KILLER
KILLER (Dir. A.D. Smith, 90 min)
After a pandemic strikes the nation, ten friends decide to quarantine under the same roof. Unfortunately, one of them is a killer.
2021, Horror, Theater/Virtual
Neon tubes give the room a slanted, eerie glow. 10 figures, all wearing hoodies and masks are seated in a circle. There are instructions on a whiteboard giving instructions for a game. The game is Killer, a party game, just like W88, where one player tries to stealthily eliminate their enemies without being discovered. Each round, the rest of the players vote to nominate their prime suspect. Only in this game, these 10 figures are tied to their chairs. And when they nominate a suspect each round, someone really dies.
A.D. Smith‘s new independent feature, Killer plays like a COVID-era, black-box theater mash-up of the “Big Chill” and “Saw” In the face of the pandemic, 10 friends have gathered in one house to quarantine together. As what was supposed to be a simple 2-week quarantine (I remember those days…) stretches on, tempers flare, friendships are tested, and relationships are revealed. Oh, and one of them is a serial killer. Finally, a film that asks the hard question: can you really trust the people in your pandemic pod?
The hook is irresistible, and the image of the killer’s surgical mask smeared with a bloody smile will stick with me for a few nights. Unfortunately, the overall plot can’t quite keep up. The narrative dances back and forth between quarantine flashbacks and the harsh reality facing the players trapped in the deadly game. I love a tight 90-minute feature, but this is one film where I wished we had a little bit more exposition.
The player introductions in particular are rushed – you remember them more as archetypes than people. There’s Brandon, the host. Sam, the loveable idiot. Cindy, the girlfriend. Tiara, the troublemaker. Kelly, the sad girl who just lost her mother. Will, the standard asshole boyfriend, and so on. I wish more time had been spent fleshing out these quarantine flashbacks, to complicate some of these initial presentations. This cast is diverse, fresh, and worth lingering on individually for a few more minutes. The film subverts some of these core character tropes by the end of the film, but others are dispatched so quickly you almost don’t realize they’re gone.
Despite these character flaws, the game sections of the film have a propulsive quality that just won’t be denied. I loved the retro video-game feel of the kill sequences, and the neon lighting scheme proves that sometimes the simplest choice is the scariest. Killer brings horror into the pandemic in a way that is fresh, fun, and leaves you asking some complicated questions. Don’t wait until the next pandemic to check it out.
Emily Bennett understands how to accentuate a feeling of claustrophobia. Stuck in a wildly angled apartment, brimming with eccentric kitsch, Charlie awaits the arrival of her girlfriend behind a front door that won’t open. As time passes, confusion arises. Simone should be home by now. Charlie hears voices, doesn’t know what time it is, and things seem to move on their own. Reality shifts under her, and things get worse by the minute.
Dora Madison, as Thea, is fantastic. She’s got this crunchy, stoner vibe. The way she holds the phone during her video calls with Charlie is incredible. It adds to the realism of her party friend vibe. Madison’s laid-back attitude counters Bennett perfectly. Emma Myles, who you’ll recognize from Orange Is The New Black, plays Simone. She’s the photographer girlfriend of Charlie. The script allows her to play both soft and hard moments, and she kills it.
*Warning – this review contains light spoilers*
Woof. That finale would have been tough for any sequel to top, but I was comforted by the fact that many of the same players that made 2018’s entry so successful had returned for 2021’s Halloween Kills (the 2nd entry in a planned trilogy, with Halloween Ends already penciled in for next year.) And, for the first 15 minutes, Halloween Kills is up to the challenge. It doesn’t take us back to Michael in that burning building but instead flashes back to the original night of carnage back in 1978. Here, Green mirrors much of the visual norms of Carpenter’s original film to great effect. It’s a shot of nostalgic adrenaline.
What I don’t understand about this tone shift is why Green would abandon the core tenants of what made his previous film so successful. Maybe he was bored by the previous film’s pacing? Maybe he fell victim to studio pressures to continue to amp things up for a sequel. Whatever the rationale, it was a mistake.
Boasting unbelievable practical FX, the scares in V/H/S/94 are brilliant. I’m talking legitimate, meticulously timed jump scares from every single director. The quality of the film forces you to sit up and pay closer attention, sometimes squinting over the tracking adjustments as they crowd the screen. The V/H/S franchise has been able to capture something glorious beyond the found footage genre. It’s the mystery behind the overall arch that keeps you creeped out and engaged on top of the fantastic individual stories. It’s a double whammy of horror goodness. You’ll shiver and gag and think, “Damn, this is good shit.”
The grand scheme of V/H/S 94, or “Holy Hell,” has the audience following a SWAT team into an industrial building filled with monitors and plenty of body parts. They don’t know who or what they’re searching for, exactly. As they sweep the rooms a new tape begins to play. Each one is completely different and spectacularly twisted. Tape 1, titled “Storm Drain” features a local legend of Ratman. An ambitious reporter and her cameraman get in over their heads. Tape 2, “The Empty Wake,” sees a young woman left to record the wake of a recently deceased man. Alone with a dead body during a storm? No thanks. This segment was my personal favorite. It’s old-school scary meets nuts visuals. I couldn’t help but yell NOPE at the screen, again and again.
Tape 3 “The Subject,” tells the tale of a mad doctor attempting to improve humans with technology. If you ever wanted a live first-person shooter game experience, now you’ve got one. Tape 4 “Terror” takes aim at domestic terrorism with a group of militiamen planning to cleanse America with s monstrous weapon. I also have to mention, director Steven Kostanski’s infomercial “The Veggie Masher.” It’s totally maniacal and random as hell. But at the same time, perfectly harkens back to those 3 am hour-long commercials for ridiculous kitchen gadgets. The finale actually gives you answers. As the 4th installment of the franchise, V/H/S94 makes it clear that these films are alive and well and ready to fuck you up.
