Tag Archives: Shudder

Devil’s Mile

I almost wish Devil’s Mile had been bad, because that would be easier to take. But (except for the effects, which were cheap and looked it) instead it was consistently nearly really good, and I don’t even know exactly what I would have done to fix it, which is somehow even worse than all the rest.

So there are these kidnappers, driving to somewhere to deliver their victims to a mysterious figure in the shadows that they might as well have named Mr. Big, because he’s definitely a trope instead of a person. And they get lost on the way, somehow? And they slip from crime drama into teen slasher long enough to be warned away from a road that they take anyway, driving long enough to drift into Tarantino meets J-Horror and/or Lovecraft, which is where the movie uneasily remains until the credits roll.

But the thing is, it’s not clever enough to borrow so much premise from Tarantino, and it’s not haunting enough to borrow so much horror inspiration from Japanese cinema, and it’s not creepy enough to borrow so much mood from Lovecraft. So I mostly just sat there wishing that either the sum of the parts had merged into something amazing instead of congealing into, well, the thing I was watching on TV, or else that at least the characters would die faster.

I would watch something else by this creative team, though, because the concepts were solid, or at least had potential. It’s just that the execution, in nearly every sense of the word you can imagine, was lacking.

Confessional (2019)

I hate it when research disproves a theory that superficially matches all available facts. See, the main thing that Confessional had going for it was its Covid-conscious style. Seven characters in a video confessional booth, telling (or refusing to tell) their stories and how those stories overlap with each other and with the two students who died on campus on the same night a few weeks ago. The upshot of this premise being, there was rarely more than one actor on screen at any given moment, and never more than two.

But then I find out it came out in April of 2019, and was therefore filmed earlier than that, and… ugh. I guess I could turn this around by saying it presaged film in the time of Covid, or that it was prescient, or some other Nostradamus-light analogy, but I’m just too disappointed to bother.

The thing is, aside from its not-apparently-of-the-moment-after-all style, it’s a pretty generic thriller. Seven suspects, some of whom are obviously innocent, some of whom are obviously guilty of something, whether it was this particular thing or not, and all of whom have something to hide, or else why did they show up to make their confessions in the first place?

It was, y’know, fine. Which is to say, sadly, that it’s neither good enough nor bad enough to be noteworthy.

Z (2019)

Shudder served me up a more bog standard traditional horror this time, and I’m maybe a little disappointed by it? It’s not that I’m itching to become a giallo aficionado or anything. It’s just that horror in the ’70s is so good. If I were the kind of person who got paid for this, I might call it raw so that I could proceed to call it visceral as well, and be proud of myself for the pun. But what I really mean is, that was when the genre first spread its wings. You had a little blood and a lot of screaming and maybe some goofy eastern European accents, or maybe you had rubber-suited “monsters” or perspective shots and miniatures to make every day critters giant-sized. But the ’70s is where the technology improved and at the same time the censorship limits were removed, and the field just exploded in every direction. By 2019, horror movies are often a lot more polished, but they’re also more prudish and maybe a little dead inside, from that sweet sweet studio money.

Which is not to say Z was a bad movie. I was interested in where things were going. Lonely boy makes imaginary friend, only, just how imaginary is he? And that’s an okay premise, even if we’ve for certain sure seen it before. Will the boy turn out to be a bad seed type? Is it a ghost story? Demonic possession? Weird invisible monster?

The climax was pretty goofy, but the acting was fine and it had a jump scare from what I think may be a unique source in the annals of blah blah. Which ain’t nothing!

Lo strano vizio della signora Wardh

Unexpectedly, two movies in a row on my tragically massive Shudder watch list were giallos[1]. The Strange Vice of Mrs. Wardh tells the story of an American(?) diplomat’s wife, whose husband is on assignment in Europe[2], and her story’s intersection with a recent sex criminal in, uh, town. The best part is (and maybe this is a key component of giallos[1]; as I’ve stated elsewhere I’m not an expert on the genre), the first thing that happens is she is given an ironclad alibi for not being the sex criminal herself, due to arrival / murder timelines, just like what happened in Tenebrae.

Anyway, blah blah blah lots of murdered people who are either apparently evil and/or were topless at an earlier point in the film, about like you’d expect, but what I’m most interested in here is the title. Mrs. Wardh has vices, don’t get me wrong, the most obvious of which is that she sleeps around. But that’s hardly strange, as vices go? The only strangeness apparent is in a lot of flashbacks to a previous boyfriend who is a current stalker, and I can’t work it out.

Because the stalker ex testifies as to her strange vice, and flashback scenes confirm the bare bones of his testimony, but she seems detached at best and coerced at worst in these flashbacks, and never responds to any of the ex’s innuendos about her being the driving force behind said events.[3] On top of that, even if his vice testimony is accurate, it has zero percent bearing on anything else that happens in movie, for good or ill. Like, why are we even talking about this? If the goal was explaining why she deserved to be stalked and/or terrorized, well, maybe it worked better on 1971 audiences than it did on me, and that is the only goal I can even guess at.

