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Horror Movie Review: The Sacrament

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It always frustrates me, as a horror fan, when a crappy new movie hits the theaters and everyone says things like “the horror genre is dead,” or “horror movies aren’t what they used to be.” Both of these statements couldn’t possibly be further from the truth, not in the present time and quite frankly not ever.

Sure, it may seem that way if all you’re watching is theatrical horror, but as anyone who spends more time on their couch renting movies On Demand than they do sitting in a theater and watching the next money-making generic horror movie can attest, the horror genre is not only alive and well right now, but it’s thriving. And if you need any proof of that, look no further than The Sacrament.

The latest film from Ti West, who has done nothing but impress with previous efforts like House of the Devil and The Innkeepers, The Sacrament – produced by Eli Roth – hit VOD outlets this week, after scooping up high praise and critical acclaim on the festival circuit.

Inspired by the infamous Jonestown Massacre of 1978, where cult leader Jim Jones coerced nearly 1,000 of his followers into taking their own lives, the film centers on the employees of a media outlet who travel to a remote commune called Eden Parish, intent on documenting what’s really going on in the supposed ‘paradise.’ While at first everyone seems happy and at peace, including photographer Patrick’s sister Caroline – whose letter to him led to the group making the trek – it soon becomes clear that something sinister lurks beneath the facade of happiness, non-violence, and peaceful living.  Too good to be true? Yea, you could say that.

Whenever I read a review of a Ti West film, it’s pretty much a given that at some point my eyes are going to scan past the words ‘slow burn’ – I admit, my reviews of both House of the Devil and The Innkeepers contained that very same grouping of words. West has proven himself  time and time again to be the master of this so-called slow-burn approach to filmmaking, which essentially is just pretentious movie reviewer lingo for ‘the dude knows how to tell a really good story.’ And if you’re asking me, The Sacrament is to date the best story he’s ever told.

When I say that you could’ve walked a giant pink elephant into my living room earlier today, at any given point while I was watching The Sacrament, and my eyes still would’ve remained locked on the TV, I’m probably exaggerating. At least a tiny bit. But I’m not exaggerating in the least when I say that The Sacrament is one of the most gripping horror films to come along in recent years, as well as one of the most truly horrifying horror films that this jaded horror fan has ever seen.

I’ve never been big into movies about things like demonic possession and paranormal entities, because I’m just not all that much of a believer in that sort of stuff, and so those kinds of movies never really succeed in scaring me. What I do believe in, and what truly does terrify me, is the evil that we human beings are capable of, and The Sacrament is about as horrifying a descent into the darkness of man that’s ever been committed to celluloid.

Before anything even happens, West imbues the proceedings with an atmosphere thick with dread, as we of course know that Eden Parish is far from the paradise that the protagonists are hoping that it is, in the same way, those of us who watch The Walking Dead knew that Terminus wasn’t going to turn out to be any sort of safe haven. And like the masterful storyteller that he is, West takes his sweet time in setting the stage before the shit hits the fan, letting us breathe in that dread-filled air for an almost unbearable amount of time, before the Kool-Aid starts flowing and the bullets start flying. I’m not going to claim it’s an enjoyable experience, but goddamn is it effective. And isn’t horror at its best when it’s horrifying, rather than fun to watch?

Yes, the film is presented in that POV ‘found footage’ style that we’re all so sick of, but please don’t let that turn you off in any way. The Sacrament serves as a much-needed reminder that the found footage style is actually an incredibly effective way to tell a story when it’s used to tell the stories that it should be used to tell, and this is indeed one of those stories that there really wasn’t any other way to tell. When used properly, the POV presentation really immerses you in what’s going on, and what the characters are experiencing, and you can trust me when I say that West uses it here to enhance the story, rather than tossing it into the proceedings as a cheap gimmick.

The performances all around are incredibly solid, with genre faves AJ Bowen and Joe Swanberg once again reminding us all why they’re so popular and beloved on social media, and why horror filmmakers keep casting them in their movies. Not only are they great actors but they’re also likable guys, and that’s such a crucial element of the film, given that the story is being told from their perspective. It also doesn’t hurt matters any that they have such a great rapport, after having worked together a few times in the past.

But the star of the show here is without question Gene Jones, who plays the leader of the not so idyllic commune. Referred to by his followers simply as Father, the character is one of the most memorably terrifying bad guys in the genre’s recent past, right up there with Red State‘s Abin Cooper (portrayed by the always fantastic Michael Parks). Father is terrifying in that Charles Manson sort of way, in the sense that you know he’s not just capable of extreme evil himself, but that he talks such a good game that you believe he’s just as capable of making others carry out his dirty deeds for him.

And that right there is what’s so terrifying about the film, as a whole; it’s so completely believable because this kind of thing actually happens. Though it’s of course only a movie, The Sacrament makes you think about the real event that it was inspired by, and it really makes you realize how easy it is for one well-spoken man to pray on impressionable people, and sell them on doing horrible things. Everything from the Manson family murders to Adolf Hitler’s reign of terror comes to mind, and by tapping into that very real darkness of humanity, West has come out the other end with a horror film that truly earns its genre classification. This, right here, is true horror, and I can promise you will be chilled to the core when all is said and done.

