Horror

Impetigore

After a deadly encounter with a stranger, Maya decides to learn more about the parents she never knew. With her best friend Dini in tow, they travel to a small village where Maya might be from. They soon regret ever trying to uncover the secrets of Maya’s past.

Beloved Indonesian writer and director, Joko Anwar (Satan’s Slaves, Folklore) brings audiences around the world new terror. Impetigore wastes no time in bringing suspense to the screen. The protagonist, Maya, has a frightening encounter at work that leaves her shaken and questions her past. She was raised by her aunt and knows almost nothing about her parents or where she comes from. From there, the tension continues to build as the two friends arrive at the remote village and get a chilly reception from the locals. Anwar takes his time with the plot, allowing the audience to connect with the two female leads. He also takes his time in revealing shocking revelation after shocking revelation leading to the explosive finale. There are so many secrets to unpack throughout the film and each one manages to be more surprising than the last. This focus on building suspense and minor scares over bigger jump scares and horror leads to an edge-of-your-seat viewing experience. It also results in a film that stands apart from others like it and an ending you won’t see coming.

One of the things I love about watching foreign horror films, and Impetigore specifically, is learning about different cultures. Every culture has its own legends, customs, and ghosts. Impetigore offers a fascinating glimpse into the customs of a rural Indonesian village and their unique view of curses. While the legends are incredibly interesting, the integration of traditional Indonesian puppetry is not only stunning, but it adds another captivating cultural aspect. As an anthropology major, I greatly appreciate when a horror film can be eerie as well as a learning experience.

Impetigore has a wonderful cast who all deliver haunting performances. Tara Basro (A Copy of My Mind, Gundala) stars as Maya. Basro gives off an air of innocence, which works well for her character. She is unaware of her past and deals with new information as best she can throughout her hellish journey. Marissa Anita (Gundala, Folklore) plays Maya’s best friend, Dini. Dini is a much more outspoken character and Anita perfectly shows how she is Maya’s protector and does what she can to be a supportive friend. Ario Bayu (Java Heat, Soekarno) plays the village elder, Ki Saptadi. Bayu’s portrayal of this character is memorable because he comes across as a very calm, stately man, but he also manages to convey a sinister nature in his eyes. Honorable mention goes to Christine Hakim (Eat Pray Love, The Golden Cane Warrior) and Asmara Abigail (Gundala, Satan’s Slaves). Together these two women offer two differing points of view of the superstitions of the small village.

Every scene in Impetigore is gorgeous and atmospheric. The film opens in the big city, but as soon as Maya and Dini travel to the village it’s as if they have been transported to another time. The set and production design are truly stunning to behold from the smaller huts to the grand house Maya’s parents once owned. The puppetry scenes are also quite beautiful. It is a traditional Indonesian form of puppetry that utilizes light to project the shadows of the puppets onto a screen. The use of light and dark, like with the puppets, is a common theme throughout Impetigore. In the village there is no electricity, so many of the night scenes are lit by candlelight. It creates an unsettling ambiance while also making each scene captivating. On top of that, there is even a surprising amount of disturbing and realistic practical effects that result in rather shocking scenes.

Impetigore is a bewitching Indonesian horror film that drips with atmosphere and spins an intricate web of magic and deception. Joko Anwar proves yet again that he is a talented storyteller. His handle on Indonesian folklore allows the rest of the world to be exposed to his frightening tales. The performances from the entire cast are delightful, especially Basro’s portrayal of Maya. Through the slow unravelling of the mystery of Maya’s family, audiences will not be able to look away at the truly fantastic visuals. And, because I unfortunately still have to do this for some people, I will warn audiences that the film is subtitled. Yet I hope that won’t deter anyone from feasting upon all Impetigore has to offer.

OVERALL RATING: 9/10

The Rental

To celebrate a successful business deal, two couples decide to rent a secluded vacation home on the coast for the weekend. What begins as a pleasant weekend quickly spirals out of control. They have to deal with relationship issues, a creepy racist property manager, and someone might be watching them.

The Rental is the feature film debut for director Dave Franco, who is primarily known for his acting. Franco also co-wrote the screenplay with Joe Swanberg (V/H/S, Easy). This thriller manages to maneuver through many different plot points, while still being cohesive. As soon as the two couples arrive at the vacation rental, there is immediate tension as the property manager is outed for his racist behavior. Things only escalate from there after a drug-fueled night of partying leads to many bad choices. The true catalyst for the horrifying events that follow is the discovery of a hidden camera in the rental. In this modern age when most people are staying in vacation rentals rather than hotels and technology is so advanced, the fear that the owner or someone else could have camera installed to watch you is a very real fear. This discovery is what sparks the shift from a purely suspenseful film to a chilling slasher. Individually, these varying plot points are relatively simple, but when put together they create a more complicated story. It doesn’t necessarily always add up and I wish some aspects could be explored more in-depth, but it manages to generate more than a few white-knuckle moments. It almost ends up feeling like the film is split in half, the first part being a new-age thriller and the second half being a classic slasher.