In conclusion, giallos[1] are weird.

[1] gialli, properly, but who’s counting?
[2] I know what you’re thinking. “Chris,” you’re thinking, “diplomats are assigned to countries, and Europe isn’t a country.” And if this had been a newer movie, I wouldn’t even be able to defend myself. But here’s the stone cold truth of the matter. Every time, every time there’s a mention made about spending money or what something costs, they reference a different currency. Every. Time. All without any evidence of the amount of travel that would otherwise perhaps justify this.
[3] Why am I treating her vice as a spoiler? It’s a good question, and yet, it is the title of the film.

Tenebre (1982)

I have just spent upwards of seven seconds contemplating why I would select horror as a tag after also selecting thriller, given that the main feature of both of these genres is that some murdering[1] happens. In the case of Tenebrae[2], the reason for the distinction is that many of the murders are over the top violent. …I mean, not by modern standards. They’re mostly pretty tame? But by 1982 standards, it’s easy to tell that something hardcore is happening. And hell, in at least one instance towards the end of the movie, it was modern standards hardcore, albeit without modern special effects to seal the deal.

Other things I learned while watching “Latin word for Darkness” include: a) there’s a very specific feel to movies in the ’70s and early ’80s, partially attributable to the lack of steadicam, where the credits will always feature the study of a skyline as some character traverses some city; b) you can apparently ride your bike on the highway to JFK airport, controlling for what decade it is; c) bras do not exist in Rome; and d) Dario Argento knows what’s up.

Seriously on that last point. I have rarely seen a movie tip so far into “why does this scene even exist?” territory only to suddenly justify itself, much less multiple times in a row. Bravo, sir.

Also: seriously on that second to last point. …bravo, sir.

[1] Well, even that’s not an absolute. Sometimes the dying in a horror film is not attributable to murder.
[2] and maybe in the case of most giallo films? Here is where I will not pretend that I completely understand this (let’s say) rich and vibrant Italian subgenre.

The Siren (2019)

Remember when Harry Potter and the Philosopher’s Stone was released as a book in America? You do not, of course, because some publisher decided we were collectively too stupid to understand the reference and/or to look it up, and gave us a made-up, dumbed down version instead.

The opening scenes of The Siren are text cards explaining how a rusalka is created. She is something something betrayed by a man maybe, drowns herself in grief for sure, and then haunts the waterways where she drowned, killing pretty much anyone she can get access to. You know, mostly if they go swimming.

You can see how this is pretty annoying.

Anyway, this mute guy goes on vacation at a lake house which is basically one room about the size of a firewatch tower, but the patio actually overhangs the lake, so, prime real estate I guess? He probably said why he was there, but I forget. (Or he didn’t, that would make sense in this context!) He makes two friends, one a beardy guy who shows him how to get the electricity running at his airbnb, the other a lady who is just always swimming. At his dock? Swimming. When he’s out on the lake for a canoe ride? Swimming. Teaching him how to swim? …well, that one makes sense I guess. On his patio for a lunch date? Foot trailing in the water. There’s maybe something fishy suspicious about the whole thing, if you read about rusalkas somewhere and/or are aware of the movie genre. You know?

Nevertheless, the chemistry is undeniable, and if he can learn how to swim plus she can learn how to not murder him, they may just be able to make a go of it! …well, and if the lakewide body count stops rising and nobody notices that she’s only ever swimming, never sunning or cooking in the kitchen of whatever lakehouse she lives in or sleeping there, just to name a few examples of other things people do when living near lakes.

Then again, that may all be too much to ask.

But getting back to my original point: there are like two characters with dialogue in the whole movie; the mute guy mostly gestures. And okay, under these circumstances, the “siren” does make a lot of the vocal noise in the movie, sure, but she never sings, she never lures anyone anywhere with her supernatural wiles. She just drowns people if she can get to them. The only crossover she has with being a siren is she’s in the water. …and hell, even the original sirens I think hung out on rocks, right?

Ugh. (But I liked the movie otherwise. It had a slow, dreamlike, haunting quality to it. And the rusalka’s nervousness about what to wear and how to impress her man were sweetly endearing, if you leave out how all her jewelry and clothing were stolen, mostly from the corpses of her victims.)

0.0 MHz

“Zero point zero megahertz is the frequency at which a person’s soul meets a ghost,” someone technobabbles in like the third scene of 0.0 MHz. I, uh… I to be honest did not understand this at all. Something about radios and/or brainwave scanning? Other than a few scenes in which the megahertz reader is inching downward towards zero to create tension, I don’t know that there was a reason for it. …or maybe it’s real ghost hunter technobabble, rather than made up? They did, after all, have a salt circle at one point.

