SWEETIE, YOU WON’T BELIEVE IT
Three friends are in the wrong place at the wrong time. Sweetie, You Won’t Believe It is an unexpected buddy comedy that will entertain the hell out of Fantasia International Film Festival 2021 audiences. Our leading men accidentally witness a murder and now they must elude not only a vicious gang but a mysterious and vengeful stranger. The harder they try to survive, the weirder and more dangerous their situation becomes. So much for an enjoyable getaway weekend.
The film has some super fun camera work, taking advantage of go-pro technology, warping depth perception, and speed dynamics. Genuine laugh-out-loud dialogue pairs excellently with the ultra-violence. The choreography that went into some of these takes should be applauded. Performances are riotous. The line between villain and hero is blurred, making for an increasingly fun watch. I could easily see the rights for the script being snatched up for Western audiences. Could Fantasia Fest 2021 audiences be seeing the first film in a potential franchise? Sweetie, You Won’t Believe It… until you see it for yourself.
The set is enthralling. Painted windows, lace curtains, antique furniture, and gardens as far as the eye can see within the boundaries they protect. But this carefully curated surrounding is also a prison for this family. The moment this existence is challenged, their sacred way of life begins to crumble. Performances, across the board, are phenomenal. The script grows more intriguing by the minute. With learned skepticism and real fear of losing the ones they cherish, Glasshouse reveals itself like a meticulously structured novel. The twists are dark and plenty. The finale will shock you. Glasshouse is undoubtedly one of my favorite films at the Fantasia International Film Festival 2021.
Performances are filled with greatness. What might only be a highlighted extra role in any other genre film turn into a slew of memorable ones. It’s that well written and performed. Seeped in genuine incel energy, social commentary, and over-the-top gore and violence create a shocking watch. The amount of movie blood that must have been involved in this production is unfathomable. I’ve watched a lot of horror, (like, a lot a lot) and The Sadness is not fucking around. One hour in, there is a moment so offensive, even I gagged. Fantasia International Film Festival 2021 audiences were treated to one of the most insanely disturbing films in the festival’s 25-year run. If you can watch and hold in your lunch, bravo. Director Rob Jabbaz, much respect to you, sir.
La Dosis is a dark psychological thriller that from the very first scene pushes viewers to consider the harsh and subjective balance between life and death. At its center is Marcos, the lead overnight nurse of the ICU unit in a private hospital. By now, audiences are accustomed to anti-hero protagonists, so it is not hard to find compassion for Marcos even as he makes the ethically murky decision to euthanize critically ill patients that are suffering in their final days. In a nuanced and complex performance, Carlos Portaluppi excels in infusing Marcos’ actions with compassion. Through the many moody silent stretches of the film, the audience watches Marcos alone in shadowed rooms and backlit hallways as the weight of his actions plays across his face. 
The visual progression of horrifying imagery is stunning. The sleep experiment costumes have a Tron meets Captain EO vibe and I really dig them. The script is solidly disturbing. In all honesty, I was locked in until the very final scene which for me stepped into “Huh?” territory. I’ve now watched this film twice. The second viewing was a lot more telling. I have new theories. That being said, the rest of the film is so powerful, Come True is completely worth your attention. Thoroughly engrossing original visuals and storytelling are ramped up by Electric Youth and Pilotpriest’s synth score. It manages to wrap itself around you and immerse you in fear. Each of these elements creates an experience making Come True its own entity. It may give you your own new set of nightmares.
Now, the scary. This is a double-edged sword for me. While the creature makeup of The Devil is one of the most successful parts of the film visually, the ways in which he is utilized felt cheap. For me, it was a reason to exploit Kirk. It makes zero sense to have her fornicate (probably the first time I’ve used that word in earnest) with The Devil, without that being a major plot point that comes to fruition. It takes away from the overall feminist narrative of the film. I absolutely loved being terrified by the appearance of The Devil. Those moments stick in my head for their fright factor but make me cringe when used tom over sexual a character who is already sexually harrassed over and over for her appearance. This film might fair better if those scenes are cut altogether. The climax is most certainly unexpected and incredibly satisfying. Although with a runtime of 1 hour and 51 minutes, The Reckoning could lose a good 30 mins. Neil Marshall and Charlotte Kirk set out to highlight the atrocities committed against women in a time of fear, sickness, and paranoia. They are able to tell this story through the experiences of Grace and even a few ancillary characters associated with her. The real-life horrors are enough.
