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horror

The Black Phone: Answering the Call to Fight Back

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Set in a suburban town in Colorado back in 1978, The Black Phone begins as five children go missing. A mysterious (and presumed) serial killer that targets children–who the media calls ‘The Grabber’–is on the loose and abducting children one-by-one in the area. For his 6th victim, The Grabber abducts Finney Shaw, a clever but weak 13-year-old that’s frequently bullied. Trapped in a sound proof basement by the sociopathic lunatic, Finney needs to get out of his prison as quickly as possible. However, when a seemingly disconnected black phone keeps calling him, he learns that the mysterious callers are, in fact, the Grabbers previous captives with a plan to help him escape.

(from left) The Grabber (Ethan Hawke) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson.

Directed by Scott Derrickson, The Black Phone presents itself as a horror movie with an interesting premise but it’s really about overcoming your fears and standing up for yourself. Constantly getting beat up throughout the film, Finney always takes the abuse without fighting back. (In fact, his friend and even his little sister have to be the ones that fight his battles for him.) As a representation of the ultimate bully, The Grabber only picks on those who are much weaker than him to be his victims, tormenting them for his amusement. When the time comes, Finney has no other option but to stand up to The Grabber. However, in order to fight back, he must use all of the tools and knowledge of the previous victims to defeat his bully and set himself free.

Mason Thames as Finney Shaw in The Black Phone, directed by Scott Derrickson.

Personally, I really loved how they went about the horror and premise of the movie. By using a lunatic abductor as the villain, Derrickson gives a sense of realism to the film as this could easily happen to anyone. Trapped in a small confined space, the film has maintains an eerie claustrophobic feel. (A sense that’s further emphasized by Finney’s reliance on the Grabber for food.) What’s most shocking about the film is the effectiveness of its fight scenes. Inspired by The Karate Kid, the hits are surprisingly heavy with a lot of weight to them, allowing the violence to feel satisfying in the end.

At the same time, although the film seems grounded, The Black Phone also has a supernatural influence to it that should engage horror fans. With each call from those who died at the hand of the Grabber, Finney taps into their power and influence. As a result, the film feel feels almost as though The Grabber is the final boss in a video game and Finney is using tips from the other dead children to ‘level up’.

(from left) Vance Hopper (Brady Hepner) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson.

In many ways, Black Phone becomes really inspirational as it gives anyone who’s ever been bullied the motivation to fight back. As the film builds to its cathartic finale, it’s hard not to empathize with (or even relate to) Finney. One cannot help but put themselves in his shoes as he finds the strength to stand up to his kidnapper.

Derrickson has always been a master of horror and it shows here. Balancing both ‘realistic’ and ‘supernatural’ horror, The Black Phone proves to be a solid horror film with a satisfying ending. In short, this is definitely one scare-fest that will Grab you.

The Black Phone is available in theatres on Friday, June 24th, 2022.

Hatching – Nurturing an evil twin

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In the Finnish film Hatching, from director Hanna Bergholm, a girl from a seemingly perfect home looks for love in an unusual source, but it leads into a very dark and destructive place. It’s part horror film, part coming-of-age story, and part magical realism.

Twelve year old Tinja lives in what appears to be a perfect family: Father, mother, Tinja, and her younger brother. Her mother is an influencer with a vlog titled “Lovely Everyday Life”. Their home is tastefully curated with nothing out of place. Tinja is an aspiring gymnast, who can’t quite achieve the perfection her mother expects (and needs to fulfill the image of her vlog).

When Tinja finds an egg in the woods, she brings it home and secretly nurtures it in her room. There it grows and grows until it eventually hatches with a monstrous being. Tinja names it Alli. Tinja tries to keep Alli hidden, but as time passes, Alli looks more and more like Tinja.

