The Tall Man Wastes Atmospherics On a Tale Too Tall To Deliver Its Intended Thrills

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French director Pascal Laugier is about as polarizing as it gets in the horror genre. His sophomore effort, Martyrs, remains one of the most controversial horror movies of all time. Though it didn’t have the same far-reaching impact, Ghostland – or Incident in a Ghostland -was no less divisive upon its release. Somewhere in between these movies, Laugier made the missing child thriller The Tall Man starring Jessica Biel. Despite the star power of its lead, The Tall Man bombed at the box office. Maybe audiences though the thriller was connected to the Slender Man creepypasta -or at least Angus Scrimm’s Tall Man of Phantasm fame.

Synopsis

The small mining town of Cold Rock has been dying for years. The mine has long since closed, jobs have dried up, the local school closed, and several children have gone missing without a trace. Townsfolk blame a local legend for the disappearances – ‘The Tall Man’. Though she’s skeptical about the stories, widowed nurse Julia Denning must confront the stories when a mysterious figure abducts her son in the middle of the night.

The Tall Man Can’t Settle on a Genre For Its Story

One has to wonder to what extent misleading promotional materials limited the box office appeal of The Tall Man. Everything about this one screams supernatural horror movie. Moreover, the comparisons to the Slender Man Internet meme are inescapable. Of course, any marketing team would find it challenging to promote a Pascal Laugier movie. Once again Laugier changes up genres and tones so frequently as to never allow audiences to ever fully adjust or get comfortable. That is, Laugier never strings you along for the first two acts – he barely even toys with supernatural tropes for 20 minutes before shifting gears. There’s barely a ‘Tall Man’ of which to speak here.

Once again Laugier changes up genres and tones so frequently as to never allow audiences to ever fully adjust or get comfortable.

Though Laugier’s command of imagery is compelling, his genre and tonal shifts are jarring. As mentioned above, The Tall Man barely commits to its advertised horror roots. Whispers of a shadowy figure give way to a chase that would fit in any action-thriller but feels over-the-top with what Laugier has previously established. Yet The Tall Man abruptly changes up genres again with what suddenly feels like an intriguing mystery. Ultimately, Laugier settles on a crime drama that works in fits before the writer/director ups the ante with a final twist that stretches credulity.

The Tall Man Too Silly To Genuinely Unpack Its Complex Themes

Like Martyrs and Incident in a Ghostland, Laugier has bigger ideas at play. Clearly, the controversial filmmaker wants to say something important. That is, Laugier’s thriller feels a bit like a sociological study gone awry. Somewhere in the story is an exploration of class and privilege. Though it’s obvious that The Tall Man intends to pose big questions to audiences, Laugier lacks the subtly to pull this one off. Regardless of intent, some viewers will likely consider this thriller take on social justice to be smug and overly paternalistic. And Laugier’s attempt to offer some ambiguity in the final scene just comes off as heavy-handed.

Though it’s obvious that The Tall Man intends to pose big questions to audiences, Laugier lacks the subtly to pull this one off.

If there’s a consistent highlight to The Tall Man it’s Jessica Biel’s (The Texas Chainsaw Massacre) performance. No matter how outlandish the story becomes over its runtime, Biel offers a grounded and gritty take on small-town nurse, Julia Denning. Given the twists the story ultimately takes, Biel needs to hold a bit back, making the character something of an enigma in the early-going. In spite of the increasingly improbable plot, it’s Biel’s performance – that of a tortured character willing to suffer for her personal beliefs – that makes the third act remotely palpable.

The Tall Man is Flawed, But Better Than Its Initial Reception Suggests

You’ve got to hand it to Laugier – the filmmaker refuses to tell the story audiences expect. Neither as bad as it reputation suggests nor good enough to completely rise above audience indifference, The Tall Man is a frustrating thriller. Like Laugier’s past works, the narrative twists and turns unpredictably against impressive visuals. As expected, Biel impresses with a role that requires her to twist right along with the movie. Yet the story often take leaps into the ridiculous. And it’s this implausibility undermines Laugier’s desire to spark a bigger discussion.

THE PROFESSOR’S FINAL GRADE: B-

Leave and Its Black Metal Satanic Premise May Not Leave Audiences Chilled

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Another new release on Shudder and another horror movie delving into family relationships and secrets. Following on the heels of the quietly excellent Attachment, Norwegian horror movie Leave teases a mix of a supernatural Satanic thriller grounded in the country’s infamous Black metal scene. If a family with a secret isn’t enough to give you chill, the Black metal imagery may be enough to push you over the edge. Only a handful of critics have weighed in on this Shudder release so far.

