Tag Archives: horror movies

Werewelves Within

Forest Ranger Finn (Sam Richardson) has literally just arrived in the small town of Beaverfield and meets fellow new-comer, postal worker Cecily (Milana Vayntrub). Together these outsiders navigate the quirky characters populating the town and bond over a shared love of the outdoors. They’ve arrived at a strange time for Beaverfield; the town is divided by a proposed gas pipeline. Tale as old as time (ish): pipeline will bring in cash, but also rape the land and whatnot. What to do, what to do? Lucky for them a representative of the gas company is staying at the town’s local inn so he can offer up totally impartial advice at a moment’s notice. Finn and Cecily are staying there too. In fact, pretty much the whole town will soon be staying there as a thick snowfall leaves them storm-fucked and snowed in.

As mentioned, the townsfolk are pretty uniformly weird, and the pipeline argument has caused a lifetime’s worth of pettiness and suspicion and resentment to resurface, leaving them at each other’s throats. But the morning after the storm gives them sometimes even more pressing to disagree about: something, some creature perhaps, is terrorizing their small community.

The town’s generators have been taken out and torn up one by one. A small dog goes missing, presumed eaten. A dead body turns up, frozen pretty much right under their noses, and then someone’s hand gets chomped off. Everyone’s a suspect, everyone’s sharing very tight quarters, everyone’s super high strung…and oh yeah, there’s no getting in or out of the town. Have at it!

This is a comedy-horror hybrid, and apparently a video game adaptation (though take it from me: you do NOT have to be familiar with the source material whatsoever to enjoy the film). This film is as advertised: scary and funny, and surprisingly enjoyable. Sam Richardson is my jam and I’m inclined to love anything he’s in. As Finn, he gets to deploy his aw-shucks brand of charm, practically an over grown boy scout who’s impossible to resist. He takes ownership here, leading the cast in their quest to suss out whatever creature’s stalking them. Happily, the rest of the cast (including Cheyenne Jackson, George Basil, Sarah Burns, Michaela Watkins, Catherine Curtin, and Michael Chernus) is in on the fun, everyone adding their own unique ingredients to make a pretty strange brew. It’s the kind of ridiculous that’s easy to laugh at and easy to forgive if (when) it doesn’t quite make sense.

Bingo Hell

Affectionately known in the neighbourhood of Oak Springs as ‘Gargoyle’ or ‘Granny,’ Lupita (Adriana Barraza) rules the community with a mostly benevolent first, with a few episodes of micro-vengeance against encroaching gentrification. She and her elderly posse, including Dolores (L. Scott Caldwell), who’s barely tolerating a pasty daughter-in-law, Morris (Clayton Landey), a Mr.-Fix-It who breaks more than he fixes, Clarence (Grover Coulson), the grumpy old man who runs the garage, and Yolanda (Bertila Damas), who runs the town’s failing beauty shop. This week’s community Bingo game is in her honour, raising funds to keep her doors open just a little longer.

You won’t be surprised to learn that I was drawn to this film due to its title. A bingo hall that’s more like bingo hell? Yeah, I can see that. And a couple of things have recently happened in Oak Springs that have shaken up Lupita’s usual game.

First, Mario, a widower normally part of Lupita’s crew, goes missing. It’s only been a day but he’s already missed by his community of elders, who find his absence immediately suspicious. Second, the old bingo hall disappears virtually overnight, bought out by some city slicker with money, who turns it into…another bingo hall. This one’s flashier and sexier and tempts people with extravagant jackpots. The people of Oak Springs can’t resist, but Lupita knows it’s bad news, especially the owner, who goes by Mr. Big (Richard Brake). As you might have guessed, and since this is a horror, Lupita is more or less right. Mr. Big trades in greed, and the price is steep. His bingo hall just might be the root of all evil.

I liked the title but I loved the movie. It’s rare for any movie to feature a cast of senior citizens, but it’s especially nice to see them headlining a horror. And these aren’t doddering old fools, these are vibrant, tough citizens, still fighting for their beloved neighbourhood, still fighting off evil incarnate as necessary. Someone’s got to do it!