The egg is not the only secret in the film. Tinja’s mother, that influencer of the perfect life, is really having an affair with a handyman, Tero. As perfect as Tinja’s family’s house is, Tero’s is completely the opposite. Tero is restoring a very derelict place. It is as chaotic and alive as Tinja’s home is neat and sterile. Her mother expects Tinja to keep all this secret from her father.

Meanwhile, as Alli grows we see evolution taking place as she becomes more like Tinja, as Tinja becomes more of a mother. There is even a sense in which Tinja’s eating disorder mirrors a bird’s feeding of its young.

The more Alli becomes physically like Tinja, we see an important difference: Alli has become something of an evil twin. Tinja is meek, but Alli is vengeful and violent. Tinja has been starved for love by her demanding mother; Alli has no love except for Tinja. When Alli begins to feel threatened or feels that Tinja is threatened, she acts quickly.

Adolescence is a time when it may seem that a child is evolving, not so much into an adult, but into a doppleganger. In the case of Alli, it is an actual person, not just a different personality within Tinja. But the film also works on the level of what Tinja is going through and how Alli is the answer to Tinja’s passivity in the face of a self-centered, deceitful, superficial, and unloving mother. The film leaves the conflict or integration of the two young girls unresolved, but to be sure, the troubles are far from over.

Hatching is showing in select theaters and will be on VOD beginning May 17.

Photos courtesy of IFC Midnight.

Moon Knight: Marvel’s Wildest Experiment… and it Works

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Once again, Marvel has proven that they aren’t the most successful franchise in history by accident. With each entry into their massive (and ever-expanding) canon, they continue to flex their influence by releasing increasingly risky characters and stories that somehow still fit their brand.

A world entirely translated by generations of television.

Multiple Spider-Men from the past 20 years of film franchises.

A giant purple titan who wields an all-powerful gauntlet.

No matter how (doctor) strange their continuity becomes, Marvel somehow manages to make it work. (Yes, there are franchises that are better than others… but the percentage of quality in their cinematic storytelling is surprisingly high, especially considering how long they’ve been doing this.)

Now, here comes what is arguably the most insane story of all: Moon Knight.

Streaming on Disney+, Moon Knight tells the story of Steven Grant, a mild-mannered gift shop employee who is struggling with bizarre dreams. Every night, he fears falling asleep as he finds himself transported to exotic locations and dangerous situations. As his dreams begin to blur with reality, Steven discovers his inner mercenary (literally) as an alternate persona known as Marc Spector battles for control of his body. Fierce and ferocious, Spector is under the servitude of the Egyptian god, Khonshu, who demands that he fight on his behalf. As Steven/Marc begin to unravel their complicated relationship, so too must they defend themselves against a mysterious Arthur Harrow (Ethan Hawke), an acolye of the goddess Ammit.

Moon Knight is ridiculous on almost every level… but it’s also ridiculously fun

Spearheaded by Justin Benson and Aaron Moorhead, Moon Knight is stylish and well-executed. Billed as a ‘horror comedy’, the series is a wild blend of the terrifying and goofy. Known for their work on Synchronic and She Dies Tomorrow, Moorehead and Benson have a background in psychological horror and the put those talents to work here. Flashing hallways, demonic jackals and psychological breakdowns all work together create an unsettling atmosphere of terror. However, the best example of their horror influence comes through the depiction of Khonshu. Voiced by F. Murray Abraham, Khonshu’s bird skull and long, bony physique pushes the boundaries of what Marvel has offered by creating an intimating ghostly figure that ominously follows Spector/Grant. (Note to parents, while it keeps to its PG rating, this image may intimidate younger ones so use caution.)

At the same time though, Knight is also genuinely funny. Although the series features Marvel’s trademark silliness (such as a car chase in a cupcake truck), much of the credit here falls on a stellar performance by Isaac who is absolutely erratic as the psychologically-divided hero. From the Coen Brothers to Star Wars, Isaacs has always been willing to balance his independent work with big franchises. 

But his performance in Moon Knight is truly unique.