Synopsis

Years ago, when she was just a baby, police found Hunter White abandoned in a cemetery wrapping in a blanket marked by Satanic writing. Now a young woman, Hunter needs answers and a DNA test sends her to Norway searching for her birth parents. Instead, what she finds is a family who initially greet her warmly but have secrets. As Hunter experiences haunting images of a dark figure – a burned woman – and uncovers some of her past, she quickly finds herself in danger.

Leave Promises One Story, Delivers Another, and Underwhelms on Both Fronts

Sometimes there isn’t anything wrong with giving audiences what they want or expect. So much of Leave initially promises a haunting tale build on Norway’s Black metal scene. Certainly, the early 90s scene presented more than enough material for a fictionalized horror movie. After all, the recent Lords of Chaos crafted a compelling thriller on a loosely adapted true story. Instead, director Herron and writer Thomas Moldestad (Cold Prey) subvert expectations using the Black metal scene merely to distract from the thriller’s real evil – devout faith and misogyny. If the diversion disappoints, the true themes in Leave ultimately ultimately underwhelm in spite of its own inherent potential.

So much of Leave initially promises a haunting tale build on Norway’s Black metal scene. Certainly, the early 90s scene presented more than enough material for a fictionalized horror movie.

That is, Herron and Moldestad don’t do much aside from scratch the surface. Though the elderly Torstein asks Hunter a few pointed questions about her faith and cousin Stian reflects the kind of entitlement Leave wants to explore, most of subtext unfolds in expository dialogue reserved for the finale. Simply put, there’s not enough mystery packed into the story to justify its pacing or story shift. Moreover, the narrative choice to still include possible supernatural elements just blurs the intended social commentary. At some point, one has to wonder if it would have benefited Heron to settle on what kind of movie he wanted to make.

Leave Boasts Almost Enough Chills To Carry Its Story Through To Its Finale

Regardless of story diversions, Leave still works quite well as a creepy thriller for most of its runtime. In its opening scene, Heron craft the kind of horror atmosphere that hooks audiences and has them leaning toward the edge of your seat. Throughout the Norwegian horror movie, Heron maintains a sense of dread that’s punctuated by a handful of decent jolts. Some of the horror imagery feels unnerving enough to wonder why it’s largely discarded for the finale. Somehow Leave loses all of its steam in a climax that drags into an unnecessary prologue that makes the thriller feel very bit of its hour and 46 minute runtime.

Throughout the Norwegian horror movie, Heron maintains a sense of dread that’s punctuated by a handful of decent jolts.

While most of the cast cast will be unfamiliar to North American audiences, all of the performances are strong. As Hunt, Alicia von Rittberg (Fury) conveys just the right mixture of determination and apprehension to sell the thriller’s less grounded elements. Technically, Herman Tømmeraas’s (Ragnorak) fills what should be a more supporting role. But he has a look and delivery that better suits Leave’s themes than its more elder statesman, Stig R. Amdam. Specifically, Tømmeraas looks more menacing and evokes more dread as compared to Amdam who just seems overbearing.

Leave Fails to Capitalize on Its Premise and Atmosphere

Norwegian thriller Leave promises a Satanic horror rooted in Black metal and cults, subverts audiences expectations, and inevitably delivers very little. Though Herron maintains a foreboding atmospheres and orchestrates a handful of scares, he can’t turn Moldestad’s screenplay into anything more than a plodding effort. What’s promised in its opening gives way to a mystery that isn’t complex or intriguing enough to carry the thriller. And themes of misogyny and religion are given surface-level treatment. By the time the finale wraps up, you’ll be encouraging Herron to just roll the credits. Good performances and production values alongside potential may keep you watching, but you’ll likely leave Leave dissatisfied.

THE PROFESSOR’S FINAL GRADE: C+

Snow Falls A Wintery Indie Horror That Can’t Quite Dig Itself Out of Its Own Limitations

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Three years have no passed since COVID-19 plunged the world into unprecedented lockdowns and isolation. While the pandemic persists, more movies are releasing that either directly work the events into their narrative or implicitly explore themes of isolation, paranoia, and infection. The latest indie horror movie to hit VOD platforms this week, Snow Falls, lands in the latter category. Actor, director, and writer Colton Tran mix the familiar (isolated cabin) with some more contemporary-themed horror revolving around infection. Whether Snow Falls fully nails its unique premise remains up in the air – few, if any, formal reviews exist at the moment.

