Thriller/Suspense

Snowflake (Schneeflöckchen)

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Two criminals come across a strange screenplay. As they read it, the pair realize the screenplay says exactly what they have said and done, and what they will say and do. They try to track down the writer of the screenplay in order to change their fate, all the while dodging attempts on their life by hitmen hired by a mysterious woman.

Of all the films you will or have watched in 2018, none will be quite as meta as Snowflake. The film was written by Arend Remmers (Unsere Zeit ist jetzt) and directed by Adolfo J. Klomerer (A Time of Vultures) with William James as guest director, this being James’s directorial debut. The film takes place in Berlin in a not-so-distant future where criminals run rampant. Between the lawlessness, the filming style, and some of the music choices, the film almost has the feel of an old Western. The plot is broken up into chapters, allowing the audience to focus on specific characters in each chapter and learn new pieces of the puzzle leading up to the final act when the various characters come together. Some of this information is given in non-sequential order. This particular method seems to help get you more in the mindset of the two criminals as we learn new information right along with them.

The meta aspect comes in the form of a screenplay within the screenplay. The two criminals find the writer of the screenplay (who is also named Arend Remmers). The man is a dentist trying his hand at his first screenplay, yet for some reason everything he writers appears to be happening in real life. It creates many layers that can be confusing at times, but by the end everything comes together rather nicely. There is the screenplay of the film audiences are watching, which is also the screenplay written by the dentist, which is happening to the characters in their real lives.

Snowflake has compelling characters from many different backgrounds. Each one is very well developed, making the audiences feel invested in their fates. The characters audiences will be especially invested in are the two criminals, the vengeful woman who wants to kill them, her friend/bodyguard, a singer who may be a guardian angel, and a cannibal hitman. The one thing virtually every character has in common is revenge. The thirst for revenge is a what drives most of the lead characters in Snowflake, and therefore it drives much of the plot. The only character who feels out of place with the film is a vigilante who wears a full-on superhero costume and uses electricity to fight criminals. This character does not fit in with the overall tone of the film, and his storyline could honestly be entirely cut from the plot. Aside from him, the rest of the characters are fascinating and dynamic.

This is a film that has a very talented cast. The most enjoyable to watch are Reza Brojerdi (Homeland) as Javid and Erkan Acar (The Key) as Tan. These two men are the criminals at the heart of Snowflake. Despite some of the more violent antics these men get up to, there is something completely endearing about them. Both Brojerdi and Acar are so enjoyable to watch, and they are able to bring humor into some of the darkest situations. Another notable performance is Xenia Assenza as (Unsere Zeit ist jetzt) as the tragic Eliana. While all the characters in this film have dual natures, showing that no one is purely good or evil, it is the most apparent with Eliana. She is a victim, but Assenza’s portrayal shows how the thirst for revenge can bring out the evil in even the best people. Honorable mention goes to other memorable performances from the likes of David Masterson (American Renegades), Alexander Schubert (Triple Ex), and Adrian Topol (Franz + Polina).

There is a certain gritty aesthetic in this film. The gorgeous cinematography and coloration create that grittiness. It allows the filmmakers to emphasize the lawless, Western feel of Snowflake. The effects are also quite important in a film where violence is such a crucial aspect of the plot. This film does a very good job of making the various wounds, injuries, and prosthetics look raw and realistic. All these artistic elements combine to immerse the audience in this crime-filled world.

Snowflake is a veritable nesting doll of revenge tales layered upon each other in a fun and meta way. The different story lines seem unrelated, but as more is revealed leading to the bloody climax, everything ties together. The only aspect of the plot that doesn’t work as well with the others is the random superhero. The structure and artistic elements of the genre-bending German film transports the audience to a unique world and leads down many paths of revenge. With multiple strong performances of fascinating characters, this is a film cinephiles will want to seek out.

OVERALL RATING: 8/10

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Suspiria (2018)

suspiria

Susie Bannion has left her home and family in rural Ohio to pursue her dream of joining a dance academy in Berlin. She has no formal training, yet her dancing captivates Madame Blanc, the headmistress, and she is allowed to join the academy. As the dancers train for a very special performance, strange and violent things begin to happen. Dancers have gone missing, and it seems more and more likely the women running the academy are the ones behind it all.