As Marc Spector, Isaac is allow to engage his dark side. A mercenary indebted to Khonshu, Spector remains calm, collected and often brutal. However, as Steven Grant, Isaac is practically bouncing off the walls with erratic energy. Armed with a British accent and high anxiety, Grant is constantly in motion as he attempts to figure out what’s taking place around—and within—him. Together, Spector/Grant have a tension reminiscent of the Hulk & Banner as both men battle for control of the same person. When you add in the demanding demonic voice of Khonshu, Disney has invariably created an ‘Odd Throuple’ with each persona attempting to dominate the other. (In fact, the relationship between these characters echoes Sony’s recent rom-com superhero franchise Venom which features a similar silliness between Eddie Brock and his alien symbiote.)

At its heart, Moon Knight feels interested in addressing the nature of justice. Whereas Spector is more than prepared to exact vengeance and violence when called upon, Grant has a gentler approach. To Grant, violence is never the answer and there is always a better way to solve his problems. However, Spector’s strength is often required in order to defeat the baddies that go bump in the night. There is a tension between their styles that creates some interesting conversations about the definition of justice and what sorts of methods are required. (Admittedly, Knight often favours Spector’s brutality as necessary yet, as the series progresses, one gets the sense that Grant’s humility will become important to Spector’s growth.)

Held in juxtaposition to this internal battle is the villainous Harrow who believes that the sins of man require judgment. Committed to the goddess Ammit, Harrow believes that humanity can be judged for actions that they haven’t yet been committed if there is darkness in their hearts. Whether it’s an elderly woman or infants, Harrow is relentless in his belief that those who (may) create suffering should be eliminated before they have the chance to do so. 

When held up against Spector/Grant, the series creates some space for what it truly means to create a safe space for others. To Harrow, man’s sins are inevitable and therefore justifiably erased. For Grant, man cannot be blamed until the actions come to life and then invited to change. Finally, Spector argues that those who threaten peace are justifiably stopped by any means necessary. Between the three of voices, the series highlights the breadth of opinions on justice and tries to hold them all in tension together.

How Moon Knight fits in with Marvel continuity is not yet known. Set in its own space and time, Knight very much feels like a standalone series. (Although, it’s fair to say that we know that’s not the case. Nothing in Marvel ever exits on its own.) However, anchored by a phenomenal performance by Isaac, Knight manages to carve itself its own corner of the Marvel Universe. Once again, Marvel has taken an insane premise and created something infinitely watchable and engaging.

Somehow, they’ve managed to let this Knight shine.

Moon Knight begins streaming on Disney+ on Thursday, March 31st, 2022.

The Last Rite: The Scariness of the Sacred

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Sometimes, the scariest horror films are the ones that spend the least amount of time trying to scare you.

The Last Rite tells the story of Lucy (Bethan Waller), a young woman struggling with sleep paralysis. Though she lives happily with her boyfriend Ben (Johnny Flemming), she is plagued by a dark shadowy figure determined to destroy her. Haunted by this demonic entity, Lucy pleads with Ben to believe her stories yet he remains skeptical. Eventually, Lucy reaches out to Father Roberts (Kit Smith), a priest who has never dealt with the forces of darkness directly. Even so, Father Roberts remains determined to help the young woman and sets out on a journey that may help him rediscover the depth of his faith in the process.

Written and directed by Leroy Kincaid, The Last Rite is an intriguing and terrifying exploration of the relationship between reality and the paranormal. Despite the deeply spiritual nature of his script, Kincaid grounds his film in such a way that it feels real. Relatively scant on the special effects of other big budget horror entries, Rite tells its story well enough that the film’s minimal use of effects feels just as scary. There is a simplicity to this story that never allows the film to open the door for larger conversations about spiritual realities while still offering all the necessary frights.