Synopsis

Five college friends take a weekend getaway to a remote cabin for drinks and good times. Shortly after their arrival, however, a massive winter storm cuts them off from the outside world. When the power goes out, the cold slowly creeps into the cabin and the dangers of hypothermia become increasingly real. Soon the dark, cold, and isolation chips away at their sanity and the friends begin to fear that something in the snow itself is contaminating them.

Snow Falls Can’t Quite Balance Its Mix of Psychological Thriller and Horror

In spite of its relatively trim runtime of 79 minutes, Snow Falls feels much longer. Writer and director Colton Tran – along with co-writers Luke Genton and Laura M. Young – tease an interesting premise built into a story about isolation that should still resonate following the pandemic. Other horror movies, including 10 Cloverfield Lane and They Look Like People, have built stories around the ‘possibility’ of the supernatural as an integral part of their mystery. For a few reasons, however, Snow Falls never sticks the landing. That is, Tran struggles juggling the movie’s psychological thriller thread with the more overt horror elements. An immediate problem that emerges is that too little happens – even in a movie this short. Long stretches of nothing define big chunks of time. By the climax, Snow Falls has little momentum on its side.

From an early point in Snow Falls, most viewers will figure out what’s going on.

In addition, Tran never really commits to the hints of supernatural teased in his premise. From an early point in Snow Falls, most viewers will figure out what’s going on. It doesn’t help that the more explicit elements are clumsily staged or just underwhelming. In particular, one scene with a snowman outstretches its budget to the point of drastically undercutting any mood or suspense. While the horror elements don’t often work, Tran isn’t able to craft the kind of tension necessary to truly feel compelling as a psychological thriller. As compared to a movie like Frozen (not the Disney version) where the danger feels real, the isolation and cold in Snow Falls often feels forced.

Snow Falls Chilled By Weak Screenplay and Underdeveloped Characters

If the tension in Snow Falls feels forced, it’s often because much of the story relies on its characters doing stupid things. Ignore the CGI-crafted breath on the cold air – you can’t fault an indie horror for a modest budget. Rather the problem lies in the screenplay itself. Yes, college students would absolutely stock up on alcohol for a weekend getaway. But the speed at which the group goes from partying to absolute peril feels forced. No food? No emergency generator or fuel? A cabin with no firewood or ability to produce firewood? And with five people, was it necessary for everyone to immediately skip on sleep? While it’s often easy to gloss over some implausible moments for the sake of enjoyment, a movie still needs to live on some internal consistency. Unfortunately, Snow Falls relies heavily on a generous amount of suspension of disbelief.

…much of the story relies on its characters doing stupid things.

Moreover, Snow Falls never really develops its own characters in spite of the time it spends with them or its intent on focusing on psychological suspense. For example, Tran et al. spend quite a bit of time establishing the main character Eden’s (Anna Grace Barlow) personal loss, but never significantly factor into the climax. It’s a superficial treatment of the character and, by and large, Barlow’s ‘Eden’ spends much of the thriller advising her peers how to cope with hypothermia. Much of Snow Falls is comprised of expository dialogue. As for the rest of the cast, no stands out in either a good or bad way. To be fair, it’s not the fault of the cast. Rather the screenplay renders its characters as little more than two-dimensional tropes.

Snow Falls Can’t Quite Thaw Itself Out of Its Own Flaws

Maybe Snow Falls tries to be too many things but, by the time the final credits roll, it’s dissatisfying on all counts. As a psychological thriller exploring the effects of isolation and paranoia, Tran can’t quite achieve the desired tension in part because of the half-hearted teases at supernatural happenings. It doesn’t help that Tran tips his hand far too early on these horror elements. And Snow Falls’ ambitions outreach what it can put on screen. But the characters are also too underdeveloped to make the movie’s more psychological undertones work. Pacing problems only exacerbate these issues. Though it’s watchable, Snow Falls likely won’t make much of an impression.

THE PROFESSOR’S FINAL GRADE: C+

Burial a Serviceable, If Not Forgettable, War Thriller

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At the end of 2022, one of the last original releases platformed on Shudder was Ben Parker’s period mix WWII genre mash-up, Burial. Just based on the synopsis, it’s a little hard to tell what to expect from this one. The premise – Soviet soldiers ferreting Hitler’s corpse back to Stalin hunted by Nazi ‘werewolves’ – promises B-movie thrills. Some filmmakers, like Neil Marshall, have previously shown a knack for elevating pulpy material better. But promotional material downplays the horror and pulp, suggesting Burial may not be what’s advertised.

