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NHE host Scott Murphy chats to director Matt Palmer about his debut feature “Calibre.” Over the course, this hour-long conversation Scott and Matt (Interview starts at 3:35) go into every facet of what it took to get “Calibre” on the screen and how it got scooped up by streaming giant Netflix. Also, Matt tells us how it felt to receive the Michael Powell Award, have his film tweeted about by horror legend Stephen King, as well as the overwhelmingly positive response, has received.
Away from “Calibre” Scott and Matt discuss one of Matt’s other roles as curator of “All Night Horror Madness,” a semi-regular horror movie marathon held at the Cameo cinema in this pod’s home city of Edinburgh. There is plenty of more fun horror chat in there too but to say any more would spoil the fun!
Finally we also give a shout-out to the Scream Scene podcast another great horror podcast you should all check out! (Promo at 2:38)
Watch “Calibre” here
Buy Tickets for The All Night Cult Movie Experience here
Check out the Scream Scene Podcast here
Download New Horror Express:
Director: Dan Gilroy
Starring: Jake Gyllenhaal, Rene Russo, Zawe Ashton, Toni Collette John Malkovich
Run Time: 113mins
Horror has seen it all killer cars, dogs, mirrors you name it but killer paintings? That might be a new one (although it probably has been done) and it would be about the only new thing in this sophomore effort from “Nightcrawler” director Dan Gilroy. Not to say there is not much to enjoy here as the feature is a campy delight but just to say there are clichés and stereotypes abound.
Certainly, anyone expecting the same razor-sharp satire displayed in the Jake Gyllenhaal-starring “Nightcrawler” will be sorely disappointed. As where that film cleverly satirised the world of the paparazzi and asked intelligent questions about the role, this movie takes obvious pot shots at the commercial art world. A world ripe for satire indeed but given it has been so heavily satirised before it is hard to say anything new and so many of the gags here feel tired. For example, a bit where an art dealer mistakes a pile of garbage bags in an art studio as an artwork seems particularly hack. There are more bits like this, and you may feel they lack the any of the same bite shown in the likes of last year’s “The Square.”
The characters seem similarly one-note a revolving line-up of bitchy, pretentious and shallow art dealers, artists and critics. However, some of these characters are still entertaining given the relish they are played by some of the cast. In particular, Jake Gyllenhaal’s who camps it up to 11 as flamboyantly vicious art critic Morf Vandewalt. Yes, once again the effete razor-tongued art critic is a well-worn trope but Gyllenhaal’s wild-eyed bug-eyed performance brings the character especially the more the movie wears on, and Morf’s sanity starts to fray. Gyllenhaal is not the only one having a ball though as both Toni Colette and Rene Russo bring a similar devilish glee to their respective roles as conniving art dealer Gretchen and ruthless gallery owner Rhodora.
What of these killer paintings then, you may ask? Ah yes as this piece is not only an art satire but a supernatural horror centring on a series of paintings by unknown artist discovered by Josephina (Zawe Ashton), who so happens to work for Rhodora after the artist died in her apartment block. After this bad things start happening to all those who try to profit from them. The horror element, like the satire element, is not as clever as it thinks it is. Also for a movie that is aiming for something arty it’s funny it is not above using a classic cat based fake-out jump scare. On the flip side, some of the deaths are well staged, and there are moments of surreal horror flourishes that really land such when one character ends up turning into graffiti.
In the end “Velvet Buzzsaw” is probably best summed up by itself when Morf manically describes his theory of the cursed paintings to Rhodora and she pithily replies; “A bit baroque, isn’t it?” Indeed.
Overall: If you are looking for intelligent horror, a truly scathing satire or a thought-provoking critique on art vs. commerce look elsewhere, but if you want some campy fun on a Friday night this movie could be just the thing.
Director: Susanne Bier
Starring: Sandra Bullock, Trevante Rhodes, John Malkovich, Sarah Paulson
Run Time: 124 mins
Since arriving on Netflix, last Friday “Bird Box” has received mixed reviews. Which may have been the case no matter what but you wonder how much that has been influenced by the movie coming out in the same as “A Quiet Place” as this is essentially “A Blind Place” (mixed with a dash of “The Mist”). To be fair though the film is based on a 2014 novel and would have been in production at a similar time.