Based on his own spiritual musings and experiences, Kincaid has woven a tale which feels like two different films. On the one hand, he follows the evolving (dissolving?) relationship between Ben and Lucy. Although they have been together for some time, Lucy’s visions begin to expose the lack of trust that may exist between them. Although Lucy swears by what she has seen and felt, Ben struggles to believe her. To him, the paranormal is simply nonsense and he refuses to accept her stories. At the same time, Lucy’s experiences also trigger past traumas from her childhood that she has never felt comfortable sharing with her partner. As the intensity of her encounters with the man in the hat increases so too does the divide between the young couple as their issues begin to drive them apart.

At the same time, Kincaid spends a surprising amount of time investing in the character of Father Roberts. After he is contacted by Lucy, Father Roberts’ arc rises in prominence as he wrestles not only with the forces of evil but his own journey of faith. Although he remains devout in his beliefs, Father Roberts is a man who seems to struggle with the realities of the spiritual world. Advising Lucy to try ‘praying about [her situation]’, he looks to remain a safe distance from any particular spiritual engagement. However, when he realizes how serious the situation has become, his battle moves beyond the demonic. Whether he’s debating with fellow (ex)clergy or battling bureaucracy, Father Roberts’ greatest battle seems to be within the church itself. Through his insistence that Lucy get the help that she needs, Father Roberts seems to expose the fact that the church itself struggles to believe the spiritual realities of this world.

In this way, Rite becomes as much about rediscovering one’s faith as it does about fighting demons. From Father Roberts to Ben, many of the characters within this world have difficulties seeing past their own spiritual blinders. Dissatisfaction with the things God has (or hasn’t) done, spiritual trauma or simply a lack of spiritual awareness/interest all temper Kincaid’s characters and prevent them from initially engaging the oncoming terror that awaits. However, as their eyes are opened, their view of the world becomes larger. With this broader understanding of spiritual realities comes greater fear… but it also brings hope. With the darkness exposed, these characters have no choice but to cling to the light which potentially creates healing.

Sharply written and executed, Last Rite proves that the most terrifying truths about the world may lie in our blindness to them. Though the topic is far from new, Kincaid’s interest in balancing his jump scares with conversations surrounding spiritual realities allows him to create a film which challenges conventional horror tropes. Unlike most horror films, this isn’t a film merely content to explore the effect of the shadows.

For Kincaid, this is a chance to explore the light.

To hear our conversation with Leroy Kincaid, click here (YouTube) or here (audio)

The Last Rite is now playing on VOD.

SF Radio 8.08 Toxic Nostalgia in LAST NIGHT IN SOHO

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Edgar Wright has always been willing to push the boundaries of his storytelling. With LAST NIGHT IN SOHO though, the famed director has created something truly amazing by fusing the psychedelic style of the 60s with murder mystery horror. This week, Victor Stiff (VictorStiff.com, Dope Black Movies) and Catherine Erskine join Steve to talk about SOHO’s complex messages and the toxic nature of nostalgia.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Rad or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

8.08 Last Night in SohoDownload

Last Night in Soho: Only Murder in the Building

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The scariest thing about the present is that it may not be that different from the past.

Last Night in Soho tells the story of Eloise (Thomasin McKenzie), a young woman who moves from the English countryside to study fashion in London. Struggling to adjust to life in the big city, Eloise feels ostracized by the school elite and its hierarchy of cliques so she decides to rent a flat in Soho. Here, her life is changed forever when she becomes psychologically linked with Sandy (Anya Taylor-Joy), a vibrant and energetic singer who lives in 1966. Passionate about the era’s music and flair, the 60s have always inspired Eloise and the experience invigorates her work in the present. However, as Sandy’s dreamy lifestyle is revealed to be a nightmare, the present and past collide into a vivid swirl of horror. 