This is a fearless film. There is nothing shy about it. Writer/director/editor/DP Ben Hozie has given us an unapologetic look at sexual impulse, gratification, and all the complex feelings that come along with it. It’s not often we see an actor do full-frontal nudity. Leading man Peter Vack is not just full-frontal but masturbates (a lot) in PVT CHAT. And so he should. His character Jack has zero stability in his life with the exception of his need to connect with other humans. This is mostly achieved through cam sessions. While sexual gratification is s short-term goal, he’s really looking for companionship. He’s a great online gambler, that’s how he survives monetarily. At the heart of it, he has fallen in love with a girl he doesn’t completely know is real. Vack is excellent. His vulnerability pours off the screen. His portrayal of a seriously flawed and real human being is stunning.
Set in the early ’90s, before Columbine was an event ingrained in history, a child’s innocence was not as easily spoiled as the kids in Super Dark Times. As someone who grew up at the same time as the main characters, I can attest to the typical dangers that surrounded our childhood. We were affected by the national news when a child was kidnapped, but that was about it. On the first evening of this year’s Fantasia Film Festival, audiences will see a film so brilliantly composed from the colors and textures of the costumes and cinematography to the incredibly disturbing storyline from screenwriters Ben Collins, Luke Piotrowski. The power of an act of violence changes a person. Born from that awkward time in our lives comes the idea that fear can control the room, where the older/stronger kids ruled the proverbial schoolyards. Drugs, alcohol, and cigarettes like 
The energy that this film has from the get-go is outstanding. It’s dark and disturbing and throws your understanding of morality out of whack. But it’s the nonchalance of it all that will keep you watching. Unlike creepy couples like Mommy and Daddy from The People Under The Stairs or Mickey and Mallory in Natural Born Killers, Henry and Audrey are simply so casual about everything they are about to do it’s all the more bizarre. After they perform what they believe to be a soul transference, things really go off the rails. Something has gone awry. Their grandson is not the only thing to come into their home. The arrival of a gaggle of seriously disturbing ghosts throws all their confidence out the window. Things do not go well for Audrey and Henry going forward. The devil does not care to be used. The things that appear to everyone in the house are more and more terrifying as the fallout continues. It is ceaselessly upsetting.
Performances from our three leads are outstanding. Konstantina Mantelos as young mother Shannon is the final girl we need to balance out the insanity. Her ingenuity and believable vulnerability is sheer perfection. The terror she experiences is visceral. Helped along by the ghastly practical fx and brilliant performances by the actors playing these tortured souls. The contortionist stylings of one, in particular, gave me full-body chills. The chemistry between Sheila McCarthy and Julian Richings is simply magic. You believe they’ve been married for decades without a thought. They are charming in their sincerity even if their acts are atrocious.
The structure of the story roots you deep into the drama. You’re genuinely invested in everyone. Upon a second viewing, and as a Mom myself, I understand the lengths each character is going to protect their loved one. It makes the stakes so much higher. The writing and editing are top-notch. The complexity is unreal. This was a carefully crafted piece of work. If you can get me with a jump scare after 40 years of watching horror films, well done. Anything For Jackson got me… and held me down.
This is truly a peek behind the wizard’s curtain. The most shocking part of the in-depth conversation with William Friedkin is where he admits what was planned and, more strikingly, what wasn’t. He was often flying by the seat of his pants, but you can tell by the passionate way he describes his process that there was more planning than we can ever imagine. He uses music as a device in directing. In the doc, side by side juxtaposition from other iconic films and scores make his point perfectly. The editing makes you want to have The Exorcist on another screen to experience the full moments that are being referenced in snippets. The meticulously placed subconscious effects on the audience are profound. Once they’re explained, they will blow your mind.
