Tag Archives: Shudder

From Black Finds Shudder Making a ‘Deal with the Devil’

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In horror movies, deals with the Devil almost invariably end poorly for all involved. Wishmaster. Ready or Not. Devil’s Advocate. Dracula Untold. And it doesn’t matter if it’s just a demon – say, like Hellraiser – evil rarely keeps the promise as you intended or hoped. Nevertheless, ‘what if’ premises remain popular in horror, fantasy, and sci-fi in part because they exploit a wish fulfilment concept. Now this week’s Shudder release, From Black, recycles a familiar horror story – the parent desperate to bring back a dead child.

Synopsis

Several years ago, Cora was a junkie whose son went missing while she was strung out and binging. Now she’s clean and sober but struggles everyday with grieving and the guilt that she couldn’t save her only child. But when an odd man from her support group approaches her with a way to bring back her son, Cora gives in to desperation. Will the ritual come with a price too steep for her?

From Black Looks Good, But Sluggish Pacing Holds It Back

As far as opening scenes go, From Black kicks things off decidedly on the right foot. It’s a quiet and ominous prologue where a crackling 911 emergency call in the background immediately sets a foreboding tone. Evidence of bloodshed also promises future a grisly moment. From that point onward, director Thomas Marchese effectively maintains a spooky atmosphere for the entire hour and 40 minutes. Oftentimes Marchese relies a little much on mixing quiet and loud moments. For instance, the score, which is comprised of sharp string chords, feels omnipresent. While the sound quality is excellent, dialogue scenes are often very quiet relative to those suspenseful moments where the volume ramps up.

Regardless of all its atmosphere, From Black’s pacing is too slow to ever put audiences on the edge of their seats.

Another strength of From Black includes some of the horror imagery and overall production values. This is a sharp-looking thriller with first-rate camera work and good cinematography. What’s missing is much in the way of any sort of action or scares. Specifically, Marchese leaves large gaps between any sort of forward motion. Not even the narrative structure of flipping back and forth between the events leading up to the ‘ritual’ and the post-investigation do much to propel things forward. This isn’t so much a slow burn – very little happens for long stretches of time. Regardless of all its atmosphere, From Black’s pacing is too slow to ever put audiences on the edge of their seats.

From Black Doesn’t Do Enough To Distinguish Itself From Better Movies

In addition to its lack of scares and action, From Black suffers to some extent from familiarity. Though it’s rich in mood, Marchese and co-writer Jessub Flower are treading on familiar ground. There’s quite a few ‘deal with the devil horror movies’, but From Black will likely conjure up associations to the superior A Dark Song. Both movies focus on mothers who have lost a child and turn to the occult to bring their child back. And each movie spends a great deal of time exploring the practices of the occult. While no one needs to re-invent the wheel for any type of movie, the similarities between A Dark Song and From Black are enough to draw unfavourable comparisons for the Shudder release.

There’s quite a few ‘deal with the devil horror movies’, but From Black will likely conjure up associations to the superior A Dark Song.

Aside from its atmosphere, From Black benefits greatly from Anna Camp’s (Pitch Perfect, Creepshow) performance. Camp’s role couldn’t be more removed from her Pitch Perfect character, but she fully inhabits the role. For this sort of horror movie, the audience needs to believe that a character would be desperate enough to make such an obviously terrible decision. And Camp balances a steely reserve with a pure desperation that makes her extremely relatable. Her character is underwritten, which only makes the performance that much better.

From Black Does Too Little For Too Long to Be Consistently Scary

In spite of its promising opening scene, From Black suffers from glacial pacing and a dissatisfying, abrupt ending. Very little happens for long stretches of time. This kind of pacing gives the audience too much time to see the parallels with other – and quite frankly better – movies as well as pick out the direction of twists. When things do happen From Black doesn’t do much that we haven’t seen in the past. Marchese hangs a consistent feeling of dread over his movie, but relies too much on alternating between quiet and loud sounds. Though Anna Camp’s performance is strong, it’s not enough to earn this supernatural thriller anything more than a lukewarm recommendation.

