film

Starfish

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After losing her best friend, Aubrey secludes herself in her friend’s apartment. She awakes the next day to discover the world as she knows it is coming to an end. People have disappeared and there are strange creatures lurking outside the door. Aubrey finds a mix tape made by her deceased friend with clues as to how to survive this strange new world, and perhaps even save it.

A.T. White brings a powerful story to the screen in his first feature-length film, Starfish. The focus of the plot is grief. Aubrey loses her friend and from that moment her life is changed forever. The film includes elements of a dramatic character study, a Lovecraftian apocalypse, and fantastic music. Each aspect is integral to the film. White takes the audience on a journey through Aubrey’s grief, going through each of the traditional five stages; denial, anger, bargaining, depression, and acceptance. These stages are emphasized by the end of the world happening all around Aubrey and the strange beings that have crossed into our world. Her complete isolation from the rest of the world allows the audience to focus on Aubrey as she goes on her emotional and sometimes dangerous journey in which reality bends, breaks, and unravels.

Music plays a vital role in her journey as well in the form of tapes hidden by her deceased friend. Each tape contains a song with an embedded signal that has something to do with what is happening to the world. This gives Aubrey a goal to work towards and a mystery to solve. It propels forward, forcing her to face her grief and things she has done that she feels guilty about. The tapes could even save Aubrey’s life. All of these elements combine in perfect symphony.

The plot alone is haunting, beautiful, and fascinating, but what makes it even more compelling is White’s inspiration for it. White has said that he lost a friend to cancer and experienced grief like what we see Aubrey go through. The film allowed him to visually work through that grief. What’s even more amazing is that White intends to donate all the money he makes from Starfish to Cancer Research. It shows the passion he has for both his film and the cause. That passion can also easily be seen in every last detail in the film’s plot, character, and music.

In a film that focuses entirely on one character, casting is vital. Virginia Gardner (Halloween, Runaways) stars as Aubrey. The pain, loss, and guilt Aubrey experiences is the catalyst for the entire film. Gardner truly dazzles in the role. She is able to grab the attention and the hearts of the audience and hold on tight. The way Gardner portrays Aubrey as she mourns is complicated, relatable, and incredibly raw. This performance alone makes me excited to see what Gardner does in the future.

The many artistic elements of Starfish also bring a lot to the film. The filmmakers used CGI to create the Lovecraftian creatures from another world, as well as the rips in our reality they traveled through. These effects are relatively subtle. The CGI works especially well with the various sets. The film takes place in a landscape that looks very remote and snowy, which offers a beautiful contrast with the effects. There is also a distinct lack of modern technology throughout the film. This allows for the film to exist in a space without a specific time and could have been made in the 80’s as easily as today. Of course, the music is probably the most important artistic element because of how engrained it is in the plot. The score was composed by none other than White himself and he selected the music for the soundtrack as well. Both the score and soundtrack are a focal point of the film and I found myself trying to find the soundtrack online as soon as I finished the film.

Starfish is a stunning and raw journey through the grieving process as the world ends. White beautifully uses his own experience to take the audience through the stages of grief. He also incorporates music and the collision of different worlds to convey the end of Aubrey’s world. It seems to be left up to the audience whether this is a literal or metaphorical apocalypse, but the story is haunting either way. The weight of the film is carried on Gardner’s capable shoulders as she portrays Aubrey as a complicated heroine.  Add the various visual and musical elements, and you have a must-watch film. If that isn’t enough to convince you to see Starfish, see it so you can support a great cause and have your sale go toward Cancer Research.

OVERALL RATING: 9.5/10

 

Dead Ant

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80’s metal band Sonic Grave is trying to make its big comeback. In a desperate attempt to write a brand new hit song, the band buys some special peyote called “the Sun” and heads out to Joshua Tree in hopes of getting inspired. There is just one catch to the drug: the band can do no harm to a living thing while on the Sun, otherwise there will be dire consequences. Of course, they do not heed the warning.