Packed with indie favorites, The Rental has several recognizable faces and memorable performances. Sheila Vand (A Girl Walks Home Alone at Night, Argo) stars as Mina. Mina is the total package; she’s smart, beautiful, kind, and incredibly strong. Vand makes it clear Mina will always stand up for herself by confronting the racist property manager when others want to avoid conflict. Dan Stevens (The Guest, Apostle) plays Mina’s business partner, Charlie. Stevens does a great job of making Charlie seem like a great guy on the surface, but the more we learn about him, the more he seems a bit shady. Jeremy Allen White (Shameless, Bad Turn Worse) plays Josh, Mina’s boyfriend and Charlie’s brother. Josh has had a rough past, but White makes him a very endearing character. He clearly adores Mina and is trying his best to be a better man. Finally we have Alison Brie (GLOW, Horse Girl) as Charlie’s wife, Michelle. Brie plays Michelle in a way that makes her the most sympathetic character in the entire film. Together, all four actors play off of each other very well, creating different chemistries and building tensions in turn.

This film relies heavily on the set and other smaller details to visually enhance the plot. The location of The Rental is a truly stunning home with lots of big windows overlooking the seaside cliffs and the ocean beyond. Surrounded by the beach and ocean on one side, then nothing but green forest on the others, this home is definitely isolated. Even before the tiny hidden cameras are discovered, there is a sense of paranoia and being watched that comes from being in a secluded place with those huge windows open for all to see in. One detail that isn’t shown much in the film, but still leaves quite an impression, is a mask worn by the killer. It is an eerie, almost featureless human face so it takes a moment to realize you’re looking at a mask. All these visual aspects add to the general sense of paranoia and being watched.

The Rental is a manic, paranoid thriller turned slasher and a strong directorial debut for Franco. It does almost feel like watching two films in one, but that doesn’t take away from the overall success. Franco and Swanberg show a mastery of bringing together various threads to gradually build the suspense and keep the audience at the edge of their seat. The entire cast carries the film beautifully, but it’s Vand that delivers the most memorable performance. The stunning vacation rental offers a gorgeous setting that quickly turns ominous. The Rental is sure to make audiences wary of where they spend their next vacation.

OVERALL RATING: 7/10

Sea Fever

A research scientist in Ireland charters a spot on a fishing boat to study any abnormalities in the boat’s catch. The ship is suddenly marooned in the middle of the ocean. The small group discovers some kind of giant aquatic creature has taken hold of the boat and it has unleashed deadly parasites that threaten the lives of the entire crew.

Writer and director Neasa Hardiman (Jessica Jones, Happy Valley) delivers a disturbing new aquatic horror film with Sea Fever. The film quickly establishes Siobhán, the scientist, as a loner amongst her peers who is dedicated to her analytical research. Her boss is making her work out in the field to come out of her shell. Despite their better judgement, the boat crew take her on because they need the money. When a huge, frightening sea creature grabs hold of their ship it leaves them marooned in the middle of the ocean. Even worse, the creature has unleashed a deadly parasite. The tension between the members of the crew and the terror from not knowing who is infected not only create a frightening film, but the subject is also very topical with the state of the world right now. An added suspenseful aspect is a battle between those who know the importance of quarantine and those who think only of themselves and desperately want to get home. It is something we are currently living, but done on a smaller scale and with a parasite that almost certainly means death for those who are infected. It’s truly terrifying, although there are a few minor aspects of the plot that leave bigger unanswered questions.

One aspect of Sea Fever that I find truly fascinating and well done is the juxtaposition of science and superstition. Siobhán is a very calculated individual and sticks to the facts. Her marine biology background proves to be very helpful in figuring out what is happening when they encounter the mysterious creature and the parasites. On the other hand, most of the ship’s crew is incredibly superstitious. We learn this very quickly when they discover Siobhán has red hair, which is apparently considered bad luck. While she is trying to use her scientific rationale to help them all survive, the crew is constantly combatting her because of their superstitious beliefs. Seeing these two opposing sides adds a human danger to what’s happening while also showing how turning you back on science only makes things far worse.

The performances are all absolutely fantastic. It’s difficult to narrow down the standouts from Sea Fever because they all truly give it their all. Hermione Corfield (Rust Creek, Slaughterhouse Rulez) stars as Siobhán. Corfield initially plays Siobhán very socially awkward, but the more time she spends with the crew the more she seems to be in her element. This is especially noticeable as she takes charge when using her knowledge to try to save the crew. Dougray Scott (Ever After, Mission: Impossible II) plays the ship’s captain, Gerard. Gerard is arguably the most superstitious person on the ship. Scott conveys this quite well as Gerard becomes increasingly hostile the more dire the situation gets. Ardalan Esmaili (Greyzone, Domino) plays the ship’s engineer, Omid. Esmaili is fantastic in this role, acting as a sort of intermediary. As an engineer, Omid clearly has a very scientific mind and sees Siobhán’s point of view, but because he has worked on the boat for so long, he also understands the superstitions. Other brilliant performances come from Jack Hickey (Mary Shelley) as Johnny, Olwen Fouéré (Mandy) as Ciara, Connie Nielsen (Wonder Woman) as Freya, and Elie Bouakaze in his debut as Sudi.