THE PROFESSOR’S FINAL GRADE: B-

Kids vs Aliens Delivers Exactly What Its Title Implies

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To date, the V/H/S found-footage anthology series has proved to be a pretty lucrative side gig for Brad Miska and Bloody Disgusting. Since the first V/H/S released in 2012, four sequels have followed with V/H/S/99 debuting on Shudder just last fall. Another series entry, V/H/S/85 should be coming out later this October making the sequels something of an autumn tradition. And two spin-offs have turned short segments into full-blown movies. While Siren seemed like a logical choice given how well received its anthology segment was by fans, Slumber Party Alien Abduction was a less obvious direction. Out of the strong segments from V/H/S/2, Jason Eisener’s entry felt a bit like filler. Now nearly a decade later, Kids vs Aliens expands a thin premise into a feature-length movie with somewhat mixed results.

Synopsis

High school girl Sam, is caught between a childhood love of wrestling and action figures and wanting to grow up. She spends most of her time watching her younger brother, Gary, and his friends. On most days, Sam helps the boys who are obsessed with making a homemade monster movie. But when she has the chance to impress local bad boy Billy, she agrees to have a Halloween party. No parents means a house party that quickly spirals out of control. And when aliens crash the party, Sam has to put her love of wrestling to good use to save her brother.

Kids vs Aliens Grosses Out, Just Not as Much as You Might Expect

It’s a movie called Kids vs Aliens. And the director, Jason Eisener, previously made a movie called Hobo with a Shotgun. With this information in mind, you should know exactly what you’re getting. This is pure B-movie silliness where the special effects aren’t intended to be all that special. After a very effective opening, Eisener doesn’t shy away from showing off his rubbery-looking aliens. Even the alien with plastic-looking blades for fingers. But that’s the point of this movie. That is, Kids vs Aliens aims for the same mix of science fiction, horror, and dark comedy as Psycho Goreman. At just 75 minutes, little time is wasted before aliens are storming a house party. However, Eisener saves most of the gore for later scenes with one flesh-melting scene in particular achieving the kind of insanity you expect from the movie.

This is pure B-movie silliness where the special effects aren’t intended to be all that special.

If there’s a problem with Kids vs Aliens it’s that there aren’t enough scenes like that aforementioned one. Don’t expect the same kind of wall-to-wall gross-out’s as Psycho Goreman or Peter Jackson’s Bad Taste. Though it’s by no means a slow paced movie, Kids vs Aliens saves most of its alien oozing for the third act. In fact, Eisener’s almost restratined in the this department. Much of the shock factor comes from Eisener’s willingness to put his child characters in actual danger, which most horror movies avoid. In a fictional world where adults are largely absent, there’s genuine tension wrought from watching these young characters face injury or death.

Kids vs Aliens Limits Some of the Silly Gore for a Coming-of-Age Narrative

Ironically, what limits Kids vs Aliens separates this one from more forgettable B-movie fare. This often feels like an effort to make a gateway horror movie for pre-teens and teens at sleepover parties. In addition to the silly, over-the-top violence, Eisener and co-writer John Davies are writing a coming-of-age story focused on Phoebe Rex’s ‘Sam’, a young girl stuck in that awkward phase between childhood and being grown up. Like the best mixes of comedy and horror, Kids vs Aliens doesn’t forget to make sure you like and invest in its characters. When Eisener isn’t spraying alien goo across the screen, he makes sure there’s likable characters and dynamics amongst them.

This often feels like an effort to make a gateway horror movie for pre-teens and teens at sleepover parties.

Maybe they’re not The Goonies or the best friends from Stand By Me, but the relationship between the teenage Sam and her younger brother and his misfit friends is surprisingly endearing for a movie called Kids vs Aliens. Though this is a small movie with what’s likely a limited audience, Phoebe Rex should find herself in bigger roles soon. She exhibits a lot of range and star-like charisma here. Even the younger actors hit the perfect balance between boyish, pre-teen obnoxiousness and believable camaraderie. Simply, Kids vs Aliens makes you care about its central characters.

Kids vs Aliens Mostly Hits the Right Notes for an Intentionally Silly B-Horror Movie

Clearly, Kids vs Aliens aspires to the same kind of B-movie horror fun as Psycho Goreman or Eisener’s previous work like Hobo with a Shotgun. And it almost gets there but falls a little short on the heights of insanity reached by those titles. Maybe Eisener’s attempt – intended or otherwise – to make this a gateway horror movie led to some restraint on his part. Regardless it always feels like Kids vs Aliens could have gone a little further with the gore and dark humor. But it’s still a fun ride that never overstays its welcome. Moreover, the cast of young actors is quite good and the relationships between the characters are as affecting as one would expect from a ‘coming-of-age’ story. Hopefully, the sequel teases gives us more of these characters.