Writer and director Ron Carlson (All American Christmas Carol) shows he knows how to bring the rock and the laughs in Dead Ant. The film manages to successfully make fun of and pay homage to 80’s glam rock at the same time. These guys are washed up, but they can’t seem to accept it. They are so desperate to make a big comeback they resort to taking drugs in the middle of nowhere, hoping the psychedelic visions will lead to their next hit song. The band definitely fulfills the stereotype of a once famous glam rock band that is trying to relive the glory days; the outfits, the hair, the makeup, the drugs and alcohol use, the hook-ups. The addition of a horror element, in the form of ever-growing giant killer ants, adds to the humor of the film. There is a combination of mysticism with the “do no harm” condition of doing the special drug and creature feature as the band members are hunted down by giant ants. They start out on the small side, but as the film progresses the ants get bigger and bigger. Turning a creature that is generally looked at as small and harmless and turning it into a massive killing machine is a nice comedic touch.

A lot of what makes this film so enjoyable is the performances. Each actor gives a memorable performance in their own way and they all are able to make the audience laugh. One of my favorite performances comes from Jake Busey (The Frighteners, Starship Troopers) as the lead singer, Merrick. Merrick looks a lot like a Bret Michaels impersonator, and he is all about the rock and roll lifestyle. Busey truly commits to the role and ends up delivering some of the most hilarious lines. The band’s guitarist, Pager, is played by Rhys Coiro (Entourage, Straw Dogs). Pager is the most desperate to regain fame, and that leads to some very funny hijinks as music remains the focus even as the ants are on the attack. One of my favorite performances comes from Leisha Hailey (Fertile Ground, The L Word) as the band’s drummer, Stevie. She comes across as the most grounded and the most intelligent of the group. Stevie doesn’t take shit from anyone and Hailey brings some sass to the character. Honorable mention goes to Michael Horse (Twin Peaks), Danny Woodbury (Mirror Mirror), Sean Astin (The Goonies), and Tom Arnold (True Lies).

There are definitely some low-budget style effects in Dead Ant, but they don’t detract from the film at all. If anything they might add a bit of charm to the indie B-movie plot. The ants are all created with CGI. The filmmakers had an understandably low budget to create these big bugs, but the CGI looks no better or worse than many of the films shown on the Syfy Channel. The practical effects are slightly less successful. Although they are used sparingly, there is one effect in the climax of the film that is very cheesy looking. This may have been an intentional choice as the scene is also very comical, but it is hard not to cringe at it. When it comes to the band members, the costume design is spot on for what you would imagine a glam metal band would wear. Each actor also wears a wig to enhance the look of their characters. Although, the wig worn by Astin is absolutely atrocious and is very distracting every time he is on screen.

Dead Ant is a somewhat cheesy, but delightfully funny film that shows a has-been band pitted against giant killer ants. Carlson does a great job of showing his love for 80’s glam metal, while also making fun of the band members as they attempt to make their comeback. He is great at conveying that duality, the same way he is able to combine comedy and horror into one film. The performances are surprisingly entertaining and the big name actors who appear are even more surprising. The effects aren’t particularly amazing, but they are good enough to keep me entertained. Dead Ant is definitely campy and satirical, resulting in a fun popcorn flick that captures the spirit of 80’s horror/music in a modern day film.

OVERALL RATING: 6.5/10

Between the Trees

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Dealing with the stress of a failing marriage, Steve arranges a getaway with his three best friends. Together they rent a remote cabin in the hopes of having a nice quiet hunting trip. It doesn’t take long for these friends to realize they are not alone in those woods. With no cell service and nothing but miles of forest around them, it will be a fight for survival. Only the fittest will escape with their lives.

Directed by Brad Douglas (Besetment) and written by first-time screenwriter Sam Klarreich, Between the Trees is a horror film that combines different subgenres. On the one hand the film is a suspenseful thriller as it follows Steve. He appears to be obsessed with his marriage falling apart and makes a point of asking his two married friends how their marriages are, while also telling them about his own failing marriage. Steve is clearly unstable, and the isolation only seems to exacerbate his deteriorating state of mind. On the other hand, this film is a creature feature. There is something else in the woods with the friends. They kill the offspring of the creature in self-defense, and then the creature tries to hunt them down one by one.

While individually these two premises could be great, and there are some areas of overlap that are quite interesting, they ultimately don’t fit together very well. With how the plot is revealed, it seems that the filmmakers were trying to use the creature aspect as a way to emphasize the tension between the four friends. Instead, the film comes across as two entirely different films, both in content and tone, rammed together like two puzzle pieces that don’t fit. Between the Trees is only an hour and 14 minutes long, but even with that short run time it feels too long. It would have worked so much better as two separate short films. At times the film becomes especially convoluted, mostly when it focuses on the creature aspect. It is the least developed subplot, and as a result viewers will likely be left wondering what this thing is supposed to be, among other questions.

