Supernatural/Occult

The Candy Witch

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For months a family in England has been haunted by a ghost known as the candy witch. A pair of paranormal investigators, a psychic and his girlfriend, agree to try to help the family get rid of the ghost so they can film the events for their online following. Time is running out as the ghost becomes more violent, and the investigators uncover more and more secrets.

The Candy Witch is the latest film directed by Rebecca Matthews (Pet Graveyard, The Watcher 2) and written by Scott Jeffrey (The Bad Nun, The Watcher 2). There are many layers in this film drawing focus to different areas. There is the couple who does paranormal investigations and shares them on social media. Reece, the psychic, tries to use his ability to help people, but it takes a toll on him. There is the family being haunted. They seem like any normal loving family that only wants to be rid of this malevolent presence. Then there is the legend of the candy witch herself. What is interesting about this plot is that the witch who is haunting the family isn’t some urban legend from olden days. Instead, she is the ghost of a woman who once worked for the family as a nanny. As rumors spread about her murdering children, she turned into the mythical “candy witch.” These various subplots come together surprisingly well to create a story with several interesting twists and turns.

While the overarching story in The Candy Witch is entertaining, there are some definite bumps along the way. As I mentioned, I like that the ghost is of someone the family actually knew, taking it away from the stereotypical haunted house scenario. The problem is that the urban legend around the nanny being a candy witch feels incomplete. The rumors about her abusing children and murdering kids makes sense, but there isn’t really any point in time when they explain where the candy aspect came into play in her legend. Despite it never being explained, we see candy often used throughout the film. When we see the candy witch, she is often holding a giant, jagged-edge candy cane and she typically murders people using candy. It unfortunately makes most of the kill scenes comical when they are clearly not meant to be. It’s hard not to laugh when a ghost is killing someone by shoving handfuls of cotton candy down their throat until they choke to death (which I also feel realistically wouldn’t work with how quickly cotton candy dissolves in your mouth).

There is also a vagueness surrounding Reece. We learn about his ability to see and speak with the dead, but that it somehow takes a physical toll on him. Specifically, it seems to damage his ability to hear. We also learn that his father had the same gift. These are all things mentioned fairly early on in the film and seem like they are of some importance, but then never discussed again or resolved. Why does his gift make him lose his hearing? It seems like these are things have some significance, but the audience never gets to learn what the significance is.

Similar to the plot, the performances have high and low points, but generally speaking they are enjoyable to watch. Jon Callaway (The Mermaid’s Curse, Cupid) stars as psychic medium and paranormal investigator, Reece. This character is the most calm and collected of everyone because his abilities give him insight about the dead normal people don’t have. Callaway plays that quite well, but I wish when things take a turn for the worse he would ramp up the intensity, although I suspect this is an issue related to directing more than his performance. Heather Jackson (The Phantom of the Opera at the Royal Albert Hall) plays the matriarch of the family, Ruth. At first, Jackson’s portrayal of Ruth comes across as a bit false. As the plot progresses, Jackson’s performance stands out for all the right reasons and even makes her portrayal of Ruth earlier in the film better. The true standout performance comes from Will Stanton (Silent Place) as Ruth’s son, Tom. There is a sincerity of Stanton’s performance that makes the climax of the film all the more thrilling. The single biggest negative I can say of the cast isn’t related to any performance. It’s that the film takes place in England, yet only one of the main characters/actors is English. The filmmakers could easily have used the same cast and had it take place in the US, especially since the location isn’t significant to the plot.

When it comes to the visuals of The Candy Witch, there isn’t a lot to discuss. The sets are great, especially the house where the haunting takes place. It is a beautiful old estate that feels rich, but is also old enough to feel a bit sinister. It also looks like a home that could easily be in England. The design of the ghost seems very much to be a physical embodiment of the rumors about the nanny. She looks like a stereotypical witch with somewhat greenish skin and warts or boils all over her face. The practical effects to make the witch aren’t the best, but the effects for the wounds she inflicts are fairly well done.

The Candy Witch tries to tell an interesting story, but ultimately can’t overcome the holes in the plot. There is a seed of a good film within Matthews’ and Jeffrey’s work. There are simply too many things set up that either don’t make sense or don’t get the resolution they deserve. The performances are adequate and the effects are decent. Most of the issues with the film stem from the candy witch herself. From her look, to her method of killing, to her origin story, it seems as though the filmmakers cared more about injecting a memorable villain rather than creating a compelling and cohesive plot. There are enough unique aspects of the plot to make it an interesting watch, but too many drawbacks to make it a truly successful film.