THE PROFESSOR’S FINAL GRADE: B

The Unheard A Psycho-Sonic Thriller Just Arrived on Shudder

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Earlier this year, we got Unseen that found a nearly blind woman relying on a stranger to guide her to safety while her homicidal ex stalked her through the woods. Now Shudder has released its latest – The Unheard – a sonic-infused thriller centered around a young deaf woman experiencing auditory hallucinations. At face value, the thriller from director Jeffrey A. Brown seems to channel its scares from similarly-themed horror movies wherein radical experiments give way to untold horrors. To date, reviews have fallen right down the middle hinting at some polarizing results.

Synopsis

As a young girl, Chloe Grayden suffered an acute case of meningitis that left her deaf. Around the same time, Chloe’s mother simply disappeared without a trace. Now in her 20s, Chloe returns to her family’s Cape Code cabin to recover from an experimental surgery. Isolated in the offseason with only the local handyman and an ex-childhood friend close by, Chloe initially struggles to pass away the day until one morning when her hearing miraculously returns. But her initial joy gives way to terror as bizarre auditory hallucinations – maybe connected to her missing mother – increasingly haunt her with each passing day.

The Unheard Puts Its Psycho-Sonic Scares on an Extended Loop

On its surface, The Unheard immediately risks being an overly familiar supernatural horror tale. Past horror movies – including Body Parts and The Eye – have toyed with radical experiments and subsequent inherited evils. Writer Michael and Shawn Rasmussen, however, initially ensure that their thriller feels wholly distinct from similar genre fare. Moreover, director Jeffrey A. Brown (The Beach House) establishes a patient and effectively moody tone that aids in making The Unheard feel different. Specifically, Brown mixes creepy VHS home movies alongside audible horror that goes from faintly heard sounds to sonic booms. There’s something impressive in the fact that the director avoids the obvious trappings of ‘loud sounds’ to generate scares.

…Brown insists on a slow burn that constantly promises something better.

Even when crackling radio sounds and sonic static that teases something beyond the grave threatens to recycle movies like White Noise, Brown insists on a slow burn that constantly promises something better. Until it doesn’t deliver. Slow burns eventually need to advance their story to something that not only engages but slowly draws an audience to the edge of their seats. Too bad The Unheard stretches its story to just over the two hour mark. Simply put, there isn’t enough movie here to justify that ambitious runtime. As a result, The Unheard begins to recycles its psycho-sonic scares. Brown and the Rasmussens introduce a potentially interesting subplot involving missing women and a serial killer, but they take far too long to connect the dots back to the main story.

The Unheard Inevitably Gives In To Familiar Genre Tropes

In addition to its lackluster pacing, The Unheard inevitably succumbs to a mix of tired slasher and serial killer tropes. As the third act finally unfolds, Brown and the Rasmussen’s give in to familiarity and their thriller loses much of what made it work so well. In fact, as the exposition rolls out, one might be somewhat surprised by just how conventional the story becomes in its final scenes. This isn’t to say that there isn’t suspense and some thrills packed into its final 10 to 15 minutes. Yes, Brown effectively picks up the pace and adds some urgency to the proceedings. Nevertheless, it’s difficult to ignore the more generic trappings of the finale, particularly when what proceeded it felt so fresh.

As the third act finally unfolds, Brown and the Rasmussen’s give in to familiarity and their thriller loses much of what made it work so well.

On the plus side, Lachlan Watson (Chucky, Chilling Adventures of Sabrina) turns in a quietly confident and strong performance. Her early resilience pulls audiences in and deliver an immediate payoff later in the thriller as Watson’s ‘Chloe’ regains her hear hearing. By this point of the movie, Watson has you engaged enough in her character that there’s somethings disarmingly charming about watching her enjoy the pleasures of simple sounds we take for granted. To some extent, supernatural thrillers like The Unheard require a ‘human’ and grounded performance like the one Watson delivers to ensure audiences remain invested. Joining Watson in a supporting role, Orange is the New Black’s Nick Sandow gives a restrained performance as the local handyman. And Brendan Meyer (Color Out of Space) does what he can playing what’s essentially an extended red herring.