Synopsis

In the dying days of World War II, a Russian officer, Brana, receives orders to undertake a secret mission. The Soviets have discovered Hitler’s body and Stalin wants it brought back to Russia so he can see it with his own eyes. Under strict orders, Brana and a small group of soldier transport the coffin on foot from Poland to Moscow, stopping each night to bury it before digging it back up again the next morning. But along the way, Nazi ‘werewolves’ launch a guerilla-style attack to recover the Soviet prize.

Burial Sort Of Mashes Genres in a Misleading Way

Nearly 30 minutes into Burial, writer and director Ben Parker (The Girl on the Third Floor) drops the disappointing plot point for anyone who hasn’t read in between the lines of the promotional material. No, Burial isn’t about Nazi werewolves stalking this ragtag military mission through misty night forests in Eastern Europe. Instead, the term ‘werewolf’ here refers to stray Nazi soldiers who dress in wolfskins and use a mixture of burning lichen and mushrooms to induce an hallucinogenic effect. They’re guerilla soldiers intent on retrieving the Soviets’ prize. Even if the immediate tone dispels the idea that this is a silly exploitation flick, one can’t help but feel tricked. That is, Parker doesn’t drop this story reveal like it’s intended to be a twist. Rather it unfolds as part of a natural narrative. In particular, the need to bury the coffin each night feels like intentional – and unnecessary – misdirection.

No, Burial isn’t about Nazi werewolves stalking this ragtag military mission through misty night forests in Eastern Europe.

In addition, Burial adopts little in the way of horror conventions aside from sporadic imagery. Parker sets the thriller’s ambush in a misty European forest. Initial hallucinogenic imagery experienced by the soldiers allows for a handful of creepy moment. Yet Parker almost immediately explains away these images before settling into a war thriller standoff. While it’s all very watchable Burial never achieves any real suspense or tension. Even the movie’s opening prologue – which again teases something the movie is not – gives way to an unnecessary epilogue.

Burial Lets Down Its Weighty Themes and Decent Cast

What else will become quickly apparent is Burial’s real story or message. Though it’s not a horror movie in any real sense, Parker wants to tell a story about the horrors of war. More importantly, Parker is telling a story about history and how stories are passed on for generations. Unfortunately, there’s plenty of war movies – some of which that are classics – telling similar stories. In a handful of scenes, Parker reminds us that even the war’s ‘liberators’ committed atrocities. Arguably, Burial is at its most interesting when it turns its eyes onto the source of the mission. Both sides have their own reasons – a need – to recover Hitler’s body and tell their own story. Ironically, this part of story loses itself in Parker’s mixing of genres.

By and large, the ‘ragtag’ military group blends so much that few of the cast stand out.

Aside from its thematic familiarity, Burial suffers similar problems in its casting and characters. By and large, the ‘ragtag’ military group blends so much that few of the cast stand out. While we’re supposed to be in Easter Europe with Russian and Polish characters, just about everyone speaks with a British accent. As Russian officer Brana, Charlotte Vega (Wrong Turn, The Lodgers) immediately sets herself apart with a steely performance. Harry Potter alum Tom Felton also carves out a nice niche for himself as a sympathetic Polish village. Parker’s screenplay certainly assists both actors by giving them something resembling arcs. None of the performances are poor. Rather it’s a case of the story failing to distinguish one character from another, including the villains.

Burial is a Serviceable, If Not Forgettable, War Thriller

No, Burial isn’t a movie about Nazi werewolves. In fact, it’s not even remotely a horror movie despite borrowing some genre imagery occasionally. If you can put aside the misleading synopsis, there’s a perfectly serviceable war thriller here to watch. Parker doesn’t do much in terms of style or storytelling to distinguish his effort. And it’s not likely a movie you’ll re-visit. But it’s paced well enough to ensure you’ll stick through to the end.

THE PROFESSOR’S FINAL GRADE: C+

Old Man a Thriller That Nearly Outreaches Its Small Setting

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Not to be confused with ‘The Blind Man’ from the Don’t Breathe movies – or the Neil Young song of the same title – Old Man puts excellent character actor Stephen Lang front row and center. For much of his career, Lang has shined in strong supporting role from Gods and Generals to James Cameron’s mega-hit Avatar. Now Lang gets a chance to command the screen in the little indie thriller from RLJE Films, Old Man. A small cast and single setting mean Lang gets to flex his muscles a bit more here. And critics seem mildly impressed with the results.

Synopsis

Somewhere out in the Great Smoky Mountains, a reclusive ‘old man’ wakes up to a knocking at his cabin door. A stranger calling himself Joe has turned on his doorstep, lost and looking for help. But Joe finds himself in a combustible situation with mistrustful and paranoid man. Or maybe it’s Joe who’s hiding a dark secret.