Screenwriter David Kajganich (The Terror) and director Luca Guadagnino (Call Me By Your Name) have taken the basic premise and characters created by Dario Argento (Suspiria 1977) and Daria Nicolodi (Suspiria 1977) and constructed something absolutely breathtaking. At it’s core, the film is about a dance school run by witches. This is really all the two films have in common. The story created by Kajganich and Guadagnino’s filming style diverge greatly from the original, so I will do my best not to constantly compare the two films.

One of the most fascinating aspects of Suspiria (2018) is how the filmmakers built upon the with mythology. The rules, the dynamics, the magic, and the history is meticulously created in a way that is familiar, yet there is a complexity that adds a sense of mystery to the film. Often times, the intrigue comes from the division among the witches. These witches have a long history that sprang from three witches known as the “mothers.” There is the group who believes Madame Blanc should be in charge, and there is a group who believes the unseen Helena Markos should continue her rule. The witches are using the dancers to work towards a specific goal, and they need Susie to reach that goal. Between some of the dancers putting the pieces together and the division between the witches, there is immediate suspense and tension that carries throughout the film.

The way dance is incorporated into the film is stunning. Suspiria (2018) focuses on contemporary/interpretive dance rather than ballet. It is a wise decision because it allows the filmmakers to bring new meaning into the dance being performed. It isn’t simply a performance the dancers are training for, it is a bigger end-game for the witches. All of the dancers move beautifully through the rehearsals and the final routine.

While the cast holds a couple actresses I have not been a fan of in the past, every single person shines in their own way. Probably the most surprising performance in the film is Dakota Johnson (50 Shades of Grey) as Susie Bannion. While her acting is fine, it’s her dancing that truly blew me away. The filmmakers took a risk hiring an actress over a dancer in such a dance-heavy role, but luckily it payed off. Johnson portrays Susie with a sort of naive grace that develops into something much more powerful, and it is amazing to watch. The standout performance comes from Tilda Swinton (Doctor Strange) playing not one, not two, but three characters! While Swinton is amazing in each role, making them each distinctly unique characters even as she acts through layers of makeup and prosthetics, she is truly amazing as Madame Blanc. Similar to the portrayal of Susie, Madame Blanc has a graceful way about her, yet Blanc’s grace has much more power and authority to it. Swinton proves once again that she can play virtually any role and she is able to entirely transform into any character. The on-screen chemistry between Swinton and Johnson is electric, and their dynamics with the rest of the supporting cast is hypnotizing.

It is difficult to live up to Argento’s visuals, so Guadagnino made the wise decision to go in a different direction. Suspiria (2018) has a very stark palette lacking vibrant colors, which fits in well with the 1977 Berlin setting. The bright colors are instead replaced with bold patterns. The patterns can be found everywhere from the floors to the walls to the clothing. It creates striking and iconic imagery where the meticulous patterns feel reminiscent of the ritualistic choreography of the dances.

The bleak look of the film also goes well with the practical effects. These effects are used in a number of ways. The most prominent use is to turn Swinton into different characters, one of them an elderly man. Old age makeup alone is incredibly difficult to do well. Not only is the old age makeup in this film near-perfect, but it also transforms Swinton into a man. The effects are also used to produce some realistic and disturbing wounds, injuries, and gore. I was quite surprised by the brutality in certain scenes, and the practical effects in those scenes are sublime.

The film is only elevated by the astounding score by Thom Yorke of Radiohead. The score is soft, mysterious, and often times includes sounds from the film itself. One piece, titled “Hooks,” is most notable for incorporating sounds from the film such as sighs, breathing, and the whoosh of hooks through the air (which will make sense if/when you see the film). Yorke also includes a couple songs in which he sings. These songs are especially haunting, and are used at integral scenes where the songs are the perfect accompaniment to the events taking place. I would imagine, after this success, that we will be hearing more of Yorke’s work as a composer of film scores.

Suspiria (2018) is a haunting and ethereal tale of witchcraft, mutilation, and death. Guadagnino and Kajganich were inspired by Suspiria (1977), but they were able to create something new and thrilling with this film. The expanded mythology lends itself to an intriguing plot that will keep audiences guessing. The entire cast of performers deliver stunning acting and dancing skills that mesmerize. Add to that the brilliant visual artistry, including the practical effects, and Yorke’s gorgeous score and the result is a disturbing and beautiful film. This is one you won’t want to miss.

OVERALL RATING: 9/10

Cam

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A camgirl, Alice, wanting to improve her ranking decides to try some experimental shows. One day she goes on her computer to find she is locked out of her account, and an imposter has taken her place. This perfect replica is threatening her livelihood and her identity. As Alice’s online persona threatens to destroy her real life, she tries to find out who the imposter is and take control of her life again.