The Unheard a Decent Thriller, But Quietly Succumbs to the Conventional

On one hand, there’s lots to like about The Unheard. Brown eschews expectations by refusing to rely on ‘loud noises’ to create scares. For about two-thirds of its runtime, The Unheard slow burns an intriguing mystery alongside Watson’s strong performance. But Brown lets things slow burn too long especially as his movie tips in at just over two hours. Not enough happens in that time and it’s not long before some of the innovative scares feel like they’re playing on a loop. Once the third act lapses into familiar ‘slash and stalk’ mode, The Unheard loses much of its early punch. The end result is still a decent thriller – yet one can’t help but think a much better move was left on the table.

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+

Spoonful of Sugar Mixes Hand That Rocks The Cradle With LSD

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Imagine mixing the basics of the hit 90s psychological thriller The Hand That Rocks The Cradle with a creepy kid, some perverse sexual kinks, and some trippy psychedelic horror. This week’s latest release on Shudder, from director Mercedes Bryce Morgan, seems to mix several different familiar tropes into what looks like a bit of a twisted thriller. Spoonful of Sugar finds a potentially disturbed babysitter with secrets and a growing LSD habit caring for an equally disturbed child whose parent may have their own secrets. To date, only a handful of reviews are circulating out there so this is an under-the-radar option.

Synopsis

Millicent is a strange young woman – a student and orphan – who’s recently started using medical-grade LSD under the care of her therapist. Opting to take a term off from her students, Millicent finds a unique babysitting opportunity with a strange family. The boy, Johnny, is selectively mute and suffers from several allergies and illnesses. According to his mother, his homemade astronaut suit is a necessity to protect him from potential allergens. But when Millicent shares some her LSD with Johnny she sets off a chain reaction that threatens to reveal her dark secrets – and maybe some of the family’s secrets as well.

Spoonful of Sugar Makes Up For a Basic Story With Wonderfully Weird Execution

Consider Spoonful of Sugar to be an hallucinogenic twist on the The Hand That Rocks the Cradle. Writer Leah Saint Marie twists this basic setup from the 90s psychological thriller into something weirdly unique. But its premise still borrows the basic concept – two women fighting to possess the same child. Plenty of other ideas make their way into Spoonful of Sugar while leaving the story itself threadbare. On one hand, Spoonful of Sugar explores Millicent’s sexual awakening while also touching on the exploitation of Millicent by the various men in her life. Yet Saint Marie only scratches the surface on this idea. There’s also Rebecca’s penchant for finding illnesses in her troubled son. Even that theme feels undone by the thriller’s admittedly chilling twist. So there’s lots of ideas here, just not much of an actual story to hang them on.

Though Spoonful of Sugar is a consistently suspenseful thriller, there’s bits of dark humor from start to finish.

In spite of its relatively thin story, Spoonful of Sugar is never dull. Director Mercedes Bryce Morgan fills her thriller with unhinged characters, dark secrets, and perverse relationships. No one in this thriller can be trusted. This fact coupled with the twisty drug-fueled imagery always casts some doubt on what you’re seeing. And Bryce Morgan captures all of these secrets and hallucinogenic visions with a some impressive and flashy camera work. Though Spoonful of Sugar is a consistently suspenseful thriller, there’s bits of dark humor from start to finish. Without spoiling anything, Bryce Morgan and Saint Marie’s finale reveal is a subtle jaw-dropper.

Spoonful of Sugar Filled With Disturbed Characters, Committed Performances

Yes, Spoonful of Sugar boasts an abundance of style and offbeat atmosphere. And while Saint Marie’s story may seem to meander for much of the thriller’s runtime, it’s ultimately a laser-focused story. Those final moments reflect some careful plotting to bring together its bloody tragedy. Yet at the same time, Spoonful of Sugar feels like its all over the map when you start considering deeper meanings. What are Bryce Morgan and Saint Marie trying to say about sexual exploitation? Maybe it’s all the hallucinogenic drugs. Or perhaps it’s the story’s basic debt owed to dated 90s psychological thriller. But the thriller sacrifices a bigger meaning for a shocking finale – but it’s a well-constructed shocker.