Old Man Struggles to Outreach Its Small Setting

First and foremost, Old Man structures itself like a chamber play unfolding in a single setting and driven by dialogue. Like another recent horror release House of Darkness, suspense is meant to flow from the conversation itself and hidden meanings in what the main characters say or let slip. Director Lucky McKee (May, All Cheerleaders Die, The Woman) has a pretty good track record for offbeat genre fare. But he’s limited by the setting and nature of a story almost entirely reliant on dialogue. McKee keeps things moving briskly enough and does his best move the camera moving round the ramshackle cabin. Nevertheless, Old Man never capitalizes on its isolated setting. What little action surfaces never shocks in the way it intends.

Director Lucky McKee has a pretty good track record for offbeat genre fare. But he’s limited by the setting and nature of a story almost entirely reliant on dialogue.

For better or worse, Old Man’s strengths – and limitations – flow from the conversations between its two characters by necessity. As such, the thrillers needs both sizzling dialogue and a mystery worth unwrapping. Screenwriter Joel Veach sort of scores on the latter while just missing on the former. There’s big ideas in Veach’s story – the ambition outreaches the single setting. As the mystery unwinds itself in the climax, Old Man yearns to tell a story about grief and guilt and our inability to escape these things. Unfortunately, the mystery itself becomes pretty evident quickly and the dialogue isn’t as sharp as may be necessary. Old Man reaches for big things, but falls just a bit short.

Old Man Does Well By Its Casting of Veteran Character Actor Stephen Lang

For the vast majority of its runtime, Old Man is a two-person show anchored by Stephen Lang and Marc Senter. As expected, Lang (Don’t Breathe, VFW) turns in a convincing performance as the titular ‘old man’, which does wonders for carrying much of the movie. Both the movie’s single-setting locale and mystery narrative require the veteran character actor to convey a lot of things. And Lang is all things required of him. His ‘old man’ is equal parts erratic and confused while also channeling anger, mistrust, and bits of menace. It’s a performance that enhances the thriller’s mystery, leaving viewers uncertain about the character and his motivations almost long enough.

And Lang is all things required of him. His ‘old man’ is equal parts erratic and confused while also channeling anger, mistrust, and bits of menace.

On the other hand, Marc Senter – playing lost traveler ‘Joe’ – isn’t quite as convincing. Though Senter’s performance isn’t weak by any measure, he often feels miscast. During its first half, Senter never quite convinces as a man caught in dire circumstances in spite of his best efforts. No sense of desperation seems evident. And once the story shifts and bits of the central mystery unfold, Senter’s intensity doesn’t rise to the same level as what Lang exhibits. As a result, the story remains mostly cerebral and fails to elicit an emotional investment or response.

Old Man …

A chamber play put up on the screen, Old Man wants to grapple with some pretty big issues including grief, guilt, and punishment. Certainly, no one’s going to dispute this little thriller’s ambition. Do McKee and writer Joel Veach hit their lofty goals? Lang’s performance goes a long way and Old Man achieves a few moments of uncomfortable suspense. But many viewers will untangle the mystery by the thriller’s midpoint. Arguably, the finale also lacks to the intended shock and, as a result, the impact of the themes feel a little underwhelming. Ultimately, Old Man does enough to engages audiences straight up to its climax, but may struggle to stand out once it’s done.

THE PROFESSOR’S FINAL GRADE: B-

Mandrake a Quietly Unsettling Folk Horror Release From Shudder

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Over the last several years, folk horror has seen a resurgence in popularity. Back in the 1960s and 1970s, British folk horror delivered memorable classics like Witchfinder General and The Wicker Man. More recently, The Witch, Apostle, The Ritual, Men, and Midsommar – to name just a few – have sparked new interest in the subgenre. Horror is often at its most effective when it generates scares from benign, and familiar or safe, places. And folk horror locates its horror in the very places where we go to escape the perceived threats of urban life. Now the most recent Shudder release, Irish horror movie Mandrake looks to trade on the same type of unsettling scares. Though it’s an under-the-radar release the small handful of critics who’ve comment on it have really like Mandrake.

Synopsis

Probation office Cathy Madden agrees to take on the case of a local legend – ‘Bloody’ Mary Laidlaw. Just released from prison, ‘Bloody Mary ‘ murdered her husband years ago. Locals claims that she’s a witch who practiced Satanic rituals. Initially, Cathy refuses to believe local ghost stories and goes about her job. But when two local kids go missing in the woods by Bloody Mary’s property, Cathy finds herself drawn into a disturbing mystery.