Horror fans will not be disappointed by the visuals in Sea Fever. The setting alone sets the tone for the film. The fishing boat seems to be in need of repair and helps create a claustrophobic feeling once they’re out on the open ocean. The creature design is also quite stunning. It is huge, ominous, and also beautiful with its bioluminescence. What makes the creature even more frightening is that we never see the entire creature. It lurks in the dark depths where we can’t see it, so we can only guess its true size and what it looks like. It’s very clever because the audience gets to see the creepy glowing CGI tentacles, but the rest is left to the imagination. There is also some disgusting goo and smaller creepy crawly parasites. These are created by a combination of CGI and practical effects. The practically created wounds are also beautifully grotesque.

Sea Fever is a topical aquatic horror film that combines the frights of a creature feature with the suspense of an outbreak film. Hardiman absolutely kills it with this film, delivering as much heightened tension as she does fear of what’s lurking below in the deep waters. The battle between science and superstition throughout the film makes it especially fascinating and relevant. On top of the great plot are brilliant performances from the entire cast and a smartly designed menacing deep sea creature. This is a film that will make people afraid of what is waiting for them in the ocean’s depths.

OVERALL RATING: 8.5/10

1BR

Sarah moves to LA to start a new life and pursue her dreams. After staying in a crummy hotel, she finally finds what might be her dream apartment. At first it seems like the perfect place to live, clean, great location, friendly neighbors, but Sarah soon learns that nothing is quite as it seems.

Making his feature film debut, writer and director David Marmor brings to life what might be my actual worst nightmare with 1BR. From the very first scene, Marmor establishes a feeling of unease as the camera tracks along, showing an apartment courtyard filled with friendly, waving neighbors. Anyone who has ever lived in a city apartment knows that neighbors are never this friendly and rarely even make eye contact, especially knowing this film takes place in LA. When Sarah first tours the apartment, the open house has dozens of other hopefuls vying for the apartment, so when she is the chosen one, she is elated. That joy isn’t long lived as she is kept awake night after night by loud noises in the walls and has increasingly strange encounters with her neighbors. Then the true motives of the neighbors are revealed. Sarah is forced to decide if she wants to become part of this community, allowing every moment of her life to be monitored and controlled, or find a way to escape.

The idea of 1BR works very well for me, primarily because I would rather eat glass than interact with my neighbors. It’s interesting because it points out how segregated we have all become and how there is no true sense of community these days, at least not in the city. Yet it also shows how cult-like communities can be when left to their own devices. The film ends up being very suspenseful and manages to keep the audience guessing as to what will happen next. Again, this worked for my because it played to my own person anxieties, but it might not be for everyone. The tension is banking on viewers being more antisocial, so individuals who are more social creatures might not find it quite as suspenseful. Without giving too much away, 1BR also does one thing common in horror films that always comes across as a somewhat cheap attempt and shock. As soon as we see Sarah in her hotel room, we know one minor plot point will inevitably happen and it is something I wish horror films would steer away from.

This film has a surprisingly large cast. Each actor is great in their respective roles, but three of them truly stand out. Nicole Brydon Bloom (The Affair, Law & Order: SVU) takes on the leading role of Sarah. This is Bloom’s first starring role in a feature film and she definitely delivers. Sarah is a very kind, vulnerable person, but Bloom also makes it clear to the audience that she has an inner strength and conviction because of her past. Taylor Nichols (Jurassic Park III, The Boiler Room) plays the apartment manager, Jerry. Jerry has all the attributes we have come to expect of a cult leader-type character. Nichols makes Jerry charming, even-tempered, and authoritative. He speaks in a soothing voice and he is able to get people to do his bidding. Then there is Giles Matthey (Jobs, True Blood) as Sarah’s neighbor, Brian. Matthey stands out in this role because at first, Brian seems like the sweet, cute guy in the building. Once the truth of what the community is comes to light, Matthey does a sort of Jekyll and Hyde personality transformation and is quite disturbing.

Visually, 1BR is highly successful at creating tension with space and creating minor details for the audience to notice. Even before we learn the sinister truth of the apartment building, the unease of the place is quickly established. The building almost becomes a character itself as we learn its secrets. It also takes on a claustrophobic quality, especially when in the courtyard at the center of the building, surrounded by the eyes of other tenets and no clear means of escape. There are also tons of little details within the apartment itself, as well as on the other residents, that elude to the truth of what’s happening.