And while Saint Marie’s story may seem to meander for much of the thriller’s runtime, it’s ultimately a laser-focused story.

As for the performances, none come even remotely close to being bad – like the production values everyone acquits themselves just fine. However, some actors feel like they’re playing in very different movies. Morgan Saylor (Homeland) takes center stage as Millicent in what’s best described as a bold and eccentric performance. Keep in mind, Saylor turns in exactly the kind of delivery that this role irequires. And it certainly doesn’t qualify as scene-chewing, but it’s definitely offbeat. In contrast, Myko Oliver offers a much more subdued turn as Jacob that again likely aligns with the screenplay’s goals but feels a bit at odds with the rest of the movie. In what’s arguably the thriller’s most grounded performance, Kat Foster deserves recognition for a powerhouse turn as a mother desperate to protect her son.

Spoonful of Sugar an Inspired and Demented Twist On a 90s Psychological Thriller

Shudder’s latest original release likely will polarize horror fans. Though its basic plot beats familiarly recall The Hand That Rocks the Cradle, Bryce Morgan and Saint Marie ensure it widely deviates in both content and style. Spoonful of Sugar mixes innovative cinematography with eccentric storytelling and subtly disturbing moments. It’s often as mind-bending as the acid trips its main character takes in the thriller. None of the characters will likely elicit much in the way of sympathy. But the final turn Spoonful of Sugar takes shocks as much as any recent horror movie … if you can hang in through the intentional weirdness of everything that proceeds it.

THE PROFESSOR’S FINAL GRADE: B+

Attachment Balances Jewish Folklore and Superstition With Queer Romance

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Only two months into the year and Attachment follows on the heels of The Offering as not only the second religious-themed horror movie, but the second religious horror movie rooted in Jewish tradition. Not surprisingly, religious themes are no stranger to the genre. Plenty of horror movies weave superstition and folklore into stories revolving around a protagonist questioning (or lacking) faith. But Attachment looks to set itself apart with its focus on romance alongside folklore. Critical consensus has been largely glowing.

Synopsis

Maja, a washed-up Danish actress, sparks a new romance with Leah after a chance encounter in a bookstore. When Leah suffers a strange seizure, Maja accompanies her back to England to meet her traditional Orthodox Jewish mother, Chana. Despite her best efforts, Maja struggles to gain acceptance from Chana, whose overprotective care of Leah becomes increasingly strange. As Maja learns more about Jewish superstitions, she begins to fear that something’s very wrong with Chana.

Attachment Resists Its Horror Roots Until An Effectively Chilly Finale

In spite of what seems like traditional horror fare involving possession and exorcism, writer and director Gabriel Bier Gislason structures Attachment into what often feels like two different movies. For one chunk of its runtime, Gislason puts the focus on the burgeoning romance between Maja and Leah in a way that feels like a quirky romcom. While there’s immediately tension with Leah’s mother, Chana, the tone feels removed from conventional horror. As Gislason introduces familiar horror tropes, there’s still some ambiguity around the director’s intent. Is this a supernatural horror movie or is Attachment borrowing from the genre to tell a more psychological story about co-dependency?

As Gislason introduces familiar horror tropes, there’s still some ambiguity around the director’s intent.

Depending on what you want from the thriller, audiences may be elated or disappointed once the more traditional possession elements turn up. There’s lots of build-up in the third act, but Attachment avoids jumps and overt visual horror. Instead, Gislason lets that tension build up to a short yet effective confrontation. What works quite well here is the focus on more subtle elements of terror. In its depiction of a Dybbuk and possession, Attachment never overextends itself and it’s a better movie for it. However, its tonal shift and pacing requires patience – and the finale does reward viewers who invest in the story.

Attachment Gives Way to Some Horror Conventions, But Never Loses Its Grip on the Relationships That Drive the Story

Though it inevitably (and perhaps necessarily) turns to some familiar horror conventions in its final act, Attachment remains a powerfully emotional story in part due to Gislason’s screenplay and its three lead performances. With a minimalist focus on its horror elements for the first half, Attachment feels like two different movies. That is, Gislason initially focuses on the cute romance between Maja and Leah followed by Maja’s occasionally humours attempts to ingratiate herself with Chana. One couldn’t be faulted for thinking they were watching an indie romantic comedy. But there’s traces of horror atmosphere throughout the movie. As such, once Gislason begins to intersperse more odd pieces to Chana’s behavior, even dropping the mention of a Dybbuk, it doesn’t feel too jolting.