Directed by Edgar Wright, Last Night in Soho is both visual treat and terrifying trauma at the same time. In Soho, he has created a story that is entirely unique and speaks to the power of the ghosts that haunts us. Visually and sonically, Soho is an absolute delight. Edgar Wright has always had a way of creating pop fizz with style and substance and this is no exception. Though the past is viewed at first with a lens of affection, Wright never allows the viewer to get too comfortable there. An ode to psychedelic filmmaking of a bygone era, Wright strips the style down into its horror elements as reality and the dream world blur together and unravel. Whereas the 60s are first shown with bright colours that carry a certain swing and panache, Wright gradually allows those shades to gradually bleed out into oversaturated madness.

One of the staples of 60s nostalgia is the sound track and here he has created something truly special. Similar to his previous effort in Baby Driver, music sets the tone for the film and even becomes a character within it. However, rather than simply offer the more well-known version of the era’s pop hits, Wright instead substitutes lesser known versions such as Sandie Shaw’s “(There’s) Always Something There To Remind Me” or Jamie Ray’s “Got My Mind Set On You”. In doing so, Wright builds a bridge between eras by offering you what you think you knew but then spinning it into the unfamiliar.

For Wright, carrying nostalgia for the past becomes both enthralling and disturbing. For instance, Eloise is a young woman who is never truly comfortable in the big city of the modern era. In short, she simply doesn’t fit. Yet, when she steps into the 60s, the experience invigorates her. Stepping into the life of Sandy, Eloise feels confident, beautiful and powerful. Increasingly, Eloise becomes a woman who yearns for the simplicity and style that the 60s represent to her. Burdened by the pain in the present, she is invigorated by the pop styles from the past. 

However, the true horror of Soho is that all of the joys and fun that she imagined that era to exemplify are stripped away when she discovers the seedy underbelly that lies beneath. Suddenly, the 1960s are no longer her safe haven but a place of terror and pain, especially for women. This is an era of toxic masculinity at its worst, especially for aspiring young women who want to leave their mark. (Incidentally, Matt Smith excels in this type of role where he’s allowed to exhibit his charm with an edge of vicious madness underneath.) Muted by the endless parade of men in her life, the struggles of young Sandy have been silenced for over 50 years and Eloise is determined to let her speak.

As such, Last Night in Soho is very much a film that wants to elevate the stories of women of the past, especially those who have experienced trauma in a male dominated society. Co-written by Kristy Wilson-Cairns, Soho seeks justice for those who had their voices stolen from them at the hands of others. (However, without spoilers, it is also worth noting that the film’s finale almost calls this clarity of direction into question.) As Eloise ventures more deeply into the story of Sandy, her heart breaks for the sparkling young vision of a woman who lost her innocence. For Eloise, uncovering the story of Sandy becomes a mission of mercy. Although no one knows who she is today, her story still matters. 

No matter how much time has passed, Sandy still matters.

As a result, Last Night in Soho manages to both celebrate and confront an era which holds a unique place in pop culture history. Known as the era of the Beatles, Woodstock and social change, the 1960s carry an energy that charms youth to this day. However, if we are truly honest, revisiting that time also reveals a darker side to history. Despite the romantic charm of the era, Soho serves as a reminder of the poison that bubbled underneath the pop nostalgia and that that same toxicity still exists to this day.

Last Night in Soho is be available in theatres on Friday, October 29nd, 2021.

Sound of Violence: Disturbing Deaths and Musical Mayhem

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Hello darkness, my old friend…

Written and directed by Alex Noyer, Sound of Violence is a dark and brutal horror film that dives into its world with such enthusiasm that one can’t help but find it entertaining, even in places where it feels predictable. As a first-time director, Noyer takes the opportunity to let his creative juices fly. With vicious killings and some unique visual cues, he holds little back with the violence and cruelty to the film’s victims. From torture chambers to a gory recording session, Noyer builds his bloodbaths in a final crescendo that is truly unsettling. 