1BR is the embodiment of my worst nightmare: being forced to be part of a community with my neighbors. In an increasingly anti-social world, this is likely a cause of anxiety for many. Marmor exacerbates this feeling with his film, while also pointing out how we have become far too separated from those around us in a selfish world. It likely will not strike the same chord with all viewers, but it still creates a suspenseful, unsettling story with strong performances. There is definitely a moral to this story, but whether it’s to be more or less involved with your community will likely vary quite a bit from person to person.

OVERALL RATING: 7/10

The Beach House

A college-age couple drives to a family beach house for a romantic getaway. Shortly after their arrival, they discover an older couple are already guests at the house. The two couples decide to spend an evening together, but the weekend soon turns into a nightmare of catastrophic proportions as the world around them crumbles.

The Beach House is an incredibly strong feature-film debut for writer and director Jeffrey A. Brown. The film begins when the young couple, Emily and Randall, go to Randall’s family beach house. Brown takes his time with the plot, establishing these two characters and their relationship before introducing the older couple already staying in the house, Mitch and Jane. From there the plot takes on a slow burn approach to build the sense of tension and dread. It begins with awkward moments between the two couples over dinner, then escalates as the situation reaches an apocalyptic level. Brown also excels at leaving breadcrumbs throughout the beginning of the film to hint at what’s to come. The first half of the film does move at a slower pace, which may alienate some audience members, but it is vital to the way Brown builds the plot. It’s a very effective method of storytelling because it not only generates a feeling of unease right from the beginning, but it also allows Brown to essentially switch horror subgenres halfway through the film from a taut thriller to full-blown body horror. The film has an edge-of-your seat story that delivers surprise after surprise.

The cast of The Beach House, for the most part, is top notch. Liana Liberato (If I Stay, Light as a Feather) stars as Emily. At first, Emily comes across as a very soft and reserved young woman. Yet Liberato quickly asserts that Emily is also highly intelligent and capable of great things. Noah Le Gros (Depraved, A Score to Settle) plays Emily’s boyfriend, Randall. As first, Le Gros’s performance feels a bit stiff. Yet, as he gets his stride, he really becomes Randall and delivers a strong portrayal, especially in the second half of the film. Jake Weber (Dawn of the Dead, Meet Joe Black) plays Mitch, half of the couple who is already staying at the beach house. Weber is very skilled at presenting a calm persona, even in the face of terrifying circumstances. This is true even in his portrayal of Mitch, although his sense of calm actually adds to the fear and tension in this film. Maryann Nagel makes her debut as Mitch’s wife, Jane. Nagel is fantastic in this role starting out as a sweet, sickly woman and then transforming into something much more frightening. Each actor helps to bring this story to life and they have great on-screen chemistry, but it is Liberato who audiences will likely remember most from this film.

On top of having a fascinating plot and great performances, The Beach House is simply stunning to look at. Despite the many houses around the one Emily and Randall visit, there are virtually no other human beings around. This and the slightly monochromatic color palette helps to give the film a sense of emptiness. Then, during the first night, the filmmakers bring vibrant colors and lights that almost make it feel as though you’ve been transported to another planet. The colors and sets are enhanced by gorgeous cinematography, which also often heightens the suspense of the film. Then there is the horror-fan’s bread and butter, practical effects. There is some marvelous goo, fabricated monstrosities, and terrifying creature design. It is all incredibly well done and adds to the disturbing climax of the film.

The Beach House seamlessly transitions between horror subgenres and creates a gruesome story that feels hauntingly real. Brown takes a concept rooted in reality and throws it into a horror context making the audience ask the question, “What if?” The opening of the film might be a bit slow and off-putting for some horror fans, but the payoff at the end is well worth it. The strong performances from the entire cast, especially Liberato, ground the film by making us care about the fate of each character. Not only will viewers get a compelling tale with interesting characters, but they also get a visually stunning film that brings shock and awe.

OVERALL RATING: 8/10

Metamorphosis

After a failed exorcism, a Korean priest is questioning his faith and if he should remain in the priesthood. Shortly after, his brother’s family begins to experience strange happenings that become increasingly violent. It soon becomes clear that the vengeful demon is back to destroy the ones the priest loves.

Director Hong-seon Kim (Traffickers, The Chase) brings horror fans a frightening new possession film with Metamorphosis. The Korean horror film opens on the priest conducting an exorcism. It does not end well, and the demon makes it clear it wants to destroy his family. The focus then shifts to the brother’s family. Kim does a beautiful job of building the tension within the family unit, planting various seeds of doubt. There is a sense of paranoia for the viewer as we have to try and determine which family member is possessed and if what we are seeing is real or an illusion created by the demon. It conveys how easy it is for the devil and demons to play with the human mind and eventually take control. Many of the themes and images will be familiar to horror fans who have seen a fair amount of demonic possession films, but Metamorphosis still manages to pack a few surprises in there as well.