With a minimalist focus on its horror elements for the first half, Attachment feels like two different movies.

All of this focus on the relationships between the three primary characters – particularly Chana’s codependency with her daughter – heightens the finale’s impact. There’s less focus on the story components of the reveal during the climax’s exorcism. Specifically, Gislason keeps things surprisingly low-key, avoiding the more flamboyant parts of genre convention. Instead, Attachment allows the excellent performances of Josephine Park, Ellie Kendrick, and Sofie Gråbøl to carry the moment. It’s heartbreaking scene that elevates the thriller and justifies the content and tone of the first half.

Attachment Rewards Patient Viewer With Its Emotional Climax

Certainly not as experimental as other early 2023 horror releases (Skinamarink, The Outwaters), Attachment succeeds as an impressive blending of traditional horror elements and indie romance. Though its first act often feels like anything but a horror movie, writer and director Gabriel Brier Gislason expertly builds in mystery and suspense. When the scares finally ratchet up, there’s a sense of urgency to the story aided by the emotional core and performances of the three principal characters. The end result is a moving horror-romance that is an early candidate for consideration as one of the better releases of the year.

THE PROFESSOR’S FINAL GRADE: A-

Breaking Up is Hard to Do: Eight Break-Up Horror Movies For This Valentine’s Day

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Valentine’s Day is almost here. Though it’s technically a ‘holiday’, no one gets a day off and just a month and a half removed from Christmas, we’re forced to spend more money. So even if you’re in a relationship, there’s no guarantee you’ll be happy with the holiday. And for those going through a break-up, Valentine’s Day is agony. Fortunately, if you’re not a fan of rom-com’s, the horror genre understands your pain. Plenty of horror movies revolve around tough break-ups. From David Cronenberg’s The Brood to Midsommar, this edition of The Chopping Block takes a look back at eight examples of break-up horror movies just in time for Valentine’s Day.

The Brood (1979)

Divorce can be an ugly thing. Some couples would rather set the world on fire than watch their ex walk away with anything that feels like a win. Enter a young David Cronenberg fresh off a handful of indie body horror successes, Shivers and Rabid. Oh, and Cronenberg had also just gone through his own divorce. What he offered audiences was The Brood – a gonzo tale of Hal Raglan, a man investigating the controversial Somafree Institute of Psychoplasmics where his estranged wife is institutionalized. Amidst their bitter custody battle, Hal discovers a series of murders connected to the Institute. Did I mention that the murderers are the deformed offspring of wife, Nora, birthed from her deep-seated rage and trauma? Not surprisingly, The Brood is grotesque, uncomfortable, and compelling. At the very least, The Brood will make you feel better about your own break up.

Possession (1981)

Beware casual horror fans – Possession earns every bit of the ‘cult’ in its cult status reputation. Andrzej Żuławski’s story of the dissolution of a West Berlin spy’s marriage is a gonzo arthouse horror movie beyond description. Thematically complex and narratively opaque, Żuławski crafts a surrealist nightmare that is more of an experience than engaging with a traditional story. On one hand, it’s the kind of movie made for critics or film studies majors. Yet there’s no denying the visceral nature of the onscreen imagery that’s more disturbing than much of what you’d find in contemporary horror. Like Roman Polanski’s Repulsion or David Cronenberg’s Naked Lunch, Possession is nightmarish movie that sears itself onto your brain – watching it is unforgettable. You just likely won’t have a clue what you just watched.

Fatal Attraction (1987)

When it was released in the late 80s, people coined Fatal Attraction the psychological thriller that scared husbands into fidelity. Not only was this stalker flick a global box office sensation, Fatal Attraction earned several Oscar nominations, including one for Glenn Close’s memorable turn as the dangerously obsessed ‘other woman’. Plenty of stalking thrillers have copied this blueprint to much lesser results. Some critics have rightly pointed out that there’s something a bit sexist about the ease by which the successful business woman Alex Forrest turns into a ‘mad woman’. But there’s no denying that Fatal Attraction is a supremely effective suspense movie with a fantastic final jump. And if you own a pet rabbit, you may want to make sure it’s safe in its cage before watching this one.