Director Gigi Saul Guerrero writes a film, alongside Perry Blackshear and Shane McKenzie, that has clear roots in the genre, but with its fresh perspective and unexpected vigor, Bingo Hell is silly, smart, sassy, and scary. The cast of golden agers is uniformly and impressively strong, and Guerrero directs them by virtue of their age, not despite it, finding power and skill in what others may consider limitations. Guerrero’s greatest asset is Barraza, and she knows it, using her liberally, wisely, and in enchantingly subversive ways. If you’re lucky enough to find an Adriana, you definitely, definitely write a role for her. Barraza is plucky and hardy. When she wields a shotgun, you believe it. But she doesn’t confuse vulnerability with weakness. Lupita is stubborn and single-minded in her defense of her beloved community, but even she will find it difficult to save the souls of her squad when her friends are selling them willingly and enthusiastically. Will Mr. Big$ Bingo be the end of them all? Amazon Prime is where you shall find your answers, but beware: bingo is a game with one winner, and an awful lot of losers. Watch if you dare.

There’s Someone Inside Your House

On the one hand, a title like that sends chills up my spine and I feel a little less excited to be watching it alone in my stupid creaking house, but on the other hand, really? Really? Could you get any lazier? Why not ‘Look out, he’s right behind you!’ or ‘He’s definitely in the basement’ or ‘You’ll be dead before you orgasm’? Plus it isn’t even factually correct at least half of the time.

Anyway, can you get past a somewhat inane title?

Also: can you forgive some pretty heavy-handed wokeness? Normally I find it hard to find fault with people who want to be better and do better but in a horror movie it just feels shoe-horned in.

Still with me?

Makani (Sydney Park) has finally put her traumatic past behind her and has a nice group of solid friends at her new school. Rodrigo (Diego Josef) is quiet but funny once you get to know him. He’s got a crush on Alex (Asjha Cooper), the resident bitch with a heart of gold, who maybe kinda reciprocates it. Darby (Jesse LaTourette) is a space nerd and Zach (Dale Whibley) is the obligatory rich kid and Caleb (Burkely Duffield) is the gay football player and Ollie (Théodore Pellerin) is the creepy kid on the periphery. Got all that? Basic horror movie tropes with a more concerted effort toward inclusivity. Just your typical high school diversity ad when all of a sudden, someone’s picking off teenagers. Wearing a 3D-printed mask of their victim’s faces, the killer is picking off kids who are hiding secrets, and exposing them for all to see. Armed with a classic oversized knife that glints in the light when it’s not dripping in blood.

Are we rewriting the genre here? We most certainly are not. But they’re an affable bunch of kids and it’s pretty fun watching them get slaughtered. Besides, it’s Spooktober and you’ve got to fill that calendar with something slasherrific, so why not this?

Death Drop Gorgeous

RuPaul’s Drag Race Season 6 All-Stars has wrapped up, and our sincere condragulations to Miz Kylie Sonique Love for her win (and a shout-out to Ginger Minj, whom we also adore). Gaps are rare between seasons of Drag Race; RuPaul is both prolific and tireless. Luckily, the second season of Canada’s spinoff is just around the corner, with an anniversary episode of season 1 streaming on Crave right now to fill the void. But if that’s not enough for you (and truly, is there ever enough drag?), you might takea look at Death Drop Gorgeous, a horror-comedy about drag queens! Can you even resist?

Note: in Drag Race, a dance move where the dancer suddenly and dramatically throws themselves backwards onto the ground, one leg extended, is referred to as a Death Drop (and sometimes a shablam); in fact, it’s actually called a dip, and is one of the essential moves in voguing, but for the purposes of popular culture, and this film, this is a death drop, courtesy of Laganja Estranja.

Death Drop Gorgeous, written and directed by Michael J. Ahern, Christopher Dalpe, and Brandon Perras, weaves together camp, gore, and enough gay references that it’s sure to hilt queer cult classic status.

A serial killer is on the loose in Providence, targeting gay men and draining their bodies of blood before leaving their beautiful, slaughtered corpses to be found by an increasingly panicked community. Dwayne (Wayne Gonsalves), cute but disgruntled, watches from behind the bar at the Aut Haus. His own roommate Brian, frequent patron and audience member, and a host of drag queens including Fitness Janet, Gloria Hole, Tragedi, Audrey Heartburn, and Lindsay Fuckingham, are either targets or suspects, and a fun drinking game can be had trying to guess which is which.

As we know from Drag Race acting challenges, though drag queens are no doubt talented performers, they are not necessarily natural or easy actors. It’s a mixed bag here, though Gonsalves and Matthew Pidge are particular stand-outs, maybe even good enough to appear in movies that aren’t incredibly niche, self-made, and crowd-sourced.

If you have fondness in your heart for drag, I’m sure it will extend to this film, where the fun is not just in guessing who’s draining the blood, but why.

#Blue_Whale

#Blue_Whale uses a played-out construct to frame its frenetic story, but the tale it tells is still relevant, and horrifying in more ways than one.