Beginning in her childhood, Sound of Violence follows Alexis (Jasmin Savoy Brown) as she witnesses the brutal murder of her family at the age of ten. Though born deaf, Alexis’ traumatic experience awaken synesthetic abilities within her that help her to regain her hearing. Though painful, the connection between the violence she saw as a child and her hearing was never lost on Alexis and she becomes fascinated with the nature of sound. As an adult, she goes on to pursue a career as a musical teacher. However, when her hearing begins to falter, Alexis begins to orchestrate her own acts of violence in an effort to replicate the experience she had as a child. As her acts of violence escalate, so too does her pursuit of her maniacal musical masterpiece which she is obsessed to complete.

Built on the wild premise of a serial killer that uses her murders as part of her art, Violence could have become another example of a high concept that simply falls apart. However, the film is kept afloat by an absolutely engaging performance by its lead, Brown. As Alexis, Brown brings complexity to a character that could have easily skewed into comic book villain territory. In an almost Jekyll and Hyde turn, Brown has the ability to help the viewer sympathize with her character until the last moments when you can no longer do so. Because of her strong performance, Alexis’ fall from grace feels surprisingly tragic and adds an additional emotional layer to the film.

Dark and utterly disturbing in places, the horror of Violence is not about jump scares. (In fact, one could argue that it’s not really even about the graphic deaths.) Instead, the most truly horrifying aspects of the film stem from Alexis’ response to the murders. Struggling with her childhood trauma, Alexis’ music is an opportunity for her to be heard. As one who knows what it’s like to live without hearing, Alexis feels like her music allows her the opportunity to voice her inner pain. However, this also makes her murderous exploits feel even more personal and emotional.

As she conducts her symphony of violence, Alexis immerses herself in the bloodbaths. Not only do the murders heal her hearing, so too do these moments become cathartic pieces in an act of musical creation. All of a sudden, her craft takes precedence over her value of human life. (In fact, Alexis even argues that her victims aren’t truly dead as they ‘live on in [her] music.’) These are the moments where Noyer really allows his artistic impulses to fly. With each bloody death, Noyer bathes the screen in colour and sound as Alexis gives in to her instincts. As the deaths become more gruesome, so too do they become increasingly life-giving to her and Noyer visualizes that joy effectively.

While Sound of Violence will not be for everyone, it should satisfy fans of the horror genre who are looking for something fresh and unique. Led by some solid work by Jasmin Savoy Brown, Noyer’s film is both disturbing and visceral, playing out like a symphony of murder and mayhem.

Sound of Violence is available on VOD on Friday, May 21st, 2021.

The Retreat: Blood and Justice in the Woods

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Is there anything scarier than hatred and bigotry?

In new horror/thriller The Retreat, Renee (Tommie-Amber Pine) and Valerie (Sarah Allen) are a young couple who venture off into the wilderness for some secluded romance. With their relationship hitting a crossroads, the two women hope that this weekend in a remote cabin will provide the spark that they need to move forward together. However, as they attempt to navigate their issues, they are terrified to realize that their lives are in peril. Hunted by a group of para-military extremists, Renee and Valerie must put their relationship woes aside and fight in order to escape with their lives.

Directed by Pat Mills, The Retreat is solid horror fun that blends its terror with social commentary. Though only 81 minutes in length, Mills makes good use of her runtime. By keeping the exposition to a minimum, Mills keeps this story locked into the moment. In doing so, she manages to keep the film focused and energetic. At the same time, the film also benefits from some solid performances from its cast. With some enjoyable chemistry, Pine and Allen hold the film together. With energy and enthusiasm, the duo work well and their relationship serves as the film’s emotional core. 

As the film’s villains, Rossif Sutherland and Aaron Ashmore invest themselves into their characters, giving them an unyielding menace. Admittedly, it’s a little frustrating that talents like Sutherland and Ashmore are relegated to such one-dimensional characters. However, that’s also necessary in this case. These particular monsters are not meant to have any redeemable qualities in them and fleshing them out may have made them more sympathetic than they are supposed to be. 