Shaun of the Dead (2004)

Now here’s how you mix horror and comedy into some fun and compelling. After slacker man-child Shaun’s girlfriend dumps him, all he wants to do is have a pint with his mate, Ed, at the Winchester. And then a zombie apocalypse really throws a wrench into Shaun’s day. Today, writer and director Edgar Wright (Hot Fuzz, Last Night in Soho) is rightly regarded as a master of his craft. And Shaun of the Dead isn’t just a great zombie comedy – it stands as one of the best horror movies in the last 20 years. Wright effortlessly blends laughs, zombie carnage, and genuine heartfelt emotions into a movie that can be watched over and over again. Some Oscar bait movies struggle to capture a fraction of the feelings you’ll have for Wright’s characters. By its finale, Shaun of the Dead will have you rooting for Shaun to win back Liz.

Hatchet (2006)

Splat pack member Adam Green’s second major feature, Hatchet, boldly claimed it was a return to ‘old-fashioned American horror’. Imagine a late 80s Friday the 13th sequel dialed up to an ’11 out of 10′ on the gore scale and that’s Hatchet. Still reeling from breakup, Joel David Moore’s (Grace: The Possession) college student Ben decides to skip on Mardi Gras parties for a haunted swamp tour. Not surprisingly, it’s a bad idea for Ben – but a great choice for gorehounds. Simply put, Hatchet is a wild homage to the excesses of the 80s slasher. Horror fave Kane Hodder (Jason Goes to Hell, Death House) stars as the massive Victor Crowley alongside some insane practical gore effects. Two decent sequels rounded out the story followed by an ill-conceived, belated sequel.

The Strangers (2008)

On its initial release, critics weren’t overly receptive to The Strangers. But audiences didn’t much care and drove this creepy home invasion thriller to cult status, earning a belated sequel in the process. Regardless of its critical reception Bryan Bertino’s thriller benefits from a simple concept executed to near perfection. An engagement gone wrong coupled with an isolated locale and creepy antagonists, The Strangers delivers edge-of-your-seat suspense and a bleak ending that lingers with you long after the final credits. Both Scott Speedman (Underworld) and Liv Tyler are excellent in their respective roles. Throw in a trio of genuinely unnerving villains and the line, ‘Because you were home’, should send chills down your spine.

Burying the Ex (2014)

Joe Dante has some good movies over the course of his career – The Howling, Gremlins, Piranha. Too bad Burying the Ex isn’t one of those movies. There’s a lot of talent behind this story of a meek man whose manipulative, controlling, and now dead girlfriend returns from the grave to spoil his new relationship. Anton Yelchin (Green Room, Fright Night), Ashley Greene (Twilight series), and Alexandra Daddario (We Summon the Darkness, Texas Chainsaw) all bring a bit of charm to the proceedings. But Burying the Ex is neither funny nor scary. Outside of a few sparse moments, this horror-comedy mostly plays out as tedious. Somewhere in this effort Dante has a clever premise about how tough it is to get out of a toxic relationship. As it stands, however, you’d be better off just dumping Burying the Ex.

Midsommar (2019)

Is there a better horror movie dealing with break-ups than Midsommar? Not likely. Following up on his debut classic, Hereditary, Ari Aster showed no signs of a sophomore slump. Following the tragic death of her family, Dani tags along with her boyfriend Christian and his friends on a trip to a Swedish commune. Hester’s story of a bizarre cult juxtaposed with a slowly fracturing relationship is the ultimate in slow-burn, elevated horror. Aster’s approach to genre conventions are so restrained – almost muted – that it actually adds to their shock-value. And Florence Pugh’s performance Oscar-worthy performance has you absolutely identifying with her gaslit Dani. When Christian gets stuffed into that bear carcass you can’t help but silently cheer a bit.