Friedkin’s believes that every moment surrounding the creation of The Exorcist was fate. From getting the book to casting choices, to existing shooting circumstances in Iraq. He uses art to inspire the look of scenes. Discovering the painting that is responsible for the iconic cover art takes your breath away. The battle over the score is nothing short of epic. For someone who boasts about asking for one or two takes, his obsession with the minute details will astonish you. Friedkin is pretty much a mad genius. He explains how his faith had to be separated from the job. The philosophy behind the story is what solidifies the meaning for him. While this is solely Friedkin’s perspective, and we know the permanent physical and emotional damage on Linda Blair and Ellen Burstyn, hearing so much detail from the director’s mouth, his creative process, and the effect the experience had on him is nothing short of fascinating. You don’t have to be a fan of The Exorcist to completely love this documentary. The insight on what goes into making a film come alive is gold unto itself. For genre fans, in particular, it’s magic.
I think sometimes people forget about the importance of sound and score. In horror, they are like an unseen character. In the opening of The Dark and the Wicked, sound and score put you on edge before the title appears on-screen. Christopher Duke, Joe Stockton, and Tom Schraeder, alongside writer-director Bryan Bertino carefully craft that feeling of uneasiness you want in a genre knockout. The premise is relatable enough, to begin with; a brother and sister return to their home as their father lay dying. Something is wrong with their mother. She tries to tell them but can’t quite express what’s invading her house. This plot gets more and more upsetting as clues are revealed. It made my skin crawl.
Stand out performances from Xander Berkeley, Tom Nowicki, Lynne Andrews, and Julie Oliver-Touchstone must be acknowledged. They are all key in the build-up to a shattering finale. Michael Abbott, Jr. is a great foil for Ireland. Their relationship feels very genuine. Marin Ireland is magnificent. The fear in her eyes is everything we feel. They portray the pull of family obligations to perfection. The Dark and the Wicked is one of the most atmospherically disturbing films of 2020. The colors and lighting scream bleak and ominous from the get-go. Smartly used tropes like spooked animals, doors opening themselves, and body horror mixed with ghostly visions let us know things are clearly not okay in this house. The practical fx are gruesome. The build-up is a bit reminiscent of Relic. Long lingering shots get under your skin. Alongside that keen sound is sharp scene editing. It creates small jump scares that have a massive overall impact on the mood. The film relies heavily (and brilliantly) on what you don’t see just as much as completely messed up, mind-bending imagery. The Dark and the Wicked succeeds in creating an unsafe space that is undeniably horrifying. This film literally made me shiver. It is a quick descent into spectacular terror.
In college, I used to drive 8 hrs, regularly, in my car to visit a boyfriend. I was alone. I drove straight through pausing only briefly if I saw families at a busy rest stop. But, I was alone. John Hyam’s new film is everything I was afraid of happening to me on those long rides. ALONE is a bonafide nightmare. The genius of this script is its simplicity. The relatively mundane encounters build in the most honest and horrifying way. Jessica does everything right. But, once a serial killer has you in his sites, there is no escape, or so you might think. The pacing is absolutely perfect. The sound editing highlights the isolation that is evident in the natural setting. The soundtrack beating it all into you. All combined you feel like you’re in Jessica’s shoes. ALONE is a stripped-down genre winner.
Jules Willcox is a powerhouse as Jessica. Her vulnerability is so relatable making it easy to root for her survival. This is a power dynamic that shouldn’t exist but women, in particular, are used to dealing with it constantly. With an evergrowing population of “incel’ culture, walking with your keys between your fingers, pretending to be on the phone, parking under a streetlight, are all small steps we take to protect ourselves. Women are often deemed too emotional until we are tested by the unimaginable. ALONE exploits all that ingrained fear and mixes it with grief. Willcox nails this role from every angle. Marc Menchaca does a brilliant job with physicality. He comes off as visually harmless but he is downright scary. Perfectly balancing emotional manipulation with the brute strength of a psychopath, you’ll believe he’s done this before.
Making its world premiere at Fantasia 2020, The Paper Tigers is endlessly funny with amazing fight choreography. Any time a moment gets serious, a hilarious joke is cracked. It keeps the pace alive and well. Writer-director Writer-director Bao Tran has given audiences a real treat. When I told my husband about the plot, he lovingly jested “I liked it better when it was called Teenage Mutant Ninja Turtles.” And yes, it has a fantastic nostalgia that the series also possessed, and you cannot avoid comparisons to The Karate Kid. These are all genuine compliments. This film is sheer perfection for my generation because it feels like a love letter to martial arts films but has that extra something unique. As someone who is also currently binging Cobra Kai, The Paper Tigers arrives at the right moment.