For the most part, the storytelling in Metamorphosis flows beautifully. The audience is given just enough information to understand what’s going on, but then shocking revelations are made to keep things interesting. That being said, there are some tangents, superfluous scenes, and extraneous characters. These scenes don’t necessarily take away from the plot, but they don’t really add anything to the film and could easily be cut. The tangents could be a hallmark difference between Korean and American films, as this is something I have noticed in other great Korean horror films. There is also a sequence of events that takes place in which audiences might wonder why the parents aren’t more concerned about the whereabouts of one of their children. Despite the distractions taking place to keep the parents occupied, it still seems a bit odd.

I was blown away by the performances in this film. Sung-Woo Bae (The King, The Swinders) plays the young exorcist, Joong-soo. Not only is Bae the driving force of this film, but he perfectly conveys how tortured Joong-soo is and his lack of confidence in his ability to save his family. Dong-il Sung (Take Off, The Cursed) plays Joong-soo’s brother, Gang-goo. Not only does Sung play Gang-goo, the loving father and husband, but he also plays a demonic version of himself. The moments where he plays his sinister doppelgänger are absolutely chilling to watch. Then there are the rest of the family members who all give equally fantastic performances. This includes Young-nam Jang (A Werewolf Boy) as Myung-joo, Hye-Jun Kim (Kingdom) as Sun-woo, Yi-Hyun Cho (Hospital Playlist) as Hyun-joo, and Kang-Hoon Kim (Lucid Dream) as Woo-jong.

There is a surprising amount of great practical effects throughout Metamorphosis. The most obvious is the transformation of individuals who are possessed. They all have prosthetics added to their face to give them a subtle, demonic look that is consistent with each individual. What is most shocking is the practical effects for all the horrific injuries. They are gory and realistic in a way I don’t typically expect from a possession film. There is a bit of CGI throughout the film as well, but for the most part it is minimal. The only exception is an excessive amount of crows throughout the film that act as a symbol for the demon, but they aren’t quite as well done as the rest of the effects. Between the practical effects, the cinematography, and the atmosphere created, there are a few different scenes that manage to make me jump out of my seat.

Metamorphosis is an achievement in atmospheric terror that results in one of the best possession films I’ve seen in years. It’s a perfect blend of the Catholic traditions we know from possession horror films and more uniquely Korean horror. Despite some of the scenes that seem unnecessary for the plot, Kim still proves he can tell a masterful tale dripping with suspense. Enhanced by the dynamic performances and gruesome practical effects, this is one film even those who hate subtitles won’t want to miss.

OVERALL RATING: 8/10

The Oak Room

Late one night during a snowstorm, a man wanders into a bar in his hometown. He has a debt to settle with the bartender, but he offers the bartender a story instead of money. It’s a story of intrigue, murder, and lies. He won’t believe what happened in The Oak Room.

Director Cody Calahan (Antisocial, Let Her Out) brings to life the thrilling noir screenplay written by Peter Genoway, who makes his feature film debut. The Oak Room takes the art of oral storytelling and injects it into every aspect of the plot. Stripping it down to its core, the plot follows two main stories. The first is that of the drifter returning to his hometown. His father has died and he wants to collect his ashes from the grumpy bartender. The problem is, he owes the bartender money and he won’t hand over the ashes until he gets what he is owed. The second main story is the one the drifter is telling. He spins a yarn about a bar in a nearby town where a man passing through during a snowstorm stumbles into a bar as it’s closing, much like the drifter did himself. Then there are other, shorter stories being told within those stories.

At times the weaving of the many different stories creates a lack of focus in the film, but it presents an interesting format that is essentially an anthology and generates intrigue as audiences have to wait until the end to find out how the two main stories end. The filmmakers also cleverly ended the film in a way that leaves it up to the audience members on whether or not those two stories will collide or not.

One of the more compelling aspects of the storytelling in The Oak Room is how the filmmakers play with focus and elaboration. As the stories are being told, the storytellers often choose to either focus on one specific aspect of a larger story, or they tell a story non-synchronously. The bartender also emphasizes “goosing the truth.” This basically means changing details of a story to make it more exciting and interesting. It points out how different stories can be depending on who the storyteller is and who they are telling the story to.

While there are many fantastic performances throughout the many stories in The Oak Room, the actors in the two main stories stand out. RJ Mitte (Breaking Bad, The Recall) stars as the drifter, Steve. What really makes Mitte’s performance memorable is how Steve starts out seeming like he’s just a screw-up, but as the plot progresses, he seems to have mysterious, maybe even sinister motives. Peter Outerbridge (Lucky Number Slevin, Saw VI) plays the bartender, Paul, whom Steve goes to see. Paul is a very ornery, grizzled bartender who clearly dislikes Steve. Outerbridge does a great job of being grumpy, but also somehow likable in his gruffness. Then there are the two main characters from the story being told by Steve. Ari Millen (Darken, The Expanse) plays the bartender of The Oak Room, Michael. Much like Paul, Michael is rather gruff and rude, but Millen plays Michael in a much more menacing way. He has the same presence as a lion preparing to pounce. Then there is the late-night bar patron, Richard, played by Martin Roach (The Shape of Water, Cube Zero). Roach does a fantastic job of toeing the line between grateful and haughty. Richard is relying on Paul’s hospitality since the bar is technically closed, but he also is an entitled city boy who clearly expects to get what he wants. Each pair of men perfectly conveys the tension and hostility between the characters.