Each performance in Between the Trees is fine, but the characters are all very one-note and lack any depth. Greg James (Wild) plays Steve. The character is written in such a way that leaves little room for James to bring a powerful performance. Steve is quiet, brooding, and only really cares to talk about his marriage. James tries his hardest to push beyond the character created for him, and has a few moments where he is able to show some real intensity, but the writing holds him back. This is a pattern with all the characters. Jonny Lee (Hacked) plays the drunken lady’s man, Mack. Again, Lee’s performance is fine, but there isn’t much more to the character than what I just described. Dan Kyle (Combat Report) portrays manly-man Dave. Dave is the big, tough guy who is the most capable hunter and woodsman of the group. Kyle manages to bring the slightest bit of depth to this character in the way he talks about his wife, albeit very briefly. Finally there is Michael Draper (The Competition) as Josh. This character is another stereotype; he is the most sensitive of the group, loves his wife, and dresses a bit too nicely for a weekend in a cabin so of course that means he is often called “gay” by the unsavory locals. Draper’s performance often goes into the realm of caricature, which doesn’t fit well with the rest of the film, but he at least is able to give us a few surprises with his character.

Normally creature design and practical effects are aspects of a horror film I look forward to most, but they are not great selling points of this film. Before we even see the creatures they are described in terms audiences are familiar with such as “Bigfoot” and “Sasquatch.” These words automatically conjure up visions of large, hairy ape-like beasts roaming the forests. When you finally see the creatures in Between the Trees, you get almost the exact opposite. The adult creature is definitely tall, but other than that these beings are hairless, have pale greyish skin, use bows and arrows, and wear human clothing. It comes across as though very little effort was put into the creature design, and the execution looks like a rubber Halloween mask. They are simply too human and it leaves a lot of lingering questions in the end about how these things could exist without the locals knowing about them.

Between the Trees can’t seem to decide what kind of film it wants to be. It tries very hard to marry two different stories into one plot, but it results in a confusing jumble. There are too many unanswered questions, especially when it comes to the creatures in the film. The archetypes for the four characters are fairly bland and leave little room for the actors to bring any tension or dimension to their performances. Most of the issues with the film can be chalked up to how the film was written and the unfortunate creature design. I appreciate the attempt at doing something different, but as a whole it is not a film I would recommend.

OVERALL RATING: 3.5/10

The Cannibal Club

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A wealthy Brazilian couple live in the lap of luxury. While on the outside they appear to live a typical rich lifestyle, behind closed doors they get up to some eccentric activities. One of those activities is killing and eating young men. The husband is even part of a cannibal club that is exclusive to rich men. When the wife catches the leader of the club in a compromising position, the couple find themselves in a dangerous position that could cost them their lives.

Brazilian writer/director Guto Parente (The Mysterious Death of Pérola) takes his audience on a strange journey with The Cannibal Club. The plot overall follows a specific pattern. We see the two leads, Otavio and Gilda, as they go through a bizarre mating ritual that also involves them killing their next human meal. Then there is a small amount of intrigue as the audience learns about the cannibal club and the various wealthy and powerful men who are apart of it, including Otavio. This allows the audience to meet the leader of the group, and the one who Gilda catches in a compromising position. There is a bit of excitement as Gilda and Otavio try to find a way out of their precarious position without losing their lives, and in the process they recruit a new employee to help them. Then the film reverts back to Gilda and Otavio’s typical mating dance, but with slightly different results.

The Cannibal Club almost comes across as a combination of Eyes Wide Shut and Hostel, but it lacks the true intrigue and thrills of those films. There is a lot of opportunity to build in various twists to add to the suspense, but unfortunately the film feels rather monotone. There are a couple minor moments that might elicit a gasp, but they are mostly there simply for shock value and don’t add anything to the plot. There is also not a lot of focus on the cannibal club itself, despite the title of the film, and instead the focus is on Gilda and Otavio’s strange relationship. This is fine, except it leads to a rather lackluster subplot about the club and a bit of a missed opportunity for more tension and thrills. It also leads to a plot that at times is quite predictable.