That’s not really important right now, I suppose. The thing about this movie is, it is a nearly perfect Frankensteinian amalgamation of classic American slasher horror and Asian spooky ghost horror. It’s like, the entire first third is, hey, let’s get some teens (whether high school or in this case college, they are honorarily teens for these purposes) in a car and drive out somewhere bad, and even make sure that a crazy-eyed dude warns them not to go there. You know, the thing that’s gone from staple to signifier to self-parody over the course of my lifetime.

Then, gradual transition with significant overlap from that movie to the haunted ghost movie, complete with unwashed black hair and random double-jointed body horror. But somehow, it works? For a movie that feels like it was put together to fulfill the terms of a bet, it’s surprisingly effective. Of five cast members, I only knew for sure whether one of them was going to live or die, and that ain’t bad. (You’ll know too.)

Some Kind of Hate

Some Kind of Hate opens with a scene of high school bullying[1] that culminates in actions that could be categorized as self-defense or as fairly extreme escalation.I know what I think, but ultimately that’s not important. What the people behind the scenes in the movie thought (school officials, parents, the legal system, whoever) is that the bullied kid needed to go out into the desert for one of those homes for troubled teens, we’ll straighten you out, you’d think military academy but not in this particular instance kind of programs. I’m not sure on what timetable they stay out in the desert, but the part where there were 10-20 kids total makes me think it’s not more than a few months.

…not that even a few weeks would have been short enough to save anyone.

See, the kid starts getting bullied again at the straighten you out in the desert place, because of course he does. And then the body count starts rising, because of course it does. But what makes the movie interesting is the number of switchbacks the plot takes on its way to the blood-soaked conclusion, with dark secrets and unexpected turns galore along the way.

As I’ve said elsewhere, there are several spots where the premise doesn’t entirely hold up to close scrutiny, but if you accept every aspect of the premise, the movie that follows from it does a good job of presenting multiple angles of what is at first glance a pretty one-sided issue. More angles than I would (at that initial glance) have thought plausible.

[1] that was being recorded on cellphone camera no less, and I can tell you I have a lot of thoughts about whether that did or could or should have made a difference to the premise of the film

Extremity

A small but visible number of movies I’ve watched in the past few years are premised as “what if a haunted house attraction, but bad things are actually happening?” Which makes me wonder, mainly, if these extreme haunts are a thing that really exist. Like, I don’t want to do the thing in this movie where the goal is to probe your psyche and bring you the very worst experiences, because that will… help, somehow? I don’t even know. But someone is actually menacing you with a butcher knife or whatever, and they chase you and things, or… look, I can’t actually imagine any way these could work in real life, which ultimately is my point. But if I’m wrong, someone needs to tell me what is the deal with them, is what I’m saying.

But in the case of Extremity, the deal is that this chick who has meds to be off of and is arguably suicidal and who definitely has a concerned girlfriend and an uncooperative therapist and has a lot of flashbacks to a dark and troubled past has decided that the best thing she could do for herself is sign a bunch of waivers and give herself over to the fine people at Perdition, which as you may have guessed is an extreme haunt, for the purposes of confronting her fears or herself or something[1], and before you know it we’re off to the races.

On the whole, I liked everything except for the unnecessary subplot where a Japanese TV show’s camera crew is onsight today doing interviews with the owner of and b-roll footage of the haunt. It added nearly nothing, definitely nothing that couldn’t have been revealed elsewhere, and had as far as I could tell no payoff. Otherwise, there were twists I saw coming a mile away and twists that caught me entirely by surprise and at least one moment late in the movie that I’m still not sure whether I’m supposed to believe actually happened or not. It would make a lot more sense as a partial hallucination, but they seemed to play it inextricably straight.

Nevertheless, it’s a solid movie on the strength of the psychological studies of the two main characters and has very little to disrecommend it, if you can get through the first 15 minutes or so that are too busy being shocking for the sake of it to remember there should be a plot.

[1] She actually said what all at one point, I just don’t remember, probably because I was too busy being skeptical of the whole concept at the time.[2]
[2] This is not to say that the concept is meritless. It is to say that I imagined telling people for whom I had just signed an absolving waiver that I wanted their untrained asses to help me overcome my fear of spiders, and my brain basically shut down for a while, followed by acknowledging that no, I would never do that, nor can I imagine any sane person doing so.

We Are What We Are

A proposition: if we accept that gothic horror must include a lonely countryside castle, then it (necessarily?) follows that American gothic horror must include a lonely farmhouse in the country. There is even, I believe, pre-photographic evidence of this.

We Are What We Are is a modern (well, set in the past 50 years, anyway) American gothic horror in which days of torrential downpour first kill the mother of an extremely religious and reclusive family, and then begin to unearth certain family secrets.

Honestly, the horror bits are less interesting as plot than as exaggerated backdrop for the coming of age story of the two daughters suddenly thrust into being in charge of the remaining household of their brother (who is too young to take care of himself) and their father (who is too really a lot of things, none of them complimentary, to take care of himself), even though they’ve been unhappy with their family traditions for some time. Just one more thing to come to a head during the week or so of heavy rains that kicked everything off.