Though light on ‘jump scares’, The Retreat‘s greatest asset is its social commentary. Following in the tradition of recent thrillers like Get Out and The Invisible Man, The Retreat uses its scares to highlight the pain caused by bigotry and hatred. However, instead of issues of racial discrimination or feminism, Mills chooses to focus on intolerance of the LGBTQ community. (In fact, it’s worth noting that The Retreat also serves as an opportunity to break free from the ‘bury your gays’ trope that often happens in genre movies such as this.) 

As Renee and Valerie venture out for a weekend of romance, this secluded retreat becomes a metaphor for the vulnerability that still take place when members of the LGBTQ community step out into the light. To their attackers, Renee and Valerie’s relationship is perceived as a threat to their more conservative way of life and that breeds into hatred. With this in mind, there’s a cry of hurt and anger that underscores the film and adds depth to its meaning. While they battle the evil around them, they show their resilience and strength in a place of oppression. As such, their journey becomes about much more than simply getting free from their captors. In essence, as Renee and Valerie fight for their lives, so too are they fighting for the right to be themselves. 

As the credits roll, The Retreat has accomplished its goal as pure horror fun. Filled with the required blood-thirsty villains and violence, the film makes for an evening of enjoyable entertainment. Nevertheless, the real value of the film lies in the statement that it makes. By giving voice to the LGBTQ community in the face of oppression, The Retreat feels as much of a claim to hope as it does a cry for help. By using Renee and Valerie’s struggle to survive as a metaphor for the resilience of the LGBTQ community, the film shows the damage incurred by the hatred of others and the strength needed to overcome it.

The Retreat is available on VOD on Friday, May 21st, 2021.

Willy’s Wonderland: Embrace the Madness

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Over the years, we’ve seen Nicolas Cage fight aliens, monsters and ninjas… but I never thought I’d see him fight animatronic monsters. And I definitely wouldn’t have expected myself to enjoy it when he does.

Which brings us to Willy’s Wonderland.

When his car breaks down in the middle of nowhere, a mysterious stranger (Cage) finds himself stranded with few options. Without cash to pay for the repairs, the owner of Willy’s Wonderland, a local children’s restaurant, offers to pay the tab… if he is willing to spend the night cleaning the establishment. Without other options, the man agrees to become ‘janitor’ for the night and quietly gets to work. However, as the lights go out, he soon finds himself facing off against the building’s possessed animatronic mascots in a battle for survival.

Ridiculous and wonderful, Willy’s Wonderland is a glorious symphony of nonsense that revels in its own campiness. Loosely based on the popular video game Five Nights at Freddie’s, the film makes little sense yet leans into the madness with such enthusiasm that one can’t help but enjoy the ride. Director Kevin Lewis clearly understands the outrageous nature of the premise and never worries about taking itself too seriously. (He even allows the robotic killers to ‘bleed’ motor oil in order to make the scenes feel more brutal.)

Of course, the engine that drives this carnival ride is Cage himself. There are many who have questioned why Cage leans into stranger and stranger roles. However, while some actors seem frustrated by their decision to star in smaller, straight-to-VOD titles, Cage has done so with gusto, deliberately choosing projects that grow increasingly wild. In Wonderland, Cage’s ‘Janitor’ remains shrouded in mystery. Without speaking a single word of dialogue throughout the film, Cage rips these robotic monsters apart with reckless abandon… that is, until his watch alarm goes off and he needs a break for a can of soda and some pinball. (Is he diabetic? Adrenaline junkie? The film never even tries to explain this… but it’s so outlandish that it doesn’t need to do so.)