Cam is the gorgeous brainchild of director Daniel Goldhaber and writer Isa Mazzei. Although, those titles are interchangeable as the pair collaborated on all aspects of their first feature film. The plot is absolutely fantastic for a number of reasons. The idea of not only having your identity and your income taken away, but to have it stolen from you by someone who is a perfect replica of yourself creates a very tense film. The helplessness Alice goes through as she attempts to get her account back, and how her camgirl life slowly seeps into her real life, is incredibly suspenseful to watch. There is a constant sense of panic from the moment viewers see the doppelganger, right up until the climactic end of the film. The end is also goes perfectly with the tone of the film and the filmmakers were wise in avoiding any kind of over-explanation of the events.

Probably the single most important reason this film is so compelling is that it was created by a former camgirl. Mazzei herself used to perform cam shows, and you can tell while watching the film. There is an authenticity to the portrayal of life as a camgirl and what it’s like doing this particular kind of sex work. It adds a heightened level of reality to a plot filled with unreality. It is fascinating to watch how camgirls have to navigate between their online persona, how they are with their fans, and how they interact with friends and family that don’t know about their work. Other films have used the camgirl concept in horror as a gimmick or as a way to add sex appeal, but none have done it with the care and realism of Cam.

In terms of the acting, I’m only going to talk about Madeline Brewer (The Handmaid’s Tale, Orange is the New Black) as Alice because she is everything. It is wonderful to watch as Brewer portrays all the different sides of Alice. There is “Lola” the camgirl, there is how she interacts with her fans one-on-one, there is the real Alice, and there is the imposter. There is a clear distinction between each persona Brewer takes on. She is truly magical to watch, and she carries the weight of the film on her shoulder perfectly. It is impossible to not be mesmerized by Alice and Brewers portrayal of her, making viewers even more invested in Alice’s fate.

There are many artistic elements that heighten the film. For one, Cam is visually breathtaking. The color schemes between the camgirl world and the real world are very different. The scenes centered around camgirls and their shows are technicolor neon dreams. This hyper-stylized look emphasizes the fantasy of sex work and the mask put on by the camgirls. The scenes set in Alice’s life away from sex work contain more realistic colors and a gritty, less glamorous feel. The stark contrast emphasizes the duality of living the life of a camgirl. On top of being gorgeous to look at, the score for Cam is also perfect. Gavin Brivik composed an electronic soundscape that fits in exceptionally well with the technology-driven film. At times the score is dark and haunting, other times it is upbeat and entertaining. All of these elements combine to heighten the film to an unexpected level.

Cam is a technological thriller with a stunning and authentic portrayal of the life of a camgirl. The filmmakers truly excel at showing viewers the reality behind sex work, while also delivering an intensely thrilling horror film. The visual aspects and the score only enhance how spectacular the film is. Then of course there is Brewer’s outstanding portrayal of the many sides of Alice. Cam is a profound film as well as an entertaining one and it is a film I highly recommend everyone watch, whether you enjoy horror or not. At the very least, it may give you a different view of what it means to be a sex worker in the modern age.

OVERALL RATING: 9/10

Pro tip – Don’t watch the trailer (if you haven’t already). It has some spoilery elements. It’s better to go in blind.

Halloween (2018)

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It’s been 40 years since Michael Myers escaped and wreaked havoc on the quiet town of Haddonfield, IL. In that time the lone survivor of the attack, Laurie Strode, has done everything she can to prepare herself and her daughter for the inevitable day when Michael would escape. The night before Halloween, her greatest wish and biggest nightmare comes true. Michael escapes, and his rampage will take him back to the town where it all began. It’s up to Laurie to finally put an end to it all.

At this point, horror fans should have an idea of where this film stands in the Halloween franchise timeline. If you’re unfamiliar, here is a quick refresher: Halloween (2018) is a direct sequel to the 1978 Halloween. Basically, forget every other story line after that first film, because they are irrelevant to this sequel. The screenplay for this new imagining of Halloween was written by David Gordon Green (Joe), Danny McBride (Your Highness), and Jeff Fradley (Vice Principals) and it was directed by Green. The trio brings an interesting mix of background from more serious films, to comedies, to this being Fradley’s first feature film. As a result, there are some aspects of the film that shine and others that don’t quite live up to the franchise.