With a gorgeous opening sequence reminiscent of Creepshow and Spielberg‘s Amazing Stories, ( plus a blink and you’ll miss it homage to director Ryan Spindell as an easter egg) The Mortuary Collection was already going to be one of my favorites at this year’s Fantasia International Film Festival 2020. Honestly, you had me at Clancy Brown, a man who haunted my youth in Pet Semetary 2. The visual textures are nothing short of delicious. This film oozes eerie but in a strangely friendly way. Brown’s overall aesthetic lies somewhere between Lurch and Phantasm‘s Tall Man. It’s beautiful for a genre fan.
This horror anthology is told in chronological era order. Each one stylized to high heaven in all it’s glory. The specificity and care in which the sequences are dressed, the minute details like a nautical wallpaper, or the name of a frat house is not to be ignored. But the homages did not end with the titles. Evil Dead, Corpse Bride, Beetlejuice, The Shining, are only a few films that feel referenced. The performances are outstanding from every single cast member. But I’ll focus on Clancy Brown and Caitlin Custer, specifically. Brown in all his towering presence and booming voice glory is a mere half of this spectacular. His wise, seen it all manner of spookiness is nothing short of perfection. Custer’s smart-alecky persona is an excellent foil here. Her nonchalance both puts you at ease and tips you off to something darker. They are both undeniably incredible.
The Mortuary Collection presents us with morality tales wrapped in scary, unexpected delight. In no way whatsoever does it appear to have been made on an indie budget. It’s simply stunning to behold from every single angle. The practical fx are gross and gorgeous. The storytelling is both tongue-in-cheek and terror-filled. I don’t think I could have asked for anything more from Spindell except perhaps an entire franchise.
Written and directed by Amelia Moses, BLEED WITH ME is an intoxicating look at social anxiety and self-harm. Rowan is the third wheel on a weekend getaway with her work friend Emily and her boyfriend Brendan. After passing out night one from too much alcohol, she awakes to find a cut on her arm. With traces of previously inflicted self-harm scars, Rowan seems hesitant to explain how and why it got there. As fresh cuts continue to appear and as Emily continually suggests that Rowan is ill, the three inhabitants are at odds with the dynamics developing in the small cabin. Is Rowan losing her mind? Is there a more sinister plot? Rowan’s supposed sleepwalking might be to blame.
With what feels like a psychosexual undertone, the relationship between Emily, Brendan, and Rowan has a power dynamic that feels skewed towards Emily’s liking. You can see the shift in power as Emily feels like Brendan is connecting with Rowan. While I initially setup would lead you to believe Brendan is a quiet instigator, but that quickly proves false. When untold secrets are revealed, you begin to feel more unsettled. The film’s look, essentially natural light and fireside chats make for an immediate sense of claustrophobia and foreboding. When you’re left with only your own thoughts, and perhaps the idea that someone is drugging and violating you, it can do a number on your perception of reality. I’m still pondering the ending of the film, and that’s most likely the point. I am left just as dazed as Rowan in the end. Moses has given us a frightening and panic-filled story ripe for the Fantasia 2020 audience. I would love to know what other viewers come away with. Whose side are you on? Bleed With Me is a slow-burn into madness.
Do not watch this film while high. It’s fucked up enough as it is. Writer/director/producer Ryan Kruger does not need you to tell him you had a complete and total mental breakdown while watching. Or perhaps that would be a compliment. Our leading, Gary Green is unreal as a man clearly effed up by aliens. His physical performance is so bizarre it’s perfection. The film is a study in human behavior from an outside perspective. It’s an actor’s dream. Green’s work is award-worthy. With very little dialogue on his end, Kruger’s screenplay allows for him to be totally weird but somehow completely believable in experiencing the complexities of the human race. Sex, drugs, people talking at one another rather than listening pretty much sums it up.
Halfway through it goes from strange to utterly dark, but you’re so far down the rabbit hole it only makes sense. There is a childlike innocence to Green at this point that will freak you out. A sick turn in the plot will throw you for yet another loop. Fried Barry‘s unpredictability is what makes it so arresting. It’s not the alien that’s frightening, it’s people.
You must be logged in to post a comment.