Mandrake Effectively Moody, Ambiguous Thriller

From its opening scene, Mandrake establishes – and maintains – a gloomy tone. Irish filmmaker Lynne Davison shows a grasp of the genre and maturity in filmmaking well beyond her relatively limited filmography. By and large, Davison avoids more traditional jump scares, opting to focus initially on the mystery surrounding ‘Bloody Mary’ Laidlaw and the missing children. Much of this mystery hinges on the give-and-take between the serious but earnest Madden and the eccentric Laidlaw. Is ‘Bloody Mary’ a woman hardened by prison and village gossip? Or is she everything her neighbours fear? Screenwriter Matt Harvey doesn’t let these questions linger too long. In this regard, Mandrake doesn’t function quite as well as a mystery thriller, though this likely wasn’t the intent.

By and large, Davison avoids more traditional jump scares, opting to focus initially on the mystery surrounding ‘Bloody Mary’ Laidlaw and the missing children.

Instead, Davison and Harvey allow folk horror’s ritualistic horrors to make their way to the surface. Here, the mystery shifts to Laidlaw’s motivations and the extent to which the supernatural is or isn’t present. Moreover, Mandrake’s strengths kick in at this point of the movie’s second act. Rather than leaning on explicit gore, Mandrake allows its dark atmosphere and naturally disturbing subject matter to drive the terror. On one hand, Davison maintains a methodical pace and ambiguous narrative. Yet the thriller never drags nor does its finale feel rushed or unnecessarily over-the-top. There’s an openness to the ending and its meaning that chills ensuring the movie will stay with you past the credits.

Mandrake’s ‘Bloody Mary’ Laidlaw a Subtly Terrifying Horror Villain

If the atmosphere strikes a consistent note, the storytelling – and, more specifically, the thematic undertones – feel less focused. To some extent, the lack of focus intentionally follows from writer Matt Harvey’s ambiguous approach to the narrative. That is, Mandrake avoids spoon-feeding the audience, foregoing lazy expository dialogue. Much about Mary Laidlaw’s motivations and the meaning in the ending will escape some viewers. Of course, this isn’t necessarily a shortcoming. Harvey’s screenplay includes enough snippets of folklore to engage and horrify in equal measures. But Mandrake’s bigger meaning diverges by the final act to a point that isn’t merely ambiguous. While it’s a matter that doesn’t drag this folk horror down, it does set something of a glass ceiling on things.

Mandrake avoids spoon-feeding the audience, foregoing lazy expository dialogue.

Of course, the performances uniformly ensure Mandrake is a compelling watch. None of the performers will be familiar to North American audiences. Still the cast in its entirety is excellent. As the steely probation officer Cathy Madden, Deirdre Mullins turns in a subtly complex and layered performance. What she delivers is a woman who strives to appear cold and professional but struggles to connect with her son and often seems aimless when confronted by her ex-husband and his new family. But it’s Derbhle Crotty’s “Bloody’ Mary Laidlaw who steals the show. Though Crotty’s filmography is limited, she’s equal parts captivating and terrifying as the film’s enigmatic villain. Regardless of what she’s doing, any scene in which she’s present, Crotty dominates the screen.

Mandrake Reinforces Shudder as an MVP For Horror Streaming

From its subject matter to its pacing to its atmospheric imagery, Mandrake is pure folk horror. Though some viewers may be dissatisfied with the lack of more traditional scares, Davison invests her thriller with plenty of disturbing imagery. Throw in gloomy tone, disturbing folklore, and ambiguous storytelling and Mandrake more than delivers for its hour and 25 minutes or runtime. All of the performances – but Crotty’s in particular – are stellar. Halloween may be past, but Shudder continues to deliver some strong independent genre fare.

THE PROFESSOR’S FINAL GRADE: B+

Götterdämmerung Finds a New Suspect in a Creepy Third Episode of The Watcher

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After two episodes of dangling red herrings in front of audiences, The Watcher’s second episode, Blood Sacrifice, ended with a literal bang. Now two suspects are off the table though it’s worth pointing out that we didn’t really see their bodies. Given that there’s only seven episodes slated for this limited series, Ryan Murphy’s going to need to pick things up. And based on its title – Götterdämmerung – Episode 3 promises to answer a few questions. Literally translated, the episode title means ‘Twilight of the Gods’ and refers to a catastrophic and violent collapse.