One of the single most successful aspects of this film is that the filmmakers managed to make Michael Myers even more sinister and murderous than he was in the first film. He is an unstoppable force and his kills are far more gruesome this time around. The development of Laurie’s character is also fascinating. She becomes obsessed with Michael to the point where it completely takes over her life, and it feels like an authentic direction for her character after the trauma she endured the first time Michael escaped.

The filmmakers decided to include many scenes and Easter eggs throughout the film that act as nods to the original Halloween as well as the sequels, even the Myers-less Halloween III. It makes it fun for the audience to watch closely to see how many hidden gems they can spot. At some point the film begins to feel like there are too many different things going on. There are simply too many characters the film follows, too many subplots, and even the Easter eggs get to be a bit excessive. Some of the issues I have with the film could be attributed to there being three screenwriters with varying backgrounds. They likely all wanted to put their mark on the franchise while also honoring the film they know and love, but the plot ends up being muddled in parts because the focus moves from place to place instead of focusing on one or two characters. The third act is where the filmmakers clearly hit their stride. Not only is it the most exciting part of the film, it also finally delivers what fans have been waiting for these past 40 years. The focus tightens on Laurie and her family as they face off with Michael, and the madness that ensues is sure to delight fans.

Even though it seems like there are too many characters to focus on at times, the entire cast does a phenomenal job. The obvious shining star of the film is Jamie Lee Curtis (Halloween, True Lies) as the one and only Laurie Strode. Only Curtis could bring to life such an iconic character, and it is great to see her reprise her role. Curtis excels as she portrays Laurie simultaneously traumatized by the events 40 years ago, while also dedicating her life to preparing to kill Michael. Judy Greer (Cursed, 13 Going on 30) also solidifies her own scream queen status as Laurie’s daughter, Karen. The dynamics between the estranged mother-daughter duo allow Greer to deliver a strong performance, especially as she is forced back to her roots in the third act. A smaller role in the film that resulted in some scene-stealing moments shows Jibrail Nantambu (Preacher) as young Julian, who is being babysat on Halloween night. This kid is downright hilarious, even when his night takes a dark turn, resulting in some of the most memorable lines of the film. Honorable mention also goes out to Andi Matichak (Evol), Haluk Bilginer (The International), and Toby Huss (Rescue Dawn).

The artistry in Halloween (2018) is by far one of the highlights of the film. Right away it is impossible to ignore the drool-worthy cinematography, enhancing the tension and beauty of the film. The original film went for more minimal practical effects, primarily relying on blood to emphasize any wounds. This film cranks out the gore, giving fans some fantastic practical effects for grizzly, unique kills by Michael. The effects team really put in the effort to give the audience something that is both horrifying and believable, and they succeeded. On top of that, it’s impossible to talk about Halloween without talking about the score. John Carpenter returned for the music in this film along with his son, Cody Carpenter, and Carpenter’s tour guitarist/godson, Daniel Davies. The three composers did an absolutely fantastic job of bringing the classic theme that fans adore while also breathing some new life into the rest of the score. The score truly brings the film to life in a way that only Carpenter and co. could pull off.

Halloween (2018) is a love letter to John Carpenter’s original that only true fans could pull off. There are moments when the film diverges into to many different directions, but there are many things to love about the film. The film has many fantastic nods to the original franchise, as well as thrilling new material including an even deadlier Michael (complete with more graphic kill scenes) and a badder, stronger Laurie. Even Carpenter, Carpenter, and Davies’ score gives a fresh twist to the familiar. The third act is when fans will truly see the film shine as Michael and Laurie become the focus. While the film may not quite live up to the hype, and perhaps a rewatch after the hype has died down will shed new light, the film still has something for every fan to enjoy.

OVERALL RATING: 7/10

***Spoiler/Tip: There is an end credit “scene.” Don’t bother staying around for it. It’s literally just a black screen and you can hear Michael breathing, that’s it. You’re welcome.

Diane

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A wounded military veteran lives a solitary life. He goes through the same routine day in and day out, until something unexpected breaks that routine. He awakes one morning to find the body of a beautiful singer in his back yard. Before calling the police, he takes a picture of her. As the police investigation tries to prove his guilt, the image of the dead woman haunts the man, threatening to shatter his sanity.

Michael Mongillo (The Wind) takes the helm as writer and director of this haunting film. The film is a slow burn. It begins with a small amount of character development before the discovery of the body. From there the film focuses on many different factors affecting the protagonist as his obsession with the dead woman grows. Around him there is the police investigation, people in the neighborhood who think he must be guilty, and maybe even the ghost of the woman he found. All of these things unravel the man’s mind. At times he even talks to himself or has wild dreams and hallucinations, all revolving around the woman. The tension slowly builds until the truth is revealed, which almost comes as a release of that tension in a more therapeutic way than is typically found in horror films.