The Oak Room utilizes unique storytelling techniques to create a neo-noir thriller that is reminiscent of an anthology. Calahan and Genoway weave together different tales while still drawing focus to the two main plots. It creates a sort of nesting doll effect of revealing a story within a story, then putting them back together to return to the tale of Steve and Paul. The film has strong performances to help move the varying plots foward. At times the many stories lead to a lack of focus despite the fact that they are each intriguing. There is no shortage of intrigue and by the time the film ends viewers will be trying to decide what parts of these tales being told were fact and which were fiction.

OVERALL RATING: 7/10

Yummy

In a secluded Eastern European hospital, a woman goes to get breast reduction surgery while her mother is getting more work done to look younger. While they are prepped for surgery, the woman’s boyfriend accidentally stumbles upon something he shouldn’t have, unleashing a nightmarish zombie outbreak inside the hospital walls.

This zombie gore-fest hails all the way from Belgium. Lars Damoiseaux (10 jaar leuven kort, Undercover) directed and co-wrote the film along with Eveline Hagenbeek (Undercover, Rokjesdag). Yummy takes humorous jabs at plastic surgery and the lengths people will go to feel young and beautiful, while also delivering copious amounts of blood and guts. When we are introduced to the young woman, her mother, and her boyfriend, it creates an interesting dynamic. This is especially evident with mother and daughter. The daughter has the “God given gift” of very large natural breasts, but she hates the attention they bring her so she wants breast reduction. The mother, on the other hand, has already had multiple procedures to look younger and comes to the hospital wanting more. While both sides represent being unhappy with who you are and the way you look, the mother is the more traditional view of plastic surgery most viewers will think of. The film creates a kind of “be careful what you wish for” scenario as the doctors accidentally created the zombie virus in their quest to unlock the secrets of eternal youth. It sends a strong message, but it also allows the filmmakers to inject quite a few laugh-out-loud moments.

While for the most part Yummy delivers lots of fun along with the carnage, there are some drawbacks. There are one or two scenes that lean a bit too far into the realm of distasteful humor. It’s clear they want to push the envelope, especially with some of the effects, but it ends up bordering on offensive. That being said, most of the practical effects throughout Yummy are very well done. There are a lot of terrifying and gruesome zombies in this film and each one looks fantastic. In a few scenes there are practical effects to replicate cosmetic surgery or other aspects of the human body and those are also quite realistic. The film even has a great score, although during one scene it sounds very similar to the score from 28 Days Later.

There are many great performances in Yummy, but three stand out. The first is Maaike Neuville (De Dag, Clan) as Alison. What really stands out about Neuville’s performance is how she conveys being uncomfortable with her own body. Alison doesn’t want the attention her breasts give her, and the attention most women at the clinic desire, and Neuville excels at showing us that. Bart Hollander (Salamander, Callboys) plays Alison’s boyfriend, Michael. Michael is like a big, maybe slightly pathetic puppy dog; he’s goofy and hates the sight of blood, but he clearly adores Alison. Hollander plays this role well, especially when his many attempts to be the hero don’t quite work out. Then there is Benjamin Ramon (Carnival, Toxic Anyway) as hospital employee Daniel. Ramon does a fantastic job of being incredibly sleazy in one moment, then completely sweet in the next, depending on who he’s interacting with. These three actors also play off of each other very well.

Yummy is a zombie cautionary tale about the consequences of trying to look young forever. Damoiseaux and Hagenbeek definitely create a film that is as funny as it is grotesque. Gore hounds will be delighted with how drenched in blood and guts Yummy is from start to finish. There may be a couple of distasteful moments and a mildly lackluster ending, but it is sure to entertain viewers. The performances and cosmetic surgery hospital backdrop help to make this zombie film stand alongside others of its kind, even if it doesn’t stand above them. And because in this day and age some people still refuse to watch a film with subtitles, I will let potential viewers know that it’s about 50/50 English vs subtitles. If you’re looking for mindless fun, then this is definitely a great choice.

OVERALL RATING: 6/10

Etheria Film Night 2020

We all have experienced the major changes the COVID-19 pandemic has caused. Everything from daily life to events we looked forward to has drastically changed.

Etheria Film Night would normally have played its short films in Hollywood’s Egyptian Theatre, but this year they had to come up with a new plan. Lucky for all of us who don’t live in the LA area, Etheria Film Night 2020 instead is showing nine short films made by women exclusively on Shudder. The horror-focused streaming service has made quite a name for itself with the amazing Shudder exclusive films and even Shudder original shows. It is the perfect place for Etheria to showcase these short films.

Etheria’s co-founder and director of programming, Heidi Honeycutt, kicks things off with a lovely intro. She addresses how they are doing things differently this year due to the pandemic. Honeycutt also gives everyone a nice reminder to wear your mask! From there the block dives into the nine short films, all of them unique and fun in their own way.