The comparison does it little favours as it lacks the nerve-shredding tension of that film. However, the same level of the tension would have been difficult to create here given the story structure here that interweaves two different time periods. In one of these Malorie (Sandra Bullock) attempts a treacherous river journey with her two children. We also flashback-and-forth to five years earlier where the unseen force that drives most of society to commit suicide first struck. Here is another key advantage “A Quiet Place” has as there is a tangible threat. The unseen deadly force in this movie being something that is much easier to make threatening in a novel than it is cinematically. Director Bier does, however, do an excellent job of making this invisible force seem ominous when it does strike. Bullock’s performance as Malorie also grounds the stories reality.
Malorie is by far the most rounded character and is given a genuine psychological depth. Many of the other characters we are introduced when the event first happens not so much. As Malorie finds herself stuck in a house with other survivors many of whom barely register. From the ones that do most are clichéd from the wide-eyed innocent Olympia (Danielle Macdonald) to the wearily stereotypical black comic relief character Charlie (Lil Rel Howery) to the asshole in every post-apocalyptic group Douglas (John Malkovich). There is however great fun to be had watching Malkovich play the asshole.
Not all the characters are poorly drawn though. Despite a short amount of screen time, Sarah Paulson makes an impression as Malorie’s sister Jessica, and it is a shame there relationship could not be further explored. Trevante Rhodes also impresses as Malorie’s love interest, Tom. Yes, the character is probably a tad too much on the saintly side, but the relationship between Tom and Malorie is the most convincing in the film and is quite touching as well.
There may be plenty of flaws in characterisation, and the plot logic is oft-times screwy, but there is also plenty to admire here. The premise is interesting, the whole thing is beautifully shot, and the story is never less than engaging. Also, Malorie’s journey down the river with her two children is rung not just for all the suspense it is worth but for every emotion too. It would take a hard heart not to be moved by it by the time the story reaches its conclusion.
Overall: While not as great as you feel it could have been “Bird Box” still hits many of the right post-apocalyptic notes as well as providing some truly heartbreaking moments.
Paul Urikjo Alijo’s debut feature, Errementari: The Blacksmith and the Devil, actually debuted at Sitges last year. The film then toured the horror/fantasy festival circuit to plenty of acclaim before it landed on Netflix. It is a matter of thorny debate how good streaming services are for films like this and the detrimental effects of the likes of Netflix on the festival circuit. It would be accurate to say though that being on the streaming giant gives a chance for movies such as Erremantari to be seen by more people which is a good thing as this is a little gem of a film that deserved to be seen by a wider audience.
The story takes places in a small Spanish village in the 1840s where an investigator (Ortzi Acosta) arrives to investigate the disappearance of some gold that was stolen during the First Carlist War. His chief suspect being Patxi (Kandido Uranga) a hermit blacksmith who the rest of the village appear to fear. The investigation is beside the point though as this fable-like tale focuses on Patxi and a deal he made with a demon Sartael (Eneko Sagardoy). Not that this is a spoiler as we are told of the blacksmith’s demonic pact in the beautifully animated prologue. The other main focus is Usue (Uma Bracaglia) a rebellious little girl whose mother killed herself.
Given this is a Spanish fantasy-horror seen mainly from a child’s point of view it is hard to escape the Del Toro comparisons. This story even touches a bit on the same themes of grief, loss, and oppression (state & religious) as the likes of “The Devil’s Backbone” and “Pan’s Labyrinth.” However, it does so in a more heavy handed, broad brush strokes manner. Which is not to say it does not tell its story as well as it remains entertaining throughout. The film is unusual as well as it is Basque language films which is a rarity (there is an English dub but many have noted this make it seem silly and you are better sticking with the original language with subs).
Tonally the piece is curious as it starts as a brooding Gothic fairy tale but becomes more comical as the plot unfolds particularly after the introduction of Sartael. This tonal shift is not a bad thing necessarily as Sagardoy chews the screen with maximum glee (as the demon who looks not dissimilar to Tim Curry’s Satan in “Legend”). They say the devil gets all the best lines and that is certainly true here. You can’t help but feel though that film is strongest in its opening half when the focus is on the more human stories on Patxi and Usue. Both of whom are played superbly by Uranga and Bracaglia respectively and form the beating heart of the film. Concerning the other characters, much of the rest of village though is your stereotypical torch-wielding yokels that generally populate fairy tales.