OVERALL RATING: 4.5/10

Diablo Rojo PTY

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Thanks to the work of a coven of witches, a bus driver, his assistant, two cops, and a priest cross paths. They find themselves lost in a remote part of Panama. To survive, these men will have to combat witches, cannibals, and the legend of La Tulivieja. With only the bus for refuge, it will take all their effort to make it until morning.

Diablo Rojo PTY is the first horror film to come out of Panama, and it definitely jumps into the horror scene with a bang. The film is directed by first-time director Sol Moreno alongside J. Oskura Nájera (Megamuerte). Combining multiple different stories from Panamanian folklore, Nájera wrote the script along with collaborating writer Adair Dominguez, making his film debut. To say there is a whole lot going on in Diablo Rojo PTY would be an understatement. The opening of the film throws so many different things at the audience at once that many will likely have no idea what’s going on. Once the various characters are introduced, the filmmakers take time to make sense of what has already been shown. The various threads come together in a way that begins to make sense. Then in the final act the plot is thrown into chaos again, some things making more sense than others. It leads to a delightfully gory climax jam-packed with carnage.

It makes sense, since this is Panama’s first horror film, that the filmmakers would want to include as much folklore as possible into Diablo Rojo PTY. There are witches who have cursed the unfortunate men of the film. There is La Tulivieja, which has a similar origin story to Mexico’s La Llorona except La Tulivieja takes on a horrifying, ghastly form as she searches for her child along the river. There is even a deadly cannibal tribe hunting for human prey in the Chiriqui jungle. While these elements are interesting, it is really too much for one film. Viewers will see shocking things including the witches, cannibal tribes, a monstrous creature, infanticide, and even incest. Unfortunately, many of these things are shown, but never full realized or explained in enough detail. The plot ends up muddled and inconsistent as some areas are more explored while others are never fully resolved. The same can be said for the characters. Some of the characters, like Manuel, feel more fully formed compared to someone like Officer Pinilla who seems to just be there to have someone to dislike. Many viewers will likely find parts they can connect to and parts that leave them wanting more.

Despite the ups and downs in the plot and character development, the performances are still enjoyable to watch. Carlos Carrasco (Speed, Parker) stars as the Diablo Rojo bus driver, Manuel. He is by far the most complex character in the film, and Carrasco brings depth to a man who initially comes across as quite simple. Julian Urriola makes his debut as Manuel’s assistant, Juanito. Juanito is definitely a misfit, and that persona doesn’t really change even when facing certain death. While the character isn’t necessarily that likable, Urriola does a great job of bringing him to life. Blas Valois also makes his film debut as Officer Pinilla. This character makes the least amount of sense of everyone. He’s rude for no apparent reason, doesn’t seem to be a very good cop, and keeps stupidly going off on his own even when he knows what dangers lie in wait. The way this character is written unfortunately makes it really difficult to tell if Valois’s performance was part of the problem as well, or just the character.

As with much of the film, the visuals in Diablo Rojo PTY are also a mixed bag. For the most part I would say the visuals feel like what fans would expect from a low-budget horror flick. The filmmakers relied entirely on practical effects to create the creatures and gore. There are some particularly grotesque effects in the climax of the film that might not look the most realistic, but they are still very well done and make the scenes fun to watch. The creature design for La Tulivieja is definitely unique and is sure to remind horror fans of the demons from the Evil Dead franchise. That nod to classic horror is just one of many throughout the film, and honestly these nods are some of the most enjoyable parts of the film. The musical score by Ricardo Risco sometimes sounds very similar to the score from The Shining. Even the very last scene of the film takes iconic imagery that likely comes from Carrie and A Nightmare on Elm Street 2: Freddy’s Revenge. Again, I really enjoyed these visual nods to classic films, but sometimes they added to the muddiness of the plot.

Diablo Rojo PTY has some great moments and includes a lot of fascinating Panamanian folklore, but it quickly reaches the point of having too much. Moreno and Nájera have nuggets of greatness throughout the film. The problem is, when you try to include so many different elements, nothing ends up getting the time and attention it really deserves. A film that has witches, cannibals, and La Tulivieja is a lot to tackle in a film that is only about an hour and 16 minutes. The performances, practical effects, and visual nods to classic horror films make up for some of the film’s pitfalls, but there is still a lot to be desired. I do believe this is a promising start considering it’s the first horror film from Panama. Hopefully the filmmakers will remember this adage on their next film: sometimes, less is more.

