredible. Whenever Swinton’s Madame Markos asks Susie to dance you are transfixed by Johnson’s presence on screen. 

I was very nervous about this film because I hold the original in high regard. Argento’s film was uniquely epic and beautiful. So much so I can confess I do not think he ever quite topped it. So to have another filmmaker try and bring his own vision to it seemed like a daunting task to me. Luca admirably makes this his own film. Although the epic set designs and bright colors schemes are gone from the original his choice in aged sets and bleak colors gives the film its own unique look and feel. The score itself is a beast of its own like the originals. Here we have Thom Yorke presenting a soundtrack that is jarring and exquisite and mirrors the energy and look of the film. Suspiria was always a film that celebrated sight and sound to me and I was very happy to discover that Luca’s version acknowledges that of the original.

But yet again the strength of the film for me comes from the female empowerment I see here. First off we have an epic horror film headlined by an all female cast and the few male roles that are in here are just fodder for the witches in the story. The female characters in this film are all strong and none convey the weak damsel in distress; all are capable except when faced with vicious supernatural elements. Once more we are headed into spoiler territory; the film ultimately (save for a few standout horror scenes; that first dance horror scene is a goddamn doozy) is a slowburn to a gothically frenetic and gory ending that more than satiates a horror fans bloodlust in film. But what follows after that is quite beautiful. Dakota’s Susie is more than she appears and in the end exacts a cruel and vicious revenge. But its after that she also shows the greatest compassion and empathy. The bloodbath at the end of the film executed by Susie represented to me what actions women are capable of, and I do not mean just violence, but in general the great physical feats and accomplishments that women are capable of and have done that for far too long have been overshadowed by the feats of men. But what I found even more beautiful is that after that sequence of death and destruction you have a powerful scene of Susie showing compassion and empathy to a man who for so long seeked the peace of resolution. Its a quiet and serene scene and a stark contrast to what just came before it. I loved the duality of that ending because, again to me, it represented that which is profound and admirable about women… the unbelievable strength and compassion they are capable of. That pairing I believe is difficult for men and thats why I’ll always be in awe of my female peers.

I was worried I’d be disappointed by this new Suspiria but even now to the contrary I’m very happy that I can say I love it and am glad that it is it’s own entity and I need not compare it to the original. They are both beautiful and unique horror films.

Reboots and remakes more often than not fall flat. One of the aspects to making a strong and memorable reboot or remake is infusing it with themes and ideas that are topical and relevant to today. The #MeToo movement seemingly is getting stronger by the day and I won’t say these films were aiming to support that movement in their stories but how inspiring is it that the filmmakers chose to make their female characters strong and larger than life and are self aware and always a step ahead of anyone in their way and are victorious by the last frame. 

And thats how I’ll sum both these films up. A victory for horror fans. A victory for remakes/reboots. And most importantly a victory for female horror fans & female representation in film.