WAFFLE

Directed by Carlyn Hudson and written by Kerry Barker and Katie Marovitch, who also star in the film, Waffle follows two women having a sleepover. What seems normal quickly becomes strange when the audience learns the women having the sleepover are a bizarre orphaned heiress (Marovitch) and a “best friend” (Barker) she is renting. What I love about this one is how awkward and uncomfortable it gets as the heiress becomes increasingly unhinged. It is hilarious, weird, and even offers a social commentary on how we live in an isolated society of artificial relationships. OVERALL RATING: 4/5

MAGGIE MAY (Jury Award Winner)

Writer and director Mia Kate Russell delivers a truly disturbing tale with her short film, Maggie May. After the death of her mother, a woman takes her infant twins to stay with her sister, but her sister takes doing nothing to a shocking extreme. This short film has some great moments that will make you gasp, as well as stunning practical effects. It also has a truly brilliant and haunting performance by Lulu McClatchy as the titular character, Maggie May. Of all the short films in this block, Maggie May is sure to disturb audiences and stick with them long after. OVERALL RATING: 5/5

BASIC WITCH

I immediately loved this short because it began with a disclaimer about consent and hexing the patriarchy. Basic Witch is directed by Yoko Okumura and written by Lauren Kurek Sweeney Cannon. The short film follows a young women the night after an unfortunate sexual encounter with her date. Feeling conflicted about the night’s events, she hexes a pumpkin spice latte for her date to drink so he can feel everything she felt, both physically and emotionally. Olivia Castanho perfectly plays Lily, the young witch, and Chris O’Brien does a great job as her date, Brian. This short film really excels at conveying the mixed emotions women go through when they are forced to do something sexual they didn’t want to do, but they don’t necessarily feel was rape. It even touches on the ethics of Lily forcing these same things onto Brian. The message of Basic Witch is important, well done, and something everyone should watch. OVERALL RATING: 5/5

CONVERSION THERAPIST

In this short film, written and directed by Bear Rebecca Fonté, a pansexual, polyamorous trio kidnap a religious anti-LGBTQ+ fundamentalist and conversion therapist to torture him. The short includes some great performances, especially from Sara Fletcher, Evelyn Jake, and Jordan Morgan as the kidnapping trio. Conversion Therapist, in a way, has the same cathartic viewing experience as a rape-revenge film. This is a short about the LBGTQ+ community getting back at those who have wronged us, and it’s quite satisfying to watch. The one drawback to the short is the frequent use of the word “f*ggot” by the lead kidnapper. I understand the reason for using it in the context, but it is still jarring to hear and used a bit too much. OVERALL RATING: 3.5/5

OFFBEAT

Set in a future with horribly polluted air, director Myrte Ouwerkerk and writer Chiara Aerts tell the story of a young drummer named Olly trying to earn his way into the clean air dome, where only the best of the best get to live. This film comes all the way from the Netherlands and is very well done. The story stands out because it shows, almost immediately, how the testing to get into the dome is incredibly biased and clearly is made so certain demographics can’t get in, including artists and members of the LGBTQ+ community. Christopher van der Meer is completely lovable as Olly and does a great job of taking us through this strange new world. Offbeat is fun and has great production value and effects, but more importantly it shows the inherent bias in testing that exists even today. OVERALL RATING: 4.5/5

THE FINAL GIRL RETURNS (Audience Award Winner)

This short film by Alexandria Perez takes on a strange journey with a young man seemingly stuck in a loop where he encounters final girl after final girl. This short captures the look and feel of classic 80’s slashers, including a fantastic 80’s inspired musical score, but from there it brings something new to the subgenre of horror. One of my favorite aspects of the short is that we see many final girls of all shapes, sizes, and colors, which is not very common in the slasher subgenre. The plot leaves a lot of the “why” to the unknown, but it does a great job of showing how we have to take our destiny into our own hands. It’s a slick update to a tired concept with a huge cast that absolutely nails it. OVERALL RATING: 3.5/5

LIVE

Taryn O’Neill writes, directs, and stars in this short film about a livecaster whose online persona is getting to be too much for her. There are two main aspects of modern social media and technology at play in this short. First, the personas we play online and how they differ from who we are in reality. Second, the increasing dilemma of how much a person should be willing to share with the world in order to make a buck. Perhaps it’s not quite nuanced enough at times, but still a compelling story that makes the audience think. It’s an interesting concept shown with futuristic technology to convey ideas that are very relevant in today’s social-media hungry society. OVERALL RATING: 3.5/5

MAN IN THE CORNER

Written and directed by Kelli Breslin and co-written by Daniel Ross Noble, Man in the Corner follows a young guy hooking up with what appears to be a perfect guy, but things go downhill when he realizes they’re not alone. Part of what makes it so unsettling is the performance by Matt Pascua as Daniel. The audience experiences the encounter through his POV. It makes many of the unanswered questions and the strange events work because we only know as much as Daniel knows. There is some striking imagery and a few specific moments that will likely be seared into the viewers’ brains. This is an eerie, unsettling short film that is beautifully shot and makes great use of lighting and color. OVERALL RATING: 4/5