OVERALL RATING: 4/10

Z

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An 8-year-old boy gets an imaginary friend. What begins as a simple childhood fantasy quickly turns sinister. The boy is acting out and blaming his imaginary friend. As the family’s life is turned upside down as they are terrorized by this invisible force, they will have to turn to the past in order to survive the present.

Z is the sophomore feature film of director Brandon Christensen (Still/Born), who also co-wrote the screenplay with Colin Minihan (Grave Encounters, What Keeps You Alive). Christensen and Minihan’s combined efforts manage to bring viewers a bit of the familiar along with some thrilling new bits. These days, horror films about imaginary friends seem to be increasingly common. The filmmakers take a bit of time introducing this imaginary friend, allowing time to establish the family unit and their dynamics first. When we do finally meet Z, the imaginary friend, it is just whispers and mentions of him as the son plays. Yet it doesn’t take very long for those whispers to turn to behavior issues and then full-blown terror. This gradual increase in suspense allows for some brilliant and terrifying scenes that are sure to haunt viewers. Z even takes the time to tackle many issues including the horrors of parenting, emotionally and physically abusive relationships, and suicide (take this also as a trigger warning for anyone who has difficulty watching these topics on screen). For the most part these aspects of the film are very well done, but certain parts feel a little derivative of other films, especially the climax. Z ends with a fair amount of closure, but the filmmakers wisely left some questions in the dark. I could definitely imagine a sequel to Z in the future.

One of the things about Z that surprised me was how it almost feels like two films. The first half of the film is very much a story of a mother and the love she feels for her son. When she first learns of her son’s behavioral problems, and feels the consequences of this in their social circle, she is completely in denial. Every mother wants to believe the best of their child, and it’s more difficult to see the truth with those blinders on. When the mother finally realizes the real danger, she has to battle a sinister imaginary friend, her disbelieving husband, and even her own son in order to try and save those she loves. At one point there is a scene I believed to be the end of Z, but to my surprise the film continues for another 20 minutes. This second section of the film feels much more like watching an abusive, controlling relationship. It is truly disturbing to see the woman’s life upended and left to the mercy of a male figure. Every moment of every day of her life is controlled by this entity, forcing her to distance herself from the outside world for fear its jealousy will lead to their harm. This is very powerful and disturbing in how it’s conveyed, but at the same time it makes the film feel a bit disjointed. The two halves work very well on their own, but I don’t know if they necessarily work together.

Every performance in Z is truly stunning. Keegan Connor Tracy (The Magicians, Final Destination 2) plays Elizabeth. While Tracy is fantastic through the entire film, she truly shines in the last half of the film. Elizabeth goes from questioning her own sanity to being willing to do anything it takes to save her son. Tracy absolutely shines in this role and brings heart-wrenching emotion to the horror of what’s happening. Jett Klyne (The Boy, Chilling Adventures of Sabrina) plays Elizabeth’s son, Joshua. The way Klyne shows Joshua’s gradual transformation from normal, sweet boy to a very disturbed child is a performance I won’t soon forget. While these two actors carry most of the film, Sean Rogerson (Grave Encounters) is great as husband and father, Kevin, while Luke Moore (Sex, Lies & Murder) frightens viewers as Z himself.

The filmmakers behind Z were very wise with their scares. Much of the terror is from the building of tension, including some long, drawn out images where you are at the edge of your seat waiting to see what will happen. Yet that tension is punctuated with some perfectly crafted jump scares. These are definitely earned jump scares that will still have an impact, if not necessarily the scare, upon subsequent viewings. Most of the bigger scares rely heavily on great camerawork, making sure your eye is drawn to the right place at the right time. But, of course, many of the scares wouldn’t be complete without Z. The single greatest thing the filmmakers did was barely show Z. Viewers will get starling glimpses here and there, giving enough of an impression of his frightening appearance, but for the most part he is invisible and left to the shadows. So many horror films show too much of their evil entities, but by leaving the imaginary friend mostly unseen the viewers are able to project some of there imagination onto the character. Z is also created with a combination of motion actor and CGI, which wouldn’t be quite as effective in full view.