With The Sacrament, Ti West has once again proven that he’s one of the best things the horror genre has currently got going for it, and I again must reiterate that I feel this is his best work to date. If you think ‘horror is dead,’ all I ask is that you watch this movie, and then let me know if you still feel the same way.

Horror is far from dead, my friends. You’re just going to have to start looking outside of the theater to find it. And you can begin your journey with The Sacrament.

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Review: Is There ‘No Way Up’ For This Shark Film?

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A flock of birds flies into the jet engine of a commercial airliner making it crash into the ocean with only a handful of survivors tasked with escaping the sinking plane while also enduring depleting oxygen and nasty sharks in No Way Up. But does this low-budget film rise above its shopworn monster trope or sink beneath the weight of its shoestring budget?

First, this film obviously isn’t on the level of another popular survival film, Society of the Snow, but surprisingly it isn’t Sharknado either. You can tell a lot of good direction went into making it and its stars are up for the task. The histrionics are kept at a bare minimum and unfortunately the same can be said about the suspense. That isn’t to say that No Way Up is a limp noodle, there is plenty here to keep you watching until the end, even if the last two minutes is offensive to your suspension of disbelief.

Let’s start with the good. No Way Up has plenty of good acting, especially from its lead Sophie McIntosh who plays Ava, a rich governor’s daughter with a heart of gold. Inside, she is struggling with the memory of her mother’s drowning and is never far from her overprotective older bodyguard Brandon played with nannyish diligence by Colm Meaney. McIntosh doesn’t reduce herself to the size of a B-movie, she is fully committed and gives a strong performance even if the material is trodden.

No Way Up

Another standout is Grace Nettle playing the 12-year-old Rosa who is traveling with her grandparents Hank (James Caroll Jordan) and Mardy (Phyllis Logan). Nettle doesn’t reduce her character to a delicate tween. She’s scared yes, but she also has some input and pretty good advice about surviving the situation.

Will Attenborough plays the unfiltered Kyle who I imagine was there for comic relief, but the young actor never successfully tempers his meanness with nuance, therefore he just comes across as a die-cut archetypical asshole inserted to complete the diverse ensemble.

Rounding out the cast is Manuel Pacific who plays Danilo the flight attendant who is the mark of Kyle’s homophobic aggressions. That whole interaction feels a bit outdated, but again Attenborough hasn’t fleshed out his character well enough to warrant any.

No Way Up

Continuing on with what is good in the film are the special effects. The plane crash scene, as they always are, is terrifying and realistic. Director Claudio Fäh has spared no expense in that department. You have seen it all before, but here, since you know they are crashing into the Pacific it’s more tense and when the plane hits the water you’ll wonder how they did it.

As for the sharks they are equally impressive. It’s hard to tell if they used live ones. There are no hints of CGI, no uncanny valley to speak of and the fish are genuinely threatening, although they don’t get the screentime you might be expecting.

Now with the bad. No Way Up is a great idea on paper, but the reality is something like this couldn’t happen in real life, especially with a jumbo jet crashing into the Pacific Ocean at such a fast speed. And even though the director has successfully made it seem like it could happen, there are so many factors that just don’t make sense when you think about it. Underwater air pressure is the first to come to mind.

It also lacks a cinematic polish. It has this straight-to-video feel, but the effects are so good that you can’t help but feel the cinematography, especially inside the plane should have been slightly elevated. But I’m being pedantic, No Way Up is a good time.

The ending doesn’t quite live up to the film’s potential and you will be questioning the limits of the human respiratory system, but again, that’s nitpicking.

Overall, No Way Up is a great way to spend an evening watching a survival horror movie with the family. There are some bloody images, but nothing too bad, and the shark scenes can be mildly intense. It is rated R on the low end.

No Way Up might not be the “next great shark” movie, but it is a thrilling drama that rises above the other chum so easily thrown into the waters of Hollywood thanks to the dedication of its stars and believable special effects.

No Way Up is now available to rent on digital platforms.

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TADFF: ‘Founders Day’ is a Sly Cynical Slasher [Movie Review]

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Founders Day

The horror genre is inherently socio-political. For every zombie film there’s a theme of social unrest; with each monster or mayhem there’s an exploration of our cultural fears. Even the slasher subgenre isn’t immune, with meditations on gender politics, morality, and (quite often) sexuality. With Founders Day, brothers Erik and Carson Bloomquist take the political leanings of horror and make them far more literal.

Short clip from Founders Day

In Founders Day, a small town is shaken by a series of ominous killings in the days leading up to a heated mayoral election. As accusations fly and the threat of a masked killer darkens every street corner, the residents must race to uncover the truth before fear consumes the town.

The film stars Devin Druid (13 Reasons Why), Emilia McCarthy (SkyMed), Naomi Grace (NCIS), Olivia Nikkanen (The Society), Amy Hargreaves (Homeland), Catherine Curtin (Stranger Things), Jayce Bartok (SubUrbia), and William Russ (Boy Meets World). The cast are all very strong in their roles, with particular praise to the two smarmy politicians, played by Hargreaves and Bartok. 