Skinamarink a Genuine Nightmare Experience Gone Viral

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Just one month into 2023 and horror’s success at the post-pandemic box office continues. Though it’s not a box office hit along the lines of M3gan, Canadian DIY horror Skinamarink has generated the kind of buzz most movies will never enjoy. It’s about as barebones as it gets. First, writer and director Kyle Edward Ball pilot tested his concept on YouTube, filming bits based on user comments about personal nightmares. Subsequently he gave the concept a more full treatment in his short movie, Heck. Before Shudder exclusively platformed the experimental horror movie for streaming, Skinamarink generated just north of $1.5 million on a $15, 000 budget.

Synopsis

It’s the middle of the night and two young children – Kaylee and Kevin – wake up to find their father missing. All the doors and windows to the outside are gone, too. Soon a strange, disembodied voice begins making frightening demands of the children.

Skinamarink Experiments With Surrealist Imagery

Don’t go into Skinamarink expecting anything remotely resembling a traditional narrative. Or any narrative for that matter. This experimental DIY Canada horror is about as surrealist as it gets. What writer and director Kyle Edward all has created looks and operates more like a nightmare. There’s a loose premise that holds together each scene. But Ball mostly focuses on atmosphere and haunting images. Most viewers who don’t read the synopsis may struggle to understand ‘what’ and ‘why’ things are happening. Yet that’s not the point of Skinamarink. Like a genuine nightmare, Ball doesn’t want you to understand what’s going on – he wants you to feel something.

What writer and director Kyle Edward all has created looks and operates more like a nightmare.

And Skinamarink absolutely feels like a nightmare regardless of its shoestring budget. In fact, the micro-budget only helps make this Canuck thriller more immersive. In addition to its grainy picture, Ball shoots everything at strange angles or extreme close-ups that cut off most of the scene. It’s classic expressionist film-making that adds a feeling of claustrophobia to the mix. There’s a handful of jump scares, but most of Skinamarink focuses on atmosphere, aesthetics, and suggestion. When Ball wants to make your skin crawl, he’s extremely effective at it. Benign children’s toys become menacing and a voice with no body is about as scary as any onscreen horror villain. Oftentimes Skinamarink is an unnerving horror movie that keeps you sitting at the edge of your seat.

Skinamarink Stretches Its Concept Thin With Overlength

Though it’s often unnerving, Skinamarink tests the limits of audience patience. That is, Ball’s approach to the material isn’t so much a slow burn as it is ‘stop and go’. With no real story containing its images, there’s no actual build-up to anything. Things just sort of end on what’s an admittedly disturbing note. However, Skinamarink clocks in at a weighty 100 minutes, which is pretty long for a movie with no real story. Very little happens for at least the first 20 minutes. And long gaps between ‘stuff happening’ often de-escalates the tension rather than slowly ramping it up. To his credit, Ball maintains a firm grasp on the unsettling vibe that characterizes his indie effort. Yet it’s hard to deny that the movie would benefit from trimming a good 20 minutes from its runtime.

…Ball’s approach to the material isn’t so much a slow burn as it is ‘stop and go’. With no real story containing its images, there’s no actual build-up to anything.

Moreover, Ball’s commitment to the look and feel of a nightmare means we’re never properly introduced to any characters. No one character in Skinamarink ever fully appears on screen. We know the children are named Kaylee and Kevin but Ball never lets us know anything about these characters, which is likely by design. Still its effect is that there are no real stakes in the thriller. As a result, performances here are irrelevant. We’re unnerved by what’s happening on the screen because of the mood Ball establishes, not due to the story or investment in the characters. Whether Skinamarink sustains multiple viewings with this approach remains to be seen.

Skinamarink a Landmark Entry Into the Horror Genre

Regardless of whether you liked Skinamarink, horror fans should be celebrating its success. With its barebones production values and viral success, this is another Blair Witch Project that epitomizes the DIY spirit of indie horror. And there’s no denying that there are inspired moments of dread and disturbing moments. Ball has almost perfectly re-created the look and feel of a nightmare. But Skinamarink clocks in at 100 minutes, which is a lot of time to fill for a minimalist, art-house horror movie. While there’s lots of inventive bit worthy of praise, there’s also lots of empty gaps that cut into the movie’s suspense. As a result, Skinamarink may alienate some viewers. Nevertheless, this is a landmark genre achievement that horror fans should check out and support.

THE PROFESSOR’S FINAL GRADE: B