The opening of the film is a bit odd. It starts with a somewhat awkward, drawn out song sung by the woman who will eventually be found dead. This is followed by a sort of “day in the life” sequence showing how the main character typically spends his days. The discovery of the body comes after the screen flashes “one month later.” In all honesty, the song and the “one month later” come across as quite unnecessary. It isn’t until the climax of the film that these cinematic choices by the filmmakers fall into place. The “one month later” becomes more significant, as does the song. I still believe the song borders on uncomfortable to watch, especially with how long it goes on, and the film would have benefited by simply starting with the day in the life of the main character.

Slow-burn horror films only work if the performances can carry the intensity and intrigue throughout the plot. There isn’t a large cast, so most of that responsibility is on the shoulders of the protagonist. The star of the film is Jason Alan Smith (Before I Wake) as Steve. Smith portrays Steve as a silent, brooding wounded military veteran who primarily keeps to himself. This character portrayal works well in the film. The military background specifically works well because it makes it more believable that a man would become so invested in what happened to the woman he found. The mental effects of combat would also explain his issues with memory loss and seeing things, even though the things he sees could also be supernatural.

There are many different color schemes used throughout the film that add some visual interest. The color schemes are used to differentiate between the present, memories, dreams, and hallucinations. The present has a rather bleak color palette, favorite washed out colors and greys.  It lends to the rather bleak existence Steve lives. The past is more vibrant and has more lifelike colors. In the dream sequences the primary color used is red, making it simple to determine when Steve is dreaming. When the hallucinations, or ghostly apparitions, appear they have a staticky appearance as if watching through an ancient television. Generally speaking this technique works well for the purpose of storytelling throughout the film. I personally have never liked the grey-scale, washed-out color scheme commonly found in small budget horror films, but it clearly has a purpose in this film.

Diane gives viewers a haunting mystery that blends psychological thriller with the supernatural. The plot presents an interesting puzzle to be solved and that puzzle is solved rather nicely by the end of the film. The color palette makes sense for the plot, despite my personal dislike for the grey-scale which is most commonly used. If the colors had been a bit more true to life, and the opening scene was cut, the film would have been more appealing. Yet this film still has a compelling story with a strong performance from Smith.

OVERALL RATING: 6.5/10

The Ranger

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After a traumatic childhood, a teen girl lives a transient punk lifestyle with her friends. A police incident forces the group of punks to find a place to hide out. They go back to the place of the girl’s trauma where they meet the park ranger. Things go from bad to worse when the friends realize this isn’t your friendly neighborhood ranger.

This thrilling flick is the work of director Jenn Wexler and co-writer Giaco Furino, both making their feature film debut. At first glance this film seems like a typical popcorn slasher. While it does have many of the elements making it fun and exciting to watch, it goes even deeper than that. For one, the film has some great character development. A large portion of the beginning of the film allows the audience to really get to know the characters and care for them, especially the teen girl whose cabin they go to. All of the characters are flawed as well, making them more believable and relatable. There is a great aspect of the character development that explores both dealing with trauma and finding your place in the world. It is something that speaks to many different types of audiences, while still giving an entertaining story.

Another extremely successful aspect of the film is the treatment of LGBTQ characters. It is common in horror films for the LGBTQ characters to fit some stereotype or have their being gay be the focus of who they are as a person. In The Ranger there is a gay couple and the best part about them is that I didn’t even realize they were gay until a ways into the film. They feel like real people and, aside from them having a sweet couple moment or two, the filmmakers don’t focus on the fact that they are gay.

The only downside is that the character development may go on a little too long. When the action starts it almost feels rushed because so much time is spent on what happens before the kids even meet the ranger. There is also very little development of the ranger himself. In many ways it works. The ranger’s strange behavior is a mystery, which makes sense because the audience knows as much about the ranger as the teens do. Yet I can’t help wishing I knew more about some of the more bizarre things he does.

