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Reviews

Posted on March 11, 2016

Commune: Join Us!

Dawn Keetley

Summary: Commune works as a short film because it is both complete in itself and exceptionally evocative. The richness of the film—all the things that lurk beyond the boundaries of the literal story—offer, I think, incredible potential for a feature-length follow-up.

The short horror film, Commune, is the brain-child of Thomas Perrett, who conceived the idea for the film, wrote the script, and directed.

Perrett studied Television and Video Production at Bournemouth University and, since graduating in 2001, has been working as a freelance TV and film editor in London. Commune represents the promise he made to himself to get back into filmmaking, and he was clearly inspired as much by place as by anything else—although he does credit some of his favorite childhood horror films, Poltergeist, Evil Dead, and The Shining, as influencing his vision.

Commune really began, though, when Perrett was invited to a Halloween party at a derelict Jewish commune in North London, a house built on Lordship Park in the 1930s. Decaying and abandoned, the house seemed the perfect location for a film—and Perrett had incentive to work fast since the property was slated for redevelopment.

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Posted on March 4, 2016

Must-Watch Movie: Honeymoon (2014)

Dawn Keetley

There seems to be an emergent mini sub-genre of films about couples who head into the woods for some quality time—about to get married or just married—and then very bad things happen. I’m thinking in particular of Eden Lake (2008), Willow Creek (2013), and Backcountry (2014)—all great films, and two of which I’ve written about here. I just discovered another addition to the canon, Leigh Janiak’s Honeymoon (2014), that’s streaming on Netflix and I definitely recommend you watch it. It’s worth pointing out (since women directors of horror are still relatively rare) that Janiak is a woman. She also wrote the screenplay, along with Phil Graziadei.

The recently and (for now) happily-married couple of Honeymoon, Bea (Rose Leslie) and Paul (Harry Treadaway), are heading on a delayed honeymoon to a cottage in the woods where Bea grew up. Things go swimmingly until Paul wakes up one night to find that Bea is gone. He eventually finds her (in a highly creepy moment) standing in the woods, in a state of dazed virtual unconsciousness (think Micah and Katie in Paranormal Activity, although worse since Bea and Paul are deep in the woods, not on a suburban patio). The couple writes the strange event off to sleepwalking—albeit with a hefty dose of anxious self-deception, since Bea has never walked in her sleep before.

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Posted on February 21, 2016

The Witch: Dread-Soaked Wilderness

Dawn Keetley

With The Witch, Robert Eggers has written and directed one of those rare horror films that will, without a doubt, enter the canon of important and enduring horror films. It will be loved by all kinds of fans for all kinds of reasons; and it will be talked about for years and taught in film classes. In case that puts you off, don’t let it! The Witch is also beautiful, viscerally disturbing, and downright scary. The acting is brilliant—especially Ralph Ineson as the father, William, and the luminescent Anya Taylor-Joy as his eldest daughter Thomasin. Try taking your eyes off her when she’s on the screen.

1. The Witch, Thomasin2

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Posted on January 25, 2016

The Boy (2016) Review

Dawn Keetley

Summary: The Boy brilliantly weaves together two very different sub-genres to show how crucial loss and grief are to the horror tradition.

Directed by William Brent Bell (of The Devil Inside [2012]) and written by Stacey Menear, The Boy follows Greta Evans (Lauren Cohan—known to most of us as Maggie from AMC’s The Walking Dead) as she travels to England from the US to take a nanny position at an isolated house in the country. She finds herself in a strange position, to say the least, when she is introduced to her new charge. Brahms is a doll. After his parents (the Heelshires) leave for their first “holiday” in years (which turns out to be not quite a holiday), Greta is left alone with Brahms—told she must adhere strictly to a list of rules. She must assist Brahms through a daily schedule of eating, school work, music, bedtime reading and kisses goodnight; she must never cover his face, never take him out of the house, and never leave him alone. Needless to say, as soon as the Heelshires leave, Greta chucks Brahms on a chair, throws a blanket over him, drinks a bottle of wine, reads a magazine, and falls asleep. Before long, she’s planning a date. After all, she’s not crazy and Brahms is only a doll . . . right?

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Posted on January 20, 2016

The Taking of Deborah Logan (2014) Review

Gwen

2014   |   R   |   90min   |   Director: Adam Robitel   |   Writers: Adam Robitel & Gavin Heffernan   |   USA

Grade: A+

Synopsis: While working on a PhD dissertation regarding Alzheimer’s, a student and her camera crew document the long term effects of the disease on one woman. During the course of filming, the family and the crew come to discover that the degenerative disease is not the only thing wearing away Deborah Logan’s body.

Review: A smart and tense film that will keep even the seasoned horror fan on the edge of her seat!

The Nuts & Bolts: I cannot help but begin this review by stating that this was by far one of the best horror films I have seen in recent history. The Taking of Deborah Logan maintained a high level of suspense without relying on the usual tropes. The acting was stellar, especially from Jill Larson (Deborah), and Anne Ramsay (Sarah). The writing and directing was innovative and well executed. Overall The Taking of Deborah Logan will appeal to fans of a damn good story as well as fans, more specifically, of the sub-genres of found footage, ritualistic horror, possession, serial killers, as well as suspense. One might ask, how does this film incorporate such schizophrenic themes? To that, I answer…”very effectively.”

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