One of the stronger parts of this film are the performances. A highlight for me was Ana Luiza Rios (The Last Breath) as Gilda. She is equal parts charming and sinister. It is amazing to watch her be confident and seductive only to then eat a human being with a smile, and Rios portrays her very well. Her husband, Otavio, is played by Tavinho Teixeira (Batguano). Otavio is as cold-hearted as they come, yet he has a soft spot for Gilda. Teixeira does a great job of portraying the two sides of Otavio and his on-screen chemistry with Rios. These two breathe some life into the film that is often times on the dull side.

Another aspect of The Cannibal Club that adds some interest is the visuals. The cinematography alone is very beautiful and enhances the idea of Gilda and Otavio’s opulent, wealthy lifestyle. Especially with how the various locations are filmed, everything looks incredibly expensive, shiny, and unattainable. While they are used at a minimum, the practical effects are also very well done. In one specific scene at the beginning of the film the audience is shown a victim getting butchered and chopped into prime cuts of meat. Not only are the practical effects in this scene frighteningly realistic, they also stand out in the lavish home the scene is set in.

The Cannibal Club has some successful elements, the lack of tension in the plot results in a rather forgettable film. Many parts of the film will feel reminiscent to similar films that came before it, all of them focusing on wealthy clubs who prey on the less fortunate, yet this film doesn’t carry the suspense or excitement of its predecessors. The performances by the two leads are enough to hold my interest and the stunning sets, cinematography, and effects give the audience something to catch the eye. Despite these more successful features, the film will likely be forgotten by the time people pick their “best of 2019” films.

OVERALL RATING: 5.5/10

Happy Death Day 2U

death

Tree thought she had broken the loop that forced her to relive the same day (and her death) over and over again. She thought she had defeated her killer. Yet that brief happiness is interrupted when a series of events throw her into another time loop. This time it’s different. She will not only have to keep dying and reliving the same day, but now she will also have to make an impossible decision that could change the rest of her life.

Writer and director Christopher Landon (Happy Death Day, Paranormal Activity 3) is at it again with this sci-fi/horror/slasher/comedy mashup. This sequel picks up almost immediately where the first film left off. Poor Tree didn’t even get a full day to enjoy being out of her time loop. Not only does she get stuck in a time loop again, but she is accidentally thrown into an entirely different timeline. It’s up to Tree and her friends, none of whom remember her, to stop the loop. The more difficult decision is whether she will stay in this timeline or go back to her own.

The first film was more of a straightforward slasher-comedy, while this film incorporates even more genres. The most obvious and most important addition is the sci-fi element. In Happy Death Day the film focused on figuring out who the baby face killer was, but in Happy Death Day 2U the focus is on stopping the loop by more scientific means. While some fans of the first film may be disappointed by this change, I think it is brilliant. In a film franchise where the entire premise has to do with reliving the same day over and over, it is important to keep the story fresh so audiences don’t feel like they are watching the same film for the second time in a row. The shift to the sci-fi aspect allows the filmmakers to focus on a new set of characters and a new set of problems. Without giving too much away, this change allowed the film to have an emotional depth that wasn’t present in the first film. Not only do we get to know Tree and other vital characters on a deeper level, but we also watch as Tree is faced with an impossible decision. It tugs at the heartstrings, while still giving plenty of opportunity for humor in the form of Tree’s many deaths and horror in the form of the baby face killer (albeit less horror and baby face than we saw in the previous film).

As a result of the change in tone with the sequel, the performances in Happy Death Day 2U are also much more emotionally driven. Jessica Rothe (Happy Death Day, Forever My Girl) is absolutely dazzling as Tree. What makes Rothe such a joy to watch is how well she balances humor with the more heartfelt moments. She is really hilarious, especially with her reaction to reliving the same day and her many deaths, but this film allows the audience to see a side of Tree we haven’t seen before. Tree is a character I would love to see more of, and Rothe is perfect in the role. Israel Broussard (Happy Death Day, To All the Boys I’ve Loved Before) is also enjoyable to watch as Carter. There is something about Broussard and his portrayal of Carter that is instantly endearing and lovable, and his chemistry with Rothe is fantastic. Honorable mention goes to two actors who bring a lot of comedic relief to the film and their roles: Phi Vu (Happy Death Day, Logan) as Ryan and Rachel Matthews (Happy Death Day) as Danielle.

This PG-13 franchise does a really good job of conveying gore without actually showing anything graphic. With each time Tree dies, the death happens just out of sight or the audience isn’t shown the exact moment of her death, but we see when she wakes up and restarts the day. For example, when Tree dies from electrocution, she wakes up when the day restarts to her hair standing up on end. In another scene Tree plummets to her death. We hear the splat and see others react to the carnage, but it happens just out of frame. This method allows Happy Death Day 2U to have a lot of death to appease older audiences while still keeping a low MPAA rating so more moviegoers can enjoy the film.