Götterdämmerung Introduces a New – And Very Creepy – New Suspect

If you’re not sure where things left off after Blood Sacrifice, you’re in luck. Götterdämmerung opens with Dean and private detective Theodora reviewing what they know so far. It’s Theodora who dismisses the possibility that Mitch and Mo were writing the letters. Since it’s only the third episode, she’s likely right about that one. And she assures Dean that former homeowner Andrew’s claims of a neighborhood cult are just one of several delusional fantasies to which he’s apparently prone. This leaves Jasper Winslow as the most viable suspect. Once upon a time Jasper finished high school and worked in local grocery store. Somewhere along the lines Jasper experienced something that left him mute and traumatized.

…Dean bumps into an odd man helping himself to a sandwich from the fridge who introduces himself as John the building inspector.

Later at home, Dean bumps into an odd man helping himself to a sandwich from the fridge who introduces himself as John the building inspector. But this is a Ryan Murphy production so, of course, John’s a bit eccentric. John doesn’t have much to say about the renovations. Instead he rambles on to Dean about the ‘Fourth Turning’ some off-the-wall theory about massive economic, political, and social shifts that cycle every 25 years or so. Things then get really awkward when John points out that Dean’s daughter, Ellie may be having intimate relations with their young security guy. Before he walks off, John says he had a similar problem with his daughter and he ‘took care of it’. Not surprisingly, the contractors have never heard of a building inspector named John.

Naomi Watts Continues to Have Little to Do in The Watcher

Poor Naomi Watts. Once again The Watcher doesn’t have much for her to do in Götterdämmerung. After a round of tennis, Nora has lunch with realtor Karen who continues to pressure the Brannocks to just sell the house. Of course, Karen has plenty else to say over lunch. In addition to suggesting that Dean sexualizes Ellie, Karen opines that he may even be cheating on Nora since they haven’t had sex for weeks. Despite putting a lot of focus on the neighbours, The Watcher keeps teasing Karen as a dark horse candidate for the titular ‘watcher’.

Clearly, Karen’s words have some impact on Nora. When she gets home, Nora immediately tries to seduce Dean into some afternoon sex. Unfortunately, Dean’s still rattled by John’s visit so he’s preoccupied with turning on the house alarm. Needless to say, all of this puts the kibosh on Nora’s romantic plans. Instead, she gathers up the kids to head back to the motel. However, Dean gets one last chance to look awkward when he unsuccessfully confront Ellie about Dakota. And yes, Ellie denies making out with the ‘just a bit too old’ security guy.

The Watcher. (L to R) Mia Farrow as Pearl Winslow, Terry Kinney as Jasper Winslow in episode 103 of The Watcher. Cr. Eric Liebowitz/Netflix © 2022

Götterdämmerung Finally Wrings Some Tension Out of Its ‘Based on a True’ Story Premise

Before Götterdämmerung ends, Theodora earns her pay with some information about the mysterious John. Apparently, the local police officer, Detective Chamberlain didn’t mind offering up an old evidence box on the Brannock’s house. As it turns out, the house – and the whole town – has a dark secret. Turns out that one of the prior homeowners – a man named John Graff – murdered his family and disappeared. Before he bought the house, John was a timid bookkeeper in the big city. After a horrific mugging, John bought the massive manor and moved his family at the behest of his domineering mother. The move didn’t help since the Graffs are pretty terrible people. The wife is an alcoholic and the kids don’t pay much attention to the devout John.

As it turns out, the house – and the whole town – has a dark secret.

Eventually John loses his job but rather than telling anyone he just pretends to keep going into work. And he starts skimming money out of his mother’s account. No one knows except one person … yes, ‘The Watcher’. The letters prove to be John’s breaking point. One afternoon, after methodically cutting his face out of every family photo, John shoots and kills his entire family. He even gets a naughty teacher who was fooling around with his teen daughter. John disappears leaving his family’s rotting corpses arranged in the house with music, ‘Twilight of the Gods’ or Götterdämmerung, playing over the intercom. That music gets Jasper Winslow’s attention who discovers the family. Now we know what traumatized the poor neighbour.

Götterdämmerung Builds Some Momentum for the Limited Series

Following two middling episodes, The Watcher finally picks up steam in Götterdämmerung. For the first time, there’s some genuine tension as Joe Mantello’s ‘John Graff’ feels genuinely creepy Though the backstory definitely feels like something you’d find in American Horror Story, it’s no less unnerving. If the Watcher still has a problem it’s the straddling between the ‘true story’ origins and Murphy’s penchant for melodrama. And Götterdämmerung continues to underserve Naomi Watt’s ‘Nora Brannock’. Nevertheless, the limited series now has some moment on its side ahead of the fourth episode.