The Premise: Teenager Dana is reeling and confused by her younger sister’s recent suicide. Unwilling to accept that her sister was truly suicidal, she searches through her computer for evidence to the contrary and instead stumbles across something much more sinister. Sister Yulya was involved in an online game that hooked teenagers with a series of challenging tasks meant to ultimately result in their suicides. Convinced that Yulya must have been compelled, Dana seeks the truth the only way she knows how: by joining the game and risking her own life – and that of everyone she knows.

The Verdict: #Blue_Whale fits undoubtedly within the horror genre, but it’s also alarming to note that the movie is inspired by real-life online suicide ‘games.’ Director Anna Zaytseva tells the story through screens (screenlife storytelling ) – cell phone live streams, social media posts, desk top messaging, desperate texts. While this format may have seemed novel and exciting at first, now it feels like an annoying contrivance, not to mention a not very honest one. If you’ve watched any live streams, then you know they’re 80% blurry, 40% shoes/sidewalk, 98% heavy breathing, yet thanks to the magic of movies, this girl is able to keep herself in frame despite literally running for her life. Anyway, Dana struggles through fifty tasks in fifty days, each more dangerous than the last, each designed to alienate her from friends, family, reality, and hope. While she tries to tease out the game’s admins, she’s also worrying about and falling for another player, a teen who is legitimately suicidal. The film is fast-paced, an immediacy which reflects the almost non-existent attention span of this online generation, and a sensory overload that breeds an overwhelming paranoia. Anchored by a brave and ballsy performance by Anna Potebnya, #Blue_Whale’s success is found in her vulnerability, indeed in the vulnerability of all these susceptible teenagers, so close to adulthood, yet still at risk of manipulation. The film is a horror first and foremost, but it’s also a life lesson worth heeding.

Martyrs Lane

Nightmares appear to become real in this female-directed British horror screaming at the Fantasia Film Festival.

The Premise: Little Leah lives in a vicarage; her father is a Father, and he welcomes lost and needy souls into their home, God’s home. If the house seems crowded by day, it gives ample space for Leah’s imagination to unfold into its dark corners at night. But while nightmares swirl around the old house at bedtime, a small visitor appears at Leah’s window. This ghost/apparition/whatever is also a little girl, and at first her presence is soothing to Leah, but soon we learn that this paranormal personality may not be as benign as first thought.

The Verdict: Horror movies have long since exploited the fact that a child’s perception can really amplify our experience of anxiety and fright. Leah is a fairly stoic little girl, surviving a less than stellar home life. Tinged by grief, trauma, and silence, Leah relates a lot to her ghostly guest, both harbouring a simmering anger and a desire to be heard by the adults determined to ignore and suppress them. Of course, the more you repress something, the more you’re guaranteed for it to pop out in surprising and unsettling ways. A reckoning is looming, but who is its target and how will the casualties come? As Leah is kept in the dark, literally and figuratively, to some of her family’s past and pain, we, the audience, are also left out, only putting together the story as Leah searches out clues and processes what they mean. While a supernatural spirit walks the halls of Leah’s home, it’s clear the house is also haunted by sadness and secrecy, grief becoming its own ghost. Writer-director Ruth Platt gives an old story new life, and elicits two very fine performances from young actors Kiera Thompson and Sienna Sayer.

All The Moons

Drama, fantasy, horror: All The Moons, an official Fantasia Film Fest selection, may look bleak, but its story may surprise you.

The Premise: During Spain’s war in 1876, an orphanage is bombed, killing all nuns and girls inside save one. The girl (Haizea Carneros) is badly injured but saved by a woman (Itziar Ituño) whom she mistakes for an angel, but who actually grants her eternal life. Now this little girl has infinite life stretching out before her, but must learn to survive it on her own, while avoiding those who might mistake her as a demon.

The Verdict: All The Moons is a vampire movie without ever using the word, but there’s nothing like a long life for contemplating loneliness and mortality. Director Igor Legarreta seeks to redefine the vampire trope, making an intimate meditation on love and loss that includes some familiar facets but ultimately transcends the genre. Fans of bloodsucker flicks won’t want to miss it.

Fantasia will screen this film virtually on Saturday August 21st beginning at 9am EST.

Don’t Say Its Name

A horror film set in the snow, and an official Fantasia Film Fest pick.