Happy Death Day 2U has all the fun of the first film while also incorporating new genres and more depth. Considering this is now one of two films that involves reliving the same day on repeat, the filmmakers manage to keep the plot fresh by adding new danger, new twists, and new drama. There will likely be some moviegoers who will not enjoy the subtle genre changes from the first film, but I for one think these changes are a brilliant way to breathe new life to the story. It makes me interested to see what could be done with a third film, and Rothe’s performance makes me want to see much more of Tree. This entertaining and emotionally driven genre-bending flick is one you can even watch with your non-horror loving friends and family.

OVERALL RATING: 8/10

(I saw the first film, but didn’t ever review it. If I did I would have also given it an 8/10)

Camp Death III in 2D!

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Camp Crystal Meph has developed a bit of a reputation. After a crazed woman going on a killing spree, then her murderous son returning to exact revenge, many have died on the property. When an overly-optimistic man decides to reopen the camp as a rehab center for mentally ill adults, it doesn’t take long for the body count to rise. Has the killer returned, or is there a copycat on the loose?

Camp Death III in 2D! is a horror comedy written and directed by Matt Frame (GGG: One Night Stab). It is an intentionally outlandish and campy spoof of Friday the 13th Part III in 3D. The film even begins in a similar fashion to the F13 films where the first few minutes recap the previous film, although in this case it is a film that doesn’t really exist. There are other similar plot points connecting Camp Death to the F13 films in fun and creative ways. That being said, this film is intentionally out there, campy with ridiculous effects and acting, and can be a bit abrasive at times. This is all on purpose. Some of the taglines for the film read “This movie is stupid,” “This movie is super stupid,” and “The most horrible movie ever made!” It clearly caters to a specific group of horror fans that not only enjoy the F13 franchise, but also loves the ridiculous, low-budget B-movie style the film has.

While it’s not the most horrible movie I’ve ever seen, despite what the taglines suggest, it definitely isn’t my cup of tea. I appreciated the nods it gave not only to F13, but other popular films as well. There is one scene specifically that I got a kick out of that is a hilarious nod to the Star Wars films. There is also a bit with a squirrel utilized in a few scenes throughout the film that I found very entertaining, and part of that is because of how ridiculous and low-budget it looks. There were times the jokes leaned a bit towards the offensive side. The laughs are centered around gross-out humor, sexual humor, and jokes that are aimed at the mentally ill campers. There are definitely people who will find these jokes funny, but it is not the kind of humor that I am entertained by.

This is the kind of film that is incredibly hard to accurately critique various elements. Acting is one of those elements. The performances in Camp Death III in 2D! are intentionally over the top, ludicrous, and just plain bad. If you take into consideration the fact that bad acting was the goal of the film, then in that respect the entire cast actually did a fantastic job. There is a lot of humorous overacting and some that is less humorous, but just as overacted. This also makes it more difficult for me to pinpoint any single performance because of how “bad” everyone was (even though that was the point). Instead I will throw nods to some of the performances I enjoyed watching even with the insanity. I will send shout outs to Dave Peniuk (The Coroner: I Speak For the Dead), Angela Galanopoulos (Michelle’s), and Katherine Alpen (Cubicle the Musical) for all being ridiculous yet still fun to watch.

As with the acting, the effects from Camp Death III in 2D! are incredibly hard to critique. The bizarre mash-up of CGI, practical effects, puppetry, green screen, close-up fisheye camera work, and interesting color choices will definitely grab your attention. The problem is that it might not grab your attention in a good way. Most of the effects are rather cringe-worthy in how poorly done they are, but as I’ve said multiple times in this review that low-budget look is intentional. Each of these different effects and tricks used have different levels of success. The scene I mentioned previously that relates to Star Wars is surprisingly well done. Most of the puppetry is also good for a laugh. This includes the scenes with the squirrel, which may have once just been a stuffed animal. Much of the CGI is hard to look at and even many of the practical effects are laughable, which is most likely on purpose.