As a Zoomer-facing horror film, Founders Day feels heavily inspired by the 90s teen horror cycle. There’s a wide cast of characters (each a very specific and easily identifiable “type”), some sexy brooding pop music, slashtacular violence, and a whodunnit mystery that pulls the pace. But there’s a lot going on inside the engine; a strong “this social structure is bullshit” energy makes certain scenes all the more relevant. 

One scene shows a feuding protest mob drop their signs to fight over who gets to comfort and protect a queer woman of colour (each claiming “she’s with us”). Another shows a politician attempting to rile up their constituents with an impassioned speech, calling them to storm the town in an offensive defense. Even the diametrically opposed mayoral candidates wear their allegiances on their sleeve (a vote for “change” versus a vote for “consistency”). There’s a whole overarching theme of popularity and profiting from tragedy. It’s not subtle, but dammit it works. 

Behind the commentary is director/co-writer/actor Erik Bloomquist, a two-time New England Emmy Award Winner (Outstanding Writer and Director for The Cobblestone Corridor) and former Top 200 Director on HBO’s Project Greenlight. His work on this film is slasher-horror  comprehensive; from tense single-take shots and excessive violence to a potentially iconic killer’s weapon and costume (that cleverly incorporates the Sock and Buskin comedy/tragedy mask).

Founders Day offers the basic necessities of the slasher subgenre (including some well-timed comedic delivery) while poking a middle finger at political institutions. It presents unflattering commentary on both sides of the fence, suggesting less “right versus left” ideology and more “burn it all down and start over” cynicism. It’s a surprisingly effective inspiration. 

If political horror isn’t for you, that’s… fine, but there’s some bad news. Horror is commentary. Horror is a reflection of our anxieties; it’s a reaction to politics, economy, tension, and history. It’s a counterculture that acts as a mirror on culture, and it’s meant to engage and challenge. 

Films like Night of the Living Dead, Soft and Quiet, and The Purge franchise present a biting commentary on the damaging effects of strong politics; Founders Day cynically reflects on the absurd theatre of these politics. It’s poignant that the suggested target audience for this film is the next generation of voters and leaders. Through all the slashing, stabbing, and screaming, it’s a powerful way to promote change. 

Founders Day played as part of the Toronto After Dark Film Festival. For more on the politics of horror, read about Mia Goth defending the genre.

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[Fantastic Fest] ‘Infested’ is Guaranteed to Make Audiences Squirm, Jump and Scream

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Infested

It has been a while since spiders were effective in making folks lose their minds with fear in theaters. The last time I recall it being lose your mind suspenseful was with Arachnophobia. The latest from director, Sébastien Vaniček creates the same event cinema that Arachnophobia did when it was originally released.

Infested begins with a few individuals out in the middle of desert looking for exotic spiders under rocks. Once located, the spider is taken in a container to be sold to collectors.

Flash to Kaleb an individual absolutely obsessed with exotic pets. In fact, he has an illegal mini collection of them in his flat. Of course, Kaleb makes the desert spider a nice little home in a shoe box complete with cozy bits for the spider to relax. To his astonishment, the spider manages to escape from the box. It doesn’t take long to discover that this spider is deadly and it reproduces at alarming rates. Soon, the building is completely packed with them.

Infested

You know those little moments we all have had with unwelcome insects that come into our home. You know those instants right before we hit them with a broom or before we put a glass over them. Those little moments in which they suddenly launch at us or decide to run at the speed of light are what Infested does flawlessly. There are plenty of moments in which someone attempts to kill them with a broom, only to be shocked that the spider runs right up their arm and onto their face or neck. shudders

The residents of the building are also quarantined by the police who initially believe that there is a viral outbreak in the building. So, these unfortunate residents are stuck inside with tons of spiders moving freely in vents, corners and anywhere else you can think of. There are scenes in which you can see someone in the restroom washing their face/hands and also happen to see a whole lot of spiders crawling out of the vent behind them. The film is filled with plenty of big chilling moments like that which don’t let up.

The ensemble of characters is all brilliant. Each of them perfectly draws from the drama, comedy, and terror and makes that work in every beat of the film.

The film also plays on current tensions in the world between police states and people who attempt to speak out when in need of real help. The rock and a hard place architecture of the film is a perfect contrast.

In fact, once Kaleb and his neighbors decide they are locked inside, the chills and body count begin to rise as the spiders begin to grow and reproduce.

Infested is Arachnophobia meets a Safdie Brothers film such as Uncut Diamonds. Add the Safdie Brothers intense moments filled with characters talking over each other and shouting in fast-talking, anxiety-inducing conversations to a chilling environment filled with deadly spiders crawling all over people and you have Infested.

Infested is unnerving and seethes with second-to-second nail-biting terrors. This is the scariest time you are likely to have in a movie theater for a long time. If you didn’t have arachnophobia before watching Infested, you will after.

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