The Premise: Band peace officer Betty (Madison Walsh) is quickly overwhelmed when a hit and run goes unsolved, its victim a young community activist named Kharis (Sheena Kaine). Meanwhile, the community is also grappling with a mining company come to suck their tribal land dry. Even more concerning: some invisible predator is stalking and brutally killing one person after the next. Betty quickly deputizes game warden Stacey (Sera-Lys McArthur) to help hunt a killer who leaves very few tracks. No one is safe, and no one can quite agree whether these murders are the stuff of legend, but either way it seems one strict rule can be agreed upon: don’t say its name.

The Verdict: I had my doubts, but director (and co-writer) Rueben Martell pulls off his horror with aplomb. Its indigenous setting is rich and authentic, a natural backdrop for some terrifying First Nations traditions. Its unique perspective is augmented by a trio of strong female leads, with an especially admirable and grounded performance from Walsh, who calmly stands in the centre of the storm and bravely gets on with the job. From the very first scene, I was stunned by the film’s truth. Canada’s First Nations communities continue to be haunted by its missing and murdered women and girls, and the sight of Kharis walking alone along a dark road is eerily familiar. Spooks and spirits may plague this small community, but it’s the white man who truly poses the threat, wreaking havoc on the people and their native land in far more lasting and concrete ways.

Join us after the screening on August 18 at 9:10pm EDT for a live Q&A with special guest host Jesse Wente, director Rueben Martell, actors Sera-Lys McArthur, Julian Black Antelope, Val Duncan, Catherine Gell, Justin Lewis and Sheena Kaine, and producer Rene J. Collins.

When I Consume You

Combining horror with family drama, writer-director Perry Blackshear returns to the Fantasia Film Festival with When I Consume You.

The Premise: Given her history and recent disappointment, Daphne’s death seems open and shut: overdose. But Daphne’s brother Wilson doesn’t buy it. He begins to investigate her murder, and to consider that the perpetrator may be the same supernatural source that’s been behind his family’s struggles for years.

The Verdict: Like Wilson, you’ll have to be open-minded to enjoy this movie. Are you comfortable lurking about in the shadows? Do you believe in paranormal criminals? Bad luck incarnate? Wilson (Evan Dumouchel) has a lot to contend with, and he’ll have to virtually become a whole different person in order to pursue her mysterious stalker. Don’t worry though, he does have someone in his camp: his dead sister Daphne (Libby Ewing). That’s right: it’s just like the movie Creed, if Rocky was a ghost, and Creed didn’t so much want to win boxing matches as avenge his sister’s death. So not really like Creed at all, except for the ‘learning to fight’ montage, and if you think boxing trainers are tough, you haven’t been schooled by a ghost and her various powers of motivation. When I Consume You deals with grief and trauma, but with supernatural forces dotting the edges. The film is disquieting, throwing you off-kilter even once you believe you’ve got the hang of things. Unexpected in intriguing ways, When I Consume You isn’t my favourite film at the festival, but I’ll definitely be thinking of it for a long while after, still muttering to myself that the title says when, not if.

How to watch:

Online screenings on Wednesday, August 18th at 9:30pm EST, and Friday August 20that 9am.

Join us after the screening on August 18 at 11:05pm EDT for a live Q&A with director Perry Blackshear as well as actors Evan Dumouchel, Libby Ewing and MacLeod Andrews. Tickets are $8.

Agnes

Direct from Montreal’s premiere genre film festival, Fantasia, may I present: Agnes.

Sphenisciphobia is the fear of nuns. That’s going to be relevant very shortly. Are you afraid of nuns? I don’t find them particularly scary myself, but there is something creepy about them, stripped of identity and personality, existing outside of society, of culture, of us.

The Premise: A disgraced priest and his priest-intern (priest-in-training, future priest) present themselves to an extremely cloistered convent where a young nun named Agnes is said to be possessed. What follows is a crisis of faith in more ways than one.

The Verdict: Demonic possession is a favoured horror trope. So are spooky nuns. Here director Mickey Reece combines them in his unique way, offering all the genre’s hallmarks, but poking fun of them at the same time with trademark dark humour. Agnes’ young friend and fellow nun, Sister Mary, is witness to the paranormal terrors, and finds that she cannot abide her life in faith. But leaving the convent halfway through the movie causes not just a tonal shift but a new way for Mary to grapple with her grief. The outside world isn’t easy, and whatever’s haunting Mary is sure to follow. Interesting, Reece doesn’t play up the horror. He’s more interested in the character drama that follows as she takes on the inner demons that aren’t as easy to exorcise.

Starring: Molly C. Quinn, Hayley McFarland, Sean Gunn, Chris Sullivan, Ben Hall, Jake Horowitz