There is definitely a subset of horror film fans who will get a lot of enjoyment out of Camp Death III in 2D! I simply was not one of those horror fans. The filmmakers are very successful in the sense that they created the outlandishly insane and cheesy film they set out to make. It ticks all the boxes for a low-budget B horror film, especially ones from the 80’s. I wouldn’t be surprised if this film eventually gained a cult following in the way that films like Troll 2 did over the years. Will I watch it again? Probably not, but it was definitely a memorable hour and 20 minutes.

OVERALL RATING: 2/10

The Golem

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A remote Jewish village is threatened by a plague and dangerous outsiders. While the men of the village believe prayer is the best course of action, one woman believes the village has to stand up for itself and fight. She performs a ritual to bring forth an ancient being that can protect those she loves. Yet this entity is something that cannot be controlled.

Brotherly directing duo Doron and Yoav Paz (Jerusalem) take the intriguing script by Ariel Cohen (Take Mama) and turn The Golem into a stunning film. The plot focuses on Hanna, a woman ahead of her time in this small Jewish village. She is a unique character because she is very independent and eager to learn more about her religion from books women are not allowed to read. As the film progresses it becomes clear she wants to read these texts as a way to grieve her deceased son. Her grief, independence, and unwillingness to have another child for fear of losing them drives her actions throughout the film. When the people she loves are threatened by outsiders bringing in the plague, she takes what she learns from those texts to bring forth an ancient entity known as a golem. These plot elements allow the filmmakers to create an external conflict (the outsiders and the plague) as well as an internal conflict (grief over the loss of a child).

From the moment Hanna creates the golem there is a sense of impending doom. The feeling of dread is carried out through to the end of the film. As a result, audiences know things are not going to end well, but it is the way events play out that keeps them interested in what happens next. There is an opening scene that sets the tone of the film, but there is one instance in this opening that doesn’t quite match the mythology established later in the film. It can lead to a bit of confusion regarding the rules surrounding the golem’s existence. The end of the film also leaves me with some unanswered questions, specifically about the fates of certain smaller characters, which are never resolved. These issues are subtle, making them easier to overlook, but I still believe they are worth pointing out.

As far as the performances go, the entire cast blew me away. Hani Furstenberg (The Loneliest Planet) is absolutely extraordinary as Hanna. There are many layers to Hanna that Furstenberg stunningly conveys. She shows the audience how Hanna finds strength in her grief in order to do the impossible, yet that grief may also be her downfall. Furstenberg commands your attention every time she is on screen. Another standout performance comes from Ishai Golan (Prisoners of War) as Benjamin, Hanna’s husband. Benjamin is very supportive of Hanna, despite what others think about her and their relationship. When things go from bad to worse in the village, Golan’s performance really shines and shows his character’s depth. The pair have great onscreen chemistry, and they are a joy to watch. I also want to give a special shoutout to Alex Tritenko (When the Dawn Comes) who plays the film’s villain in a way that makes you loathe him while also empathizing with his character.

Artistically, there are highs and lows throughout the film. The best bit of artistry in the film is the cinematography. Many shots are framed and lit in such a way that draws the audience’s eye and creates stunning imagery. Along with the cinematography, the set and costume design is fantastic. Not only do these elements add to the beauty of the film, but they also transport you back in time.

One of the less successful elements of The Golem is the special effects. The filmmakers implement practical effects which are enhanced by CGI. The problem arises in some of the bloodier scenes where the effects take on a Tarantino-esque level of blood spewing into the air. It looks quite out of place with the overall look of the rest of the film. Similarly, the score by Tal Yardeni (Noble Savage) doesn’t mesh well with the film’s somber look and feel. The score itself is very nice and is especially beautiful in the more melancholy scenes. Yet the score in the thrilling scenes stands out for all the wrong reasons. To my ears, the music in these scenes sounds more like what one would hear in a suspenseful action movie, not a gloomy horror film. Unfortunately, the music in these scenes takes me out of the moment because of how mismatched it sounds.

The Golem delivers a unique story rooted in Jewish tradition that is both beautiful and disturbing. The internal and external conflicts Hanna experiences provide a dynamic and intriguing plot for audiences. Furstenberg’s portrayal of Hanna drives the film while giving it a lot of heart, and the entire ensemble cast shines. The Golem is quite gorgeous to look at. Even the visual and musical elements that detract from the film are well done, they just don’t go along with the overall tone of the film. If you’re looking for a horror film that doesn’t center around Catholicism, demons, and the devil, then The Golem will be the breath of fresh air you won’t want to miss.

OVERALL RATING: 8/10