Z brings a menacing imaginary friend to life in a way that tackles dramatic issues while also delivering scares. Christensen and Minihan definitely created a ghoulish tale to haunt horror fans, but they also managed to embed compelling takes on motherhood and trauma. boasts strong performances, especially from Tracy and Klyne, and has what is probably the most terrifying imaginary friend I’ve ever seen. While there is a clear divide that seems to split the film into two disjointed parts, both parts are fascinating in how they deal with certain topics. Despite the flaws in the overall story arc, there are definitive moments that are guaranteed to be embedded in your mind long after watching.

OVERALL RATING: 6.5/10

The Night

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An Iranian couple living in the US is driving home one night after a gathering with friends. They decide to take their baby and stay the night in a hotel instead of making the drive home so late. In this dark and quiet hotel, the couple is forced to face the demons of their past or else this bizarre night may never end.

Writer and director Kourosh Ahari (Generations, The Yellow Wallpaper) and co-writer Milad Jarmooz (Maybe There) create an eerie tale with The Night. The film opens with our two protagonists, Babak and Neda, at a gathering with friends. We get to know who they are by how they interact with the people who know them best before we really see them interact much with each other. It is clear there is some subconscious strain between the married couple, and it only escalates after they leave the gathering with their baby girl. When they decide to stop and stay the night in a hotel, things go from strained to a complete nightmare. Strange sounds and ghostly visions plague them all through the night. The couple gradually realizes the secrets of their past are coming back to haunt them, threatening to destroy the life they’ve built together in the States. The fact that their baby is with them only makes the situation more dire and frightening.

For the most part, The Night creates a haunting and tense mythos. The increasingly strange and intense visions seem to be connected to matching tattoos the married couple chose at random to get together the very day the film begins. Whatever this symbol is, it has managed to manifests itself as Babak and Neda’s innermost secrets and forces them to face their past. It’s an interesting concept that definitely results in delightful frights, but this is also where the mythos gets a bit muddy. The tattoos look almost like an Aztec or Mayan coin, spilt in half between the pair. Then, before any ghostly apparitions appear, the couple repeatedly encounter a creepy black cat. This automatically makes me think of ancient Egyptian folklore. While I appreciate keeping the origin and the reasoning for the events of this one night being left to the imagination of the viewers, having a stronger cultural origin at the very least would have been wise.

Both leads deliver striking performances in The Night. Shahab Hosseini (The Salesman, A Separation) stars as Babak. Babak is a very closed off man who appears to cope with his feelings with alcohol rather than talking with his wife or friends. Niouhsa Jafarian, who I couldn’t find on IMDb, plays Neda. Neda is the more grounded of the two, yet she keeps things bottled up just as much as her husband. Jafarian and Hosseini play off of each other very well. There are subtleties to their dynamic shown through curt remarks and body language that expertly show the strain between them. It’s obvious Neda carries resentment towards Babak and Babak doesn’t seem to be able to be around Neda without drinking. This bizarre night shows how similar the two are, especially with the secrets they keep, yet it’s how they react when confronted by those secrets that will decide who survives.

The Night brings audiences a chilling tale of past secrets breaking into the present in a truly haunting way. Ahari once again shows he has a knack for creating frightening ambience. Together Ahari and Jarmooz deliver a tense plot, although the mythos leaves a bit to be desired. Luckily the focus is more on the secrets and ghostly manifestations of those secrets, which makes it easier to overlook some of the flaws. The suspenseful film is helped by great performances from Hosseini and Jafarian, as well as the creepy hotel setting. The Night is sure the send chills down your spine while also making you take a hard look at the secrets you keep.

OVERALL RATING: 7/10

Darling, Darling, Wendy (Short)

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We all know the story of Wendy Darling and Peter Pan and their adventures in Neverland. But what happened after Wendy came back? It’s been 15 years, and Wendy is obsessed with Peter, Neverland, and finding her way back. Yet when she finally meets Peter again, things don’t go quite as planned.

Darling, Darling, Wendy is a short film directed by Elise Robertson (Donner Pass) and written by Katherine Sainte Marie (Wicked Mirrors). The short offers a unique look at what happens after the beloved story we all know and love. It is quickly established that Wendy, now married with a daughter of her own, has been a bit unhinged since her return from Neverland. She tries to spend most of her time in the nursery, and for some reason she is not allowed to be left alone with her own daughter. In hopes Wendy will leave these childish thoughts behind, her husband allows her to spend one final night in the nursery.