AVA IN THE END

After an unfortunate accident leads to a young woman’s death, her consciousness is uploaded to the cloud until her new body arrives, leaving her to wait with an AI. Written by Addison Heimann and directed by Ursula Ellis, Ava in the End tackles some very deep ideas. In a future where your consciousness can just go to another body when you die, it is easy to take your life for granted. This short uses this futuristic setting and technology in order to show the consequences of that and encourage individuals to use the time they have to seek out their dreams. The filmmakers wisely use a single set for the physical representation of the cloud and Elsa Gay is fantastic as the recently deceased Ava. It’s a strong short film to end on, hopefully inspiring viewers to go out and try to achieve their goals. OVERALL RATING: 4/5

Scare Package

What’s better than seven tales of horror wrapped in one package? Seven meta tales of horror filled with laughs, gore, up-and-coming filmmakers, and familiar faces wrapped in one package. This and more awaits viewers in the new horror anthology, Scare Package.

Scare Package brings together a host of talented writers and directors. They all used their individual segments to hone in on various horror tropes and either subvert them or highlight those tropes. Viewers will no doubt watch the seven short films and see numerous nods to classic horror films, some more obvious than others. Sometimes the plots take a back seat to the visual aspects, but these aspects often tell a story of their own for the trained horror fan’s eye. Through all the meta filmmaking and Easter eggs, the filmmakers still manage to tell stories that are as funny as they are unique.

“Cold Open” hilariously honors the characters in horror films that are briefly seen and don’t get enough credit for setting up the film, while also honoring one of the most popular horror films of all time. “Rad Chad’s Horror Emporium” is not only a place I wish I worked, but it’s also the overarching story that ties everything together as each segment is presented like a rental at Rad Chad’s. “One Time in the Woods” is probably the goriest segment that also throws as many horror subgenres at you as it can. “M.I.S.T.E.R.” is likely going to piss off a few male viewers, but I mean that in the best way possible because it perfectly plays with the idea of what makes a real man. “Girls’ Night Out of Body” can be found in the post modern feminist slasher revenge body horror section at Rad Chad’s, and that honestly sums it up perfectly. “The Night He Came Back Again! Part IV: The Final Kill” plays into the classic horror trope of the masked killer that somehow always comes back, no matter how you kill him! “So Much to Do” exemplifies how important shows are to some people and the dangers of revealing spoilers. And finally, “Horror Hypothesis” takes everything you know about slashers and puts it to the test.

The performances in Scare Package are all fantastic, many of them being highly satirical and sure to make viewers laugh. Because many of the segments are meant to a mockery of horror tropes, some of the performances come across as intentionally cheesy. That might not appeal to all viewers, but definitely made me laugh. A clear standout performance from the beginning is Jeremy King (The Pale Door, Sinister Seduction) as none other than Rad Chad himself. King perfectly embodies all the good and bad aspects of hardcore horror lovers. His portrayal will make you love Chad as much as you also can’t help but roll your eyes at him. Another great performance comes from none other than Noah Segan (Knives Out, Mohawk) who stars as the husband in the segment he also co-wrote and directed, “M.I.S.T.E.R.” Segan does a fantastic job of acting as a typical nice guy with an underlying creepiness. Toni Trucks (Grimm, Franklin & Bash) stars in the “So Much To Do” segment as Franchesca. Trucks really shines in this role mostly because she kicks some serious ass. She has one of the most physical roles of all the segments, and she definitely delivers. Really all the performances are delightful and horror fans are sure to see more than a few familiar faces.

One thing I can promise viewers is that there is a lot of gore in Scare Package. The film relies on practical effects to create creative kills, gruesome monsters, and devious killers. There is definitely no shortage of blood, guts, and goo. While all of these segments utilize great practical effects, the most memorable in that regard is definitely “One Time in the Woods.” Not only does it have a high body count and unique kills, but it also has a fantastic melting character that looks absolutely amazing. If lots and lots of blood is more your speed, then “The Night He Came Back Again! Part IV: The Final Kill” is definitely the segment for you. The effects have a little something for everything horror fan.

Scare Package hilariously highlights the good, the bad, and the ugly of horror films. It’s clear this anthology was put together by horror fans for horror fans. Each segment is a hilarious take on various horror tropes, but there are still delightfully unique stories to be seen. At times it might be a bit too meta and tongue-and-cheek for some viewers. I for one scared my pets multiple times by bursting into laughter. Scare Package showcases the beginnings of promising careers for these writer and directors. Fans will also be laughing along with the fresh new actors and cheering for the horror favorites that pop-up. It might be a bit goofy at times, gory horror anthology that viewers are sure to adore.

OVERALL RATING: 7.5/10