Whereas many modern horror films attempt at a deeper social commentary, it would be wrong to claim that Willy’s Wonderland has any such goals in mind. (This is a film that wants you to enjoy the carnage rather than ‘prove a point’ or create cultural dialogue.) However, at the same time, embedded within Wonderland is a desire to reclaim cultural innocence. Once a popular children’s establishment, Willy’s is now haunted, not only by demonic beasts, but by its horrifying past as well. What’s more, without giving away any spoilers, the darkness that infests the building has been empowered by others in the community by their stubborn refusal to deal with the trauma. With the arrival of the Janitor, the neighbourhood finally has someone willing to fight for those who cannot fight for themselves. In this way, the film does establish a sense of justice within the film that gives the Janitor something worth fighting for, even if that realization seems somewhat lost on his character.

Let’s be serious, though. Even with this embedded subtext, Willy’s Wonderland is mostly about the madness and mayhem. With every severed robot head and empty pop can, Willy’s Wonderland is laughably fun. Though light on common sense, it’s sheer audacity and carnage make Wonderland the cinematic equivalent of a ride through a freaky funhouse.

I might just have to pay my ticket to ride it again.

Willy’s Wonderland is available on Tuesday, April 13th, 2021 on VOD and on Blu-Ray and DVD on May 11th, 2021

Saint Maud: For the Right Reasons

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All Hail, Saint Maud! 

With an emphasis on psychological horror, Saint Maud makes you question whether or not what you’re seeing is reality or merely taking place in the mind of the protagonist. Is Maud trying to do all things through God, or is that just a way to hide the struggles that are really going on deep inside? Let’s take an in-depth look at Saint Maud.

Written and directed by Rose Glass, Saint Maud begins with Maud (Morfydd Clark), a very religious nurse who lost her job at the hospital where she was previously employed. (While it’s not really fully explained why she resigned, we are given hints in flashbacks and mentions throughout the film.) Maud looks to be forgiven and shown a second chance as she takes up a private nursing assignment. This assignment lands her at the home and care of Amanda Kohl (Jennifer Ehle), a former dancer with a terminal illness that put an end to her career and fame.

Amanda is determined to continue living out her Hollywood lifestyle and not let the illness stop her. As the two opposite forces come together, they begin to clash with their differences. Maud is focused on cutting out Amanda’s unhealthy lifestyle (smoking, drinking and sex) and save her soul. Amanda, on the other hand, is more focused on mocking Maud’s beliefs and calling her “My Saviour, Maud”. These clashes lead to some serious friction between the two and pushes Maud to take some disturbing actions.

Usually in horror movie these days, the focus is on the jump scares. If this is what you’re looking for, then this is not the movie for you. However, if you’re more interested on the plot twists backed up by great acting, Saint Maud may be just what you’re looking for. From her body movements to her interactions with all characters within the film, Morfydd Clark does an amazing job playing Maud. In addition, Jennifer Ehle also does an exceptional job portraying Amanda’s Hollywood-addicted lifestyle. 

Admittedly, there are several questions that do not get answered within the film. For example, Maud’s past is never fully explored, nor is the nature of the God’s presence she experiences. When she connects with God, Maud falls into a seizure-like state which leads her to blackout and wake up somewhere else. 

As someone that has grown up within the Christian faith, I see that Saint Maud relate to struggles that most followers face at some time. For instance, because everything that she did was for God, Maud questions and loses her faith, leading her to doing some sinful things. This is a great example of what can happen when we reject God because we’re depressed or things don’t go our way. Instead, we should look to do things for the glory of God, and not our own personal needs. Our obsession with our own desires or doing work to be praised or rewarded is usually what leads us away from God. In this film, Maud really cares about Amanda and the unnamed patient of her past, though her focus is on the obsession of being praised or rewarded by God. As a result, her motivation is not based on the unconditional love within her heart, but for the praises at the attention of saving the soul.

Though it may not be a typical example of the genre when held up against Paranormal Activity and The Conjuring franchises, Saint Maud offers a different type of terror. Well-written and performed, the film shows what can happen when we focus on doing things for our own glory and the damage that can follow.

Saint Maud is now available on VOD.