Blood Sacrifice Crosses Two Suspects From The Watcher’s Suspect List … Maybe

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In spite of its lukewarm reviews, Ryan Murphy’s The Watcher bumped Dahmer – another Murphy production – from Netflix’s top streaming spot. Much of its debut episode was all about introducing us to the Braddock family and the moderately sized pool of suspects. For its second episode, Blood Sacrifice, The Watcher promises to tell us a bit more about the house’s dark past. Hopefully, the second episode digs a little past set-up and more into some suspense and scares.

Blood Sacrifice Introduces More Quirky Ryan Murphy Characters

Apparently Detective Chamberlain isn’t up to date on victimology or social justice. As Blood Sacrifice opens, Detective Chamberlain opines that maybe the Braddocks provoked ‘The Watcher’. Though he’s not much help, the detective does suggest that the Braddocks hire a detective. Of course., this leads to Ryan Murphy’s specialty – quirky supporting characters. And that quirky supporting character is Theodora Birch, a private detective. During a roadside diner meeting, Dean listens on a wildly excessive personal story that involves jazz singing, heavy drinking, and divorce. Somewhere along the lines, Birch decided to ‘Murder She Wrote’ things up. Her story doesn’t do much to convince Dead. But Birch’s offer to half her hourly rate to $50 an hour appeals to him. And it’s important to point out that it’s the reduced fee, not Birch’s cancer diagnosis, that tugs on his heart strings.

During a roadside diner meeting, Dean listens on a wildly excessive personal story that involves jazz singing, heavy drinking, and divorce.

In the meantime, Nora and the kids stay at a local dive hotel and Dean opts to stay in the house to catch ‘The Watcher’. Since Blood Sacrifice is only the second episode, Dean doesn’t catch anyone nor does he notice the shadowy figure wandering the house behind him. But ‘The Watcher’ is much better at their job and finds Nora at the motel taking a few minutes to make a ‘heavy breathing’ prank phone call. Fortunately for Dean, our eager, young security guy, Dakota, beefs up the security at the motel room. He even offers to pull the graveyard duty and watch the family, though Dakota may be more interested in watching Ellie.

Blood Sacrifice Teases More Nefarious Happenings in its New Jersey Dream Home

At a diner, Dean meets the most recent past owner, Andrew. And Andrew’s story of a happy family finding their dream home sounds familiar. Andrew, his wife, and infant son Caleb, initially bonded with neighbours Mitch and Mo. In fact, Andrew and his wife even let the older couple babysit their son. But it wasn’t long before they heard strange music playing in the house. Soon thereafter, the same letters signed by ‘The Watcher’ arrived. All the strangeness took its toll and the wife took her own life. Things get a little more bonkers – Andrew claims his then toddler son saw several of the neigbhourhod residents, including Mitch and Mo, dressed in cloaks and drinking the blood of a baby sacrifice. Much of the story falls apart when Andrew confides that he’s on a cocktail of medications. But Mitch and Mo still rise to the top of the suspect list.

While Dean enjoys pointing out bylaws around construction and noise, he cautions Mo not to ‘watch’ the house too much or she’ll get melanoma.

Meanwhile Karen the realtor lowkey bumps herself up the suspect list. She chips away at Nora, suggesting that putting the house up for sale – not actually selling, mind you – may dupe ‘The Watcher’. And Nora considers it for a bit before ultimately deciding she’d rather fight for her suburban dream. On the subplot front, Dakota spends a little time poolside at the motel with Ellie. Even though she’s only 16 years old, he doesn’t protest too much when she asks him to kiss her. But the biggest moment in Blood Sacrifice follows another terse front yard exchange between Dean and Mitch and Mo. While Dean enjoys pointing out bylaws around construction and noise, he cautions Mo not to ‘watch’ the house too much or she’ll get melanoma. Of course, Mo actually suffers from skin cancer.

Blood Sacrifice Crosses Off Two Suspects From The List … Maybe

Later that night, Dean hears two gunshots but considering all the other strangeness he doesn’t think too much of it. The next morning he sees paramedics wheeling two bodies out of the neighbour’s house. Apparently, Mitch couldn’t bare to watch his wife suffer, so he shot her and then turned the gun on himself. Their adult son is sure to berate Dean, blaming him for disrupting their suburban tranquility with all his renovations. So cross off two names from the suspect list. Though it bares mentioning that we don’t actually see the couple’s bodies. All in all, Blood Sacrifice is a moderately paced episode that’s once again more concerned with teasing suspects than building organic suspense.