“What’s out there, is scarier than what’s in here,” sound like famous last words. Shelter in Place has a relatable setup, especially considering the past 18 months. There’s an empty hotel, a newlywed couple, two hotel staff, and a whole lot of questions. Jonathan and Sara have an enormous chip on their shoulders as they are in quarantine in the beautiful Hollywood Roosevelt Hotel. Sara is an influencer and David moves money around. They fill their time wandering the halls of the hotel, taking advantage of the two staff members, and snooping in places they should not be. Consumed with the boredom and getting on one another’s nerves, Sara finally realizes something is amiss in this luxurious and lifeless hotel.
Ty is the general manager of the hotel, with the patience of a saint. Kevin Daniels plays him immaculately. I think he’s the most nuanced character. Daniels is a star. I’d watch him in anything. Adela is the overly attentive maid from Poland. There’s big Season 1 of American Horror Story energy coming from her. Actress Ola Kaminska gives it her all. She’s eerie as hell. Jonathan is played by Brendan Hines. He’s pretty punchable, super douche, and I do mean that as a compliment. Tatjana Marjanovic is Sara. She’s strong in her emotional journey and has all the makings of a scream queen.
The editing and cinematography are noticeably effective in allowing you to feel trapped and isolated. The use of red lighting is ominous and consuming. Directed and written by Chris Beyrooty and Connor Martin, the screenplay has Sara run out of the medication she’s taking, leading to panic attacks. The realism factor of a couple in lockdown allows Shelter in Place to push genre boundaries. It is anything but your typical genre film. There is some powerfully mean dialogue that will sound familiar to anyone in a relationship crisis. Just when you think the narrative hits a lull, you are reminded that something is very wrong here. While the final 15 minutes is heart-pounding, ultimately I haven’t a damn clue what Shelter In Place‘s ending really means. It’s a lot of successful, slow-burn build-up for a payoff that could have gone a million different directions. I’m not sure this was the right turn.
What would I do if I were trapped in a bathroom with my family? When I watch films, I instantly put myself in the shoes of the lead protagonist. This time was different. I put myself in the shoes of Vinessa Shaw‘s character, Diane. Under the auspice of a tornado warning, the safety of her children is her main priority. No one could have predicted the evil that would ensue as they realized they were on their own. Shaw has a moment so gutwrenching, I could not hold back tears having two small children of my own. John James Cronin is fantastic as Bobby. He perfectly encapsulates innocence and fear.
Sierra McCormick, who I believe was the best part of American Horror Stories, nails it again. Her anxiety is palpable, and she is unafraid to leave it all onscreen. If she isn’t the next genre darling, I’ll be shocked. The script does a great job of highlighting the awkwardness, the lack of privacy, and the growing tension under duress. Who wants to use the toilet in front of your family? Screenwriter Max Booth III provides us with a sharp left turn a third of the way in. The gasp and look of horror on my face must have been hideous. No matter how I assumed this story would play out, that one moment is so mind-blowing it will send chills down your spine. The film’s most impactful aspect is the sound. Man does this cast sell it. Your own imagination is your worst enemy while watching. The ambiguity lets every viewer come away with a different and twisted result. Director Sean King O’Grady has an undeniable hit with We Need To Do Something. Here’s hoping he and Booth team up again and again.
I feared this Martyrs Lane would be overlooked among the plethora of gore-filled content. That would have been the biggest shame to befall this year’s Fantasia International Film Festival. Writer-director Ruth Platt‘s carefully crafted tension and mystery should be celebrated. It has a quieter Babadook energy to it that is unmistakable. The film manages to be both a slow burn and a vice grip of tension. The editing puts your head in a spin in that you’re never sure what is real until the very final scene. Performances are outstanding. The fact that the entire premise mostly hinges on the work of two small girls will blow you away. It is no wonder young lead Sienna Sayer won the Special Jury Rising Star award. Martyrs Lane will hit harder for parents. Any story centered around children begets that internal ache from the very getgo and Martyrs Lane is no exception. It’s beautifully shot and elegantly lit. The exquisite progression in makeup heightens the overall dread. It speaks to the consuming power of grief and secrets. I cannot wait for Shudder audiences to experience this film in a few weeks. This one is special. Undoubtedly, one of my favorites from this year’s lineup.
Perry Blackshear is the man with all the hats taking on directing, writing, cinematography, and producing. One of the best goosebumps-inducing moments occurs in the form of actress Libby Ewing’s hand appearing from nowhere. There is something so startling about this simple action. Its impact speaks volumes. There is a nice connection between the physical and metaphorical. The fight training scenes are a great representation of emotional preparedness. And without spoiling anything, the devil you know is sometimes a safer bet than the devil you don’t. When I Consume You is an addiction allegory. Whether that is drugs or depression, the weight of trauma never quite leaves you. While the pacing of the film had some static moments, overall this is a fresh take on a haunting premise.
A delicious mix of absurdity and folklore, Kratt is everything Fantasia International Film Festival 2021 audiences want in a single film. There’s a plethora of practical FX and gore, but the best moments come from actress Mari Lill as Grandma. Her commitment to the slapstick and over-the-top character changes makes Kratt one of the best films from this year’s fest.
You cannot miss the mockery of government, technology, religion, extremist politics, and everything in between. The score is wonderful and the cinematography is sharp. The script has one of the most brilliant and whip-smart final moments, cranking up the social commentary to 11. Kratt will have Fantasia Fest 2021 audiences doubled over. Whether that’s from gross-out moments or the laughs us up to the individual.
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