This film is filled with outstanding performances from the entire cast. The clear standout is Chloe Levine (The Transfiguration, The OA) as Chelsea. Chelsea went through a childhood trauma that lead her to finding a home in the punk scene. It’s fascinating to see how Levine portrays Chelsea as a young woman who is finding her way in the word. She also does a superb job of showing the audience Chelsea is a survivor who can adapt to any situation thrown at her. Another great performance comes from Jeremy Holm (House of Cards, Mr. Robot) as the ranger. Even when the ranger is being perfectly pleasant, Holm still manages to bring an edge to his performance. It is like he is a bear trap ready to spring at any provocation. When he finally does snap, Holm makes the ranger an entertaining and derange killer. Honorable mention goes to the rest of the punks including Granit Lahu (The Sinner), Jeremy Pope, Bubba Weiler (Puzzle), and Amanda Grace Benitez (All Cheerleaders Die), all of whom are perfect punks.

The artistry of the film is intriguing as well. As with any good slasher flick, there is a decent amount of blood and gore in this film. The practical effects are very well done. There is a high level of gore, but it is done in a very realistic way. This is great because there isn’t anything that feels over-the-top or overtly fake like in many classic slasher films. The music in the film also elevates it to a heightened level of art. The punk rock blends perfectly with the style and imagery to create something quite stunning to watch.

The Ranger is equal parts carnage, survival, and punk rock. It has all the appeal of an eighties slasher flick, but it also tells a more complex story. The plot allows for fascinatingly flawed characters to be thrust into extreme circumstances. This leaves room for great character development that explores the many facets of human nature, how people deal with trauma, and the will to survive. Sprinkle in a great killer and punk rock music and you get a very well made film. There may be a bit of room for improvement when it comes to the pacing of the film, but for a directorial and writing debut from Wexler and Furina, it is definitely a strong start.

OVERALL RATING: 8/10

 

Secret Santa

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A large family comes together for Christmas. Like many other families, this one is broken and estranged and dysfunctional. As they all come together around the table for Christmas dinner the fighting begins. But these aren’t your ordinary family arguments. The fights turn violent and this average holiday get-together becomes a bloody, chaotic massacre.

Everyone believes they have a weird family. Some family members you love and others you can’t stand. Writer/director Adam Marcus (Jason Goes to Hell: The Final Friday, Texas Chainsaw 3D) and co-writer Debra Sullivan (Conspiracy, Texas Chainsaw 3D) take something we are all familiar with and amplify it. This family has deep seeded issues due to divorce, remarriage, success, failure, and of course a large dose of sibling rivalry. When something happens that turns the family members into crazed, bloodthirsty killers the excitement really kicks in. The dynamics between various family members are some of the highlights of the film because many audience members will see themselves and their families in the film. The hilarious dialogue helps to highlight those strained relationships and it even carries into some of the kill scenes. As truths are revealed and the non-crazy family members try to fight for their lives, things get very thrilling and hilarious.

There are a few breakout performances in this film that will stick with you long after the credits roll. A early standout is Nathan Hedrick (Art of War, Seven Deadly Sins) as Jackson, the outspoken horndog half brother. Hedrick’s performance is totally over the top, but it works for his character. He’s loud, he’s crazy, and when he becomes violent he has some hilarious scenes. A Leslie Kies (The Newsroom, Jane the Virgin) shines as April. April is the perfect child among all the siblings. On the surface she seems too perfect, but as the film progresses Kies shows April’s hidden flaws and secrets in a compelling way. The true star of this film, in my opinion, is Ryan Leigh Seaton (NerdGirls, Dogs & Me) as Penny. Penny is the black sheep of the family and Seaton plays her as the sarcastic sibling who hates everyone incredibly well. Seaton also has some of the most hilarious lines and her delivery will leave you in stitches. While the entire cast is really fun to watch, Seaton is likely the one who will be remembered the most.

It’s safe to say that there is a lot of blood in this film. Fans of gore will not be disappointed. On top of that, there are some really unique kills. The film even opens with a fight from the point of view of a snow globe, which ends up being used as a weapon. This allows the filmmakers to show some very creative effects. All the attacks, from severed heads to cut Achilles tendons, are grotesque and thrilling.  Not only are these kills creative and even funny at times, but the practical effects look amazing as well. There is a level of campiness with the amount of blood and gore, but it fits in very well with the tone of the film.

Secret Santa is the holiday horror film to watch when you want to see a family that is more dysfunctional than your own. It is equal parts carnage and laughs, with outrageous characters that have you laughing and screaming from start to finish. This is the kind of film that you go into knowing it is meant to be humorous, gory, and campy. Slasher horror comedies with this kind of humor and gore can be an acquired taste, but they can also be some of the most fun experiences you’ll have in watching a film. This film will clearly become a holiday staple for horror fans.

OVERALL RATING: 7/10