The plot weaves together various mysteries to keep the viewer intrigued. Was Neverland real? Why can’t Wendy be alone with her daughter? Will Peter come back? Darling, Darling, Wendy grips the viewers’ attention and makes us want to know what happens next. The filmmakers also do a great job of bringing something new to the familiar, while also giving it a very dark twist. One thing that caught my eye as being a bit odd was how a drug bottle was labeled. While this short film takes place in a different time, to my knowledge the drug shouldn’t have been labeled that way even back then. It may be a minor detail, but in a 13 minute short it stands out.

Darling, Darling, Wendy is filled with enjoyable performances. The small cast all perform well, but there are two particular performances that stand out. The first memorable performance is from the short film’s writer, Katherine Sainte Marie (Diaries From Wonderland), as Wendy. The Mexican-American actress does a fair job of portraying an English woman from a different time. There is a properness about Wendy that Marie conveys quite well, but there is also an underlying mania and obsession that constantly threatens to break through. The other memorable performance comes from Ty Shelton (First Kill) as Peter Pan. Since Peter is perpetually young, he has a childlike lack of filter when speaking to others that allows him to speak whatever truth he wants. He also has a wisdom from living many lifetimes, and this allows him to see the truth others might not. Shelton does a great job of maintaining that balance in his performance.

The visuals of Darling, Darling, Wendy are a bit of a mixed bag. The set and costume designs are the clear highlights. These aspects work quite well to transport the viewers to a different place and time. The visuals made the short film feel like something from Masterpiece Theater. At the end of the short the filmmakers utilize a bit of CGI or greenscreen effects. It is just a quick little scene at the climax, but it ends up looking a bit cheap like something out of a children’s TV show. While there are obviously financial constraints to work around when making a short film, these effects simply don’t come across as in keeping with the overall look and feel of the rest of the short film.

Darling, Darling, Wendy brings something new and dark to the fairy tale we all know and love. The filmmakers do a great job of creating a believable follow up telling viewers what happened to Wendy after she returned from Neverland. The plot is helped by strong performances and a great gradual reveal of surprises. There are some small missteps, such as the effects at the climax of the film, but it is still a compelling watch. Viewers who enjoy dark twists on classic stories will enjoy this short film.

OVERALL RATING: 3/5

The Room

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A couple leave their old jobs and home behind to start a new life in a rural fixer upper. Soon after moving in, they find a hidden room. What makes this room special is it will grant you any physical desire. After many wishes, the couple wishes for something most wouldn’t dare. Yet they soon discover that everything has a cost.

Written and directed by Christian Volckman (Renaissance) and co-written by Eric Forestier (La troisième partie du monde), The Room spins an interesting yarn. We meet this couple as they arrive at their new home, having left their jobs and life in the city behind. While working on various repairs to the house, they discover a hidden room. Any physical thing you could want, the room will provide. Money? Clothes? Furniture? It will conjure it for you. Yet we all know everything has a price and a consequence. When the wife impulsively wishes for a baby, it not only puts a strain on their relationship, but it threatens to ruin every aspect of the life they’ve built together.

This film takes a unique yet simple concept and runs with it. It forces the audience to wonder what they would wish for and what they would be willing sacrifice. The plot is very effective, and the filmmakers don’t spend too much time trying to explain how or why the room works this way. There are some minor hints, but for the most part the audience is just made to accept it as the way things are. When the couple wishes for a baby, after the wife has suffered miscarriages, it leads to some very unexpected twists and turns. This is when the plot loses me a bit. It veers into very strange territory that, while very thrilling and suspenseful, is also quite uncomfortable to watch. I would wager that this is the goal of the filmmakers, but it seemed like an unnecessary direction to take.

The two leads in The Room are both fantastic. Olga Kurylenko (Mara, Quantum of Solace) stars as Kate. Kurylenko brings an emotionally charged performance. As Kate we see her go from wariness about the wish-granting room to emotional duress as she tries to hold the frayed pieces of her life together with ill-advised wishes. Her husband, Matt, is played by Kevin Janssens (Revenge, The Ardennes). Matt is a loving husband who wants to provide anything and everything his wife desires. Yet her desires lead to an unexpected place that Matt doesn’t quite know how to handle. Janssens plays a surprisingly warm character who has fits of rage, but his love for his wife is always evident. The pair have amazing on-screen chemistry and convey the subtleties of a committed relationship.

Most of the artistry of The Room involves the production design. The house where the film takes place is stunning. As the couple accumulates more things from their wishes, each room in the house takes on a variety of themes. The entire inside of the house turns into something out of a fairy tale. At one point another world is created within the wish room, which creates a very striking image that plays with the eye a bit. It is the kind of house some might never want to leave.