The film does end on a high though with a hell set finale which is beautifully staged and impressively done particularly given its budget level.
Overall: Despite the tonal inconsistencies and clichéd elements this is a thoroughly entertaining fantasy-horror tale told with real brio and complete with visual imagination and a trio of enjoyable performances from Uranga, Bracaglia and Sagardoy.
SPOILER WARNING: If you have not seen the film “Pyewacket” and do not want any spoilers do not listen to this episode now. That said obviously we recommend after you have to come back and listen to Adam’s thoughts on the film.
In our latest episode NHE host Scott Murphy talks to “Pyewacket” director Adam MacDonald. As you can see from above the movie is discussed extensively from the development to Adam’s comprehensive research into the Occult to the casting and more. Away from “Pyewacket” Scott talks to Adam about his acting career, how he got into directing, his favourite filmmakers and touch briefly on future projects. including season 3 of “Slasher.”
When a movie comes along that is dubbed as the “scariest movie ever” it is often met with understandable eye rolls from horror fans as this is something that seems to happen once every couple of years and often these are a) Far from the scariest movie ever and b) Frequently not even that good. This why when I came to watch “Veronica” it was with such trepidation as it has been hyped up in this way ever since it hit the Toronto Film Festival last September (although it came out in its native Spain the month before). I did have some hope though, given the directorial pedigree of Paco Plaza who has already delivered one of the great horror movies of the 21st Century so far in the form of [REC].
The film is loosely based on the real story of Estefanía Gutiérrez Lázaro, a teenager, who died mysteriously mere months after playing with Ouija board back in the early 90’s. The thing that makes this case even more exceptional is the policeman on the case alleged to have witnessed paranormal events during his investigations and it is the only time in Spanish history such phenomena has been written into an official police report.
As mentioned the film only takes inspiration from this story and does not draw directly from it. Instead the film tells the story of Veronica (Sandra Escacena) who is one of four siblings, the other three of which she mainly looks after due to her mother’s long working hours. The trouble starts for her when she, along two friends, conducts a séance with a Ouija board, in the basement of their school’s basement. The impetus behind this being the hope she can make contact with her deceased father. The scene in which this unfold is incredibly effective as the girls choose to do this while the rest of the school are out looking at an eclipse and the cutting between the séance and the eclipse gives it that extra layer of foreboding.
Predictably the girls do not make contact with Veronica’s dad but do unleash evil forces that only our protagonist can see and soon seem to haunting her house as well as her dreams. None of which sound like anything horror fans have not seen many times before and it isn’t but some of the best horrors, or films in general, are the ones that can make old hat material seem fresh or give it their own particular spin and this is exactly what this movie does.
That said not everything totally works; for example there is a blinding smoking nun character who gives our protagonist cryptic doomy warnings throughout the movie. Now while she is an entertaining character it also, maybe, just that bit too over-ripe and OTT for a movie that seems to be generally aiming for an unsettling, grounded tone.
Aside from this OTT element and the odd genre clichés there is little to complain about this piece of cinema and what really makes the movie sing is characterisation. Sandra Escacena is excellent in the title role and the character herself seems fully formed and you quickly immerse yourself into her world. Also the relationship between her and her two sisters Lucia (Bruna González) and Irene (Claudia Placer) and brother Antonito (Ivan Chavero) is beautifully drawn. The believability of their sibling bond also makes it all the more heart-breaking and tense when the ghosts/ evil spirits look to be coming after not just Veronica but her brother and sisters too. To say anymore would be to spoil the film and we would not want that now so I shall say no more on the story. I will however say other things that really bring the movie to life is the interesting use of traditional creepy horror music and 80’s synth horror music, the excellent cinematography and strong directing.
In the end is this the “scariest movie ever?” No, no it is not but is this a movie that is an early contender for horror movie of the year? Yes it most certainly is.