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Fantasia 2020: ‘The Mortuary Collection’ Anthology is an Impressive Delight

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The Mortuary Collection

Horror anthologies are ever-popular and evergreen, giving audiences a chilling collection of tales that allow for fully realized frights without the stories overstaying their welcome. The Mortuary Collection is like a five-course meal, each dish with its own flavour and purpose. Writer/director Ryan Spindell — in his feature film debut, no less — has whipped up an impressive, cohesive storytelling spectacle that will surely satisfy. 

At Raven’s End Mortuary, Montgomery Dark (a heavily made-up Clancy Brown) presides over the funeral rites of corpses whose histories he keeps recorded in the countless books on his shelves. One day, a young woman named Sam (Caitlin Fisher) answers his Help Wanted sign, and her curiosity about death and his past “clients” leads him to relate a few of the most bizarre tales. 

The stories span over four decades — from the 50s to the 80s — and the production design for each is absolutely perfect. The sets? Perfect. The costumes? Perfect. The cinematography, the lighting, the props? All perfect. It’s an undeniably beautiful film that I really want to just curl up and live inside (the house! I die). 

The aesthetic is everything you want it to be, and then a little bit more. Right from the opening moments of the film, you’re drawn in by the detailed setting and enchanting score by Mondo Boys (She Dies Tomorrow, Phoenix Forgotten). There’s a fairytale quality to it all that you immediately want to be a part of. 

The Mortuary Collection

The first story told (in which a savvy pickpocket’s curiosity is ultimately her undoing, set in the 50s) has a gorgeous symmetry in every shot that just makes your brain happy. The second segment (wherein a recklessly promiscuous frat boy learns about safe sex — the 60s) has fantastic comedic timing and brilliant execution of close-up shots. The third (a husband caring for his catatonic wife becomes desperate in the 70s) plays with emotion and tone, right up to its visually stunning conclusion. The fourth tale (a babysitter comes to blows with an escaped asylum patient — naturally, the 80s) was first a short film from which The Mortuary Collection blossomed, delivering all the tropes you know and love before shaking them up for one final showdown. 

Each segment plays differently, but the benefit of having them all behind Spindell’s capable helm is that — despite the variations in tone and even decade — they all form one cohesive film. It would be incredibly easy for this type of feature to become a mish-mash of ideas, but Spindell masterfully weaves everything together so that it doesn’t feel like a spattering of parts. 

It’s a wonderful collection of cautionary tales that deserves a place on the mantle of great horror anthologies. The Mortuary Collection has the vibe of Creepshow with the polished quality of Trick ‘R Treat. You can see a deep love for EC Horror comics and anthology films of the 70s and 80s running through its veins. Above all, it’s just plain whimsical fun with tales that will tickle your horror-loving brain. 

As Montgomery Dark states in the film, it’s not the length of the tale, it’s the quality of the content. If you by any means enjoy horror anthologies — hell, even if you don’t — The Mortuary Collection should find its way onto your watchlist. It’s bloody, it’s beautiful, and it’s got charming character coming out of every creepy crevice.

The Mortuary Collection

You can watch The Mortuary Collection as part of Fantasia 2020’s digital film festival. For more from Fantasia Fest 2020, click here to read my review of Neil Marshall’s The Reckoning. 

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This Horror Film Just Derailed a Record Held by ‘Train to Busan’

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The South Korean supernatural horror film Exhuma is generating buzz. The star-studded movie is setting records, including the derailment of the country’s former top-grosser, Train to Busan.

Movie success in South Korea is measured by “moviegoers” instead of box office returns, and of this writing, it has garnered over 10 million of them which surpasses the 2016 favorite Train to Busan.

India’s current events publication, Outlook reports, “Train to Busan previously held the record with 11,567,816 viewers, but ‘Exhuma’ has now achieved 11,569,310 viewers, marking a significant feat.”

“What’s also interesting to note is that the film achieved the impressive feat of reaching 7 million moviegoers in less than 16 days of its release, surpassing the milestone four days quicker than 12.12: The Day, which held the title of South Korea’s top-grossing box office hit in 2023.”

Exhuma

Exhuma’s plot isn’t exactly original; a curse is unleashed upon the characters, but people seem to love this trope, and dethroning Train to Busan is no small feat so there has to be some merit to the movie. Here’s the logline: “The process of excavating an ominous grave unleashes dreadful consequences buried underneath.”

It also stars some of East Asia’s biggest stars, including Gong Yoo, Jung Yu-mi, Ma Dong-seok, Kim Su-an, Choi Woo-shik, Ahn So-hee and Kim Eui-sung.

Exhuma

Putting it in Western monetary terms, Exhuma has raked in over $91 million at the worldwide box office since its February 22 release, which is almost as much as Ghostbusters: Frozen Empire has earned to date.

Exhuma was released in limited theaters in the United States on March 22. No word yet on when it will make its digital debut.

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Watch ‘Immaculate’ At Home Right Now

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Just when we thought 2024 was going to be a horror movie wasteland, we got a few good ones in succession, Late Night With the Devil and Immaculate. The former will be available on Shudder starting April 19, the latter just had a surprise drop on digital ($19.99) today and will be getting physical on June 11.

The film stars Sydney Sweeney fresh off her success in the rom-com Anyone but You. In Immaculate, she plays a young nun named Cecilia, who travels to Italy to serve in a convent. Once there, she slowly unravels a mystery about the holy place and what role she plays in their methods.

Thanks to word of mouth and some favorable reviews, the movie has earned over $15 million domestically. Sweeney, who also produces, has waited a decade to get the film made. She purchased the rights to the screenplay, reworked it, and made the film we see today.

The movie’s controversial final scene wasn’t in the original screenplay, director Michael Mohan added it later and said, “It is my proudest directorial moment because it is exactly how I pictured it. “

Whether you go out to see it while it’s still in theaters or rent it from the convenience of your couch, let us know what you think of Immaculate and the controversy surrounding it.

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Politician Spooked By ‘First Omen’ Promo Mailer Calls Police

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Incredibly, what some people thought they would get with an Omen prequel turned out to be better than anticipated. Maybe it’s partly due to a good PR campaign. Maybe not. At least it wasn’t for a pro-choice Missouri politician and film blogger Amanda Taylor who received a suspicious mailer from the studio ahead of The First Omen’s theatrical release.

Taylor, a Democrat running for Missouri’s House of Representatives, must be on Disney’s PR list because she received some eerie promo merch from the studio to publicize The First Omen, a direct prequel to the 1975 original. Usually, a good mailer is supposed to pique your interest in a film not send you running to the phone to call the police. 

According to THR, Taylor opened the package and inside were disturbing children’s drawings related to the film that freaked her out. It’s understandable; being a female politician against abortion it’s no telling what kind of threatening hate mail you’re going to get or what might be construed as a threat. 

“I was freaking out. My husband touched it, so I’m screaming at him to wash his hands,” Taylor told THR.

Marshall Weinbaum, who does Disney’s public relations campaigns says he got the idea for the cryptic letters because in the movie, “there are these creepy drawings of little girls with their faces crossed out, so I got this idea to print them out and mail them to the press.”

The studio, maybe realizing the idea wasn’t their best move, sent out a follow-up letter explaining that it was all in good fun to promote The First Omen. “Most people had fun with it,” adds Weinbaum.

While we can understand her initial shock and concern being a politician running on a controversial ticket, we have to wonder as a film enthusiast, why she wouldn’t recognize a crazy PR stunt. 

Perhaps in this day and age, you can’t be too careful. 

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