The Room is a simplistic morality tale that makes audiences wonder what they would do if they could wish for anything physical they desired and what they would be willing to sacrifice to keep it. The filmmakers do a great job of slowly building up the wishes until they become out of control. The house, in a way, is a character itself that drives a wedge between the family unit as it gives them whatever their hearts desire. The performances from both Kurylenko and Janssens are phenomenal and only reaffirm how talented they are. The film veers into a direction that might put off some viewers, but overall it is a well crafted and suspenseful story.

OVERALL RATING: 7/10

Girl on the Third Floor

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Don buys an old home in a small town. He plans to fix it up so he and his pregnant wife can get a fresh start. The more work he does on the home, the more he learns about the secrets hidden within its walls, and those secrets are out for blood.

This supernatural thriller is the feature film debut for director Travis Stevens, who also wrote the screenplay inspired by Trent Haaga, Paul Johnstone, and Ben Parker. Girl on the Third Floor wastes no time in getting the juices flowing. From the moment Don enters the house, there is obviously something ominous at work. The film also makes sure to immediately make the viewers uncomfortable with some very disgusting looking fluids found throughout the house. As Don begins working on the home to fix it up, those fluids seem to become more active. The house clearly has a life of its own, as well as some other strange inhabitants. Despite the immediate eeriness and unease of the film, it’s still more of a slow burn. The audience is gradually given new clues and bits of information leading up to the nightmarish conclusion.

Girl on the Third Floor is a strange and unique nightmare. It combines elements of a haunted house film, a Fatal Attraction-esque thriller, and body horror. The haunted house element is the most obvious. The decrepit old home clearly has a sordid past and the restless spirits to go along with it. When Don settles into the house, he meets a mysterious, seductive woman. What he thought was a one night stand turns into repeated ominous visits and thinly veiled threats that could destroy his relationship with his pregnant wife. When it comes to the body horror aspect, I don’t necessarily mean a human body. The body in the case of Girl on the Third Floor refers to the house itself. The house is clearly a living thing and this is especially apparent when the house gets ooey and gooey in response to Don knocking holes in the wall and fixing things up. All of these elements combine to tell a tale of morality and show just how dire the consequences to your actions can be.

With a small cast, Girl on the Third Floor has a great range of performances. Phil “C.M. Punk” Brooks (Rabid) stars as Don. Don is really not a very likable guy. He lost his job after doing something illegal, he’s an alcoholic, and he cheats on his pregnant wife. Yet Phil Brooks manages to play Don in a way that is just endearing enough to make you like the guy, but you still want to see Don get what’s coming to him. Sarah Brooks (There, Chicago Med) plays the mysterious Sarah. Sarah Brooks is the perfect combination of sultry and sinister in this role. Trieste Kelly Dunn (Blindspot, The Push) plays Don’s wife, Liz. While Liz at first glance appears to be the typical loving wife who trusts her husband and is carrying his child, it eventually becomes clear she is much more than that. She’s the sole breadwinner, running a business while also going through pregnancy and picking up the pieces of her husband’s failures. Dunn not only does a fantastic job in this role, but she offers a strong juxtaposition as a truly good, successful person compared to Don’s overall failure. Honorable mention goes to the house itself, which might not be a credited actor, but definitely is a vital character in this film.

There is no shortage of artistry in Girl on the Third Floor. Everything from the camera angles, to the practical effects, to the copious amounts of goo combine to create a stunning film. There is a lot of great camera work. There may be something happening in the foreground, but the camera work will draw your eye to minute details that normally would just catch the corner of your eye. The practical effects overall are stunning. Much of it is truly unique, especially for one specific character, and straddles the line of realism and fantasy. One specific kill is questionable in terms of how realistic it is, but the effects themselves are still very well done. Of course this film wouldn’t be quite as effective if it wasn’t for all the icky bits. All of the ooze and goo and slime help to make the audience as uneasy as possible and it definitely does the trick.

Girl on the Third Floor oozes atmosphere as it tells a disturbing and sticky tale of morality. Stevens proves that he is a highly skilled storyteller in his feature-film directorial debut. He not only knows how to create a compelling film, but he knows how to make viewers squirm in their seats while watching. Phil Brooks gives a surprisingly good performance and manages to hold his own alongside both Sarah Brooks and Dunn. The combination of the visceral use of slime, practical effects, and cinematography creates a stunning film. This film has a little something for everyone with the overlapping themes and is definitely a must-watch for horror fans.

OVERALL RATING: 8.5/10