SCREAM VI
Scream 6 brings Ghostface out of Woodsboro and onto the bustling streets of New York City. When the film opens, Sam and Tara Carpenter (Melissa Barrera and Jenna Ortega) have seemingly left the trauma of the 2022 Scream reboot/sequel behind them. Tara is enrolled at the fictional Blackmore University, and Sam is getting the therapy she likely desperately needs to unpack her serial-killer linage (she’s the secret daughter of Billy Loomis, one of the baddies from the original 1996 film) But, since this is a Scream film, we know that it is only a matter of time until another psychopath adopts the Ghostface persona and comes after them.
2022’s reboot thrived by finding the perfect balance of new + nostalgia. While that film could be seen as a symbolic passing of the torch from Neve Campbell’s Sydney Prescott to Barrera’s Sam, it is still jarring to watch a Scream film without Sydney. Especially when Scream 6 is so clearly inspired by Scream 2 (talk about sentences you never think you will write), which similarly followed Sydney as she escaped Woodsboro for a fictional college setting. This time though, Courtney Cox is the only original star returning, and she struggles to provide a meaningful link to the weight of original films. Honestly, with so many of the other beloved characters missing in action, a clean break might have been the better approach.
Despite all of the changes, Ghostface remains as sharp as ever. There are even more kills, and they are bigger and gorier. This film makes the most out of its R- rating. There are also great homages to the past films (so much so that the film had me begging for one twist that never materializes – maybe next time!)
The much-promoted New York setting ultimately feels a bit underused – filming actually occurred in Montreal, and there are only a few scenes that truly attempt to capture the energy of the city. It’s a shame because those scenes are some of my favorites in the whole film. There’s a moment where Sam and Tara hide from Ghostface in a bodega, only to realize that this killer is willing to use weapons even more deadly than a knife. Another scene on the NYC subway captures the rising anxiety facing the city’s public transit today, where a rise in unprovoked attacks has left citizens suspicious of their fellow passengers. But that’s largely it – it feels like a waste of the setting (although to be fair, New York has posed a challenging setting for horror films in the past.) What about Ghostface popping up in a cab, a chase through central park, or a set piece on one of the iconic bridges?
Overall, the talent of the core cast and the film’s passion for the rich history of the franchise more than make up for its shortcomings. But the inevitable Scream 7 should make sure to stay on its toes, or else risk that the stabbings will start to get stale.
Ezra Buzzington is the hard-line skeptic as Paul. Clad in his Magor’s uniform bespangled with medals, his bristly approach to patriotism is all too familiar even now. His audibly growing disdain makes the audience squirm. Jeremy Holm is Archie. He has the perfect touch of panache from his slicked-back hair, mustache, and crimson jacket. His looming figure, combined with his humor, creates a dazzling performance.
Colm Meaney is the abusive Daddy Whelan, heading up the unsavory local family fixing the cottage. Proud and fiery, he is just as volatile as his children. Jaime-Lee O’Donnell and Chris Walley make the aggressive audience relentlessly uncomfortable with their behavior and nationalist words. Kristian Nairn plays Eoin, the quiet, clearly complicated, deemed “simple” son of the Whelan crew. Nairn gives a brilliant performance, more complex than at first glance. 
Douglas Booth wears his emotions on his sleeve as Jaime. He is charming and kind but channels his unresolved trauma into simmering anger and anxiety. Hannah John-Kamen is enchanting and vulnerable. She owns the screen in her self-assured presence. Her chemistry with Booth and the rest of the cast keeps you watching.
The script is a dark adult version of a Grimm’s fairytale. Costumes are as colorful as the scenery is lush. Gorgeous drone shots down windy roads are breathtaking. The score creeps up on you. The first appearance of the elusive creatures is reminiscent of 80s Jim Henson; think Hoggle and the goblins from Labyrinth. They are awesome in the truest sense of the word. As a person who has been pregnant twice, the violence in the film is visceral. The commitment from the cast is applause-worthy. As the impressive practical effects get more intense, so do their performances. You will find yourself wincing and giggling simultaneously. Yes, it is over the top. And yes, the ending is a real WTF. Just go with it and have fun because in UNWELCOME, keeping the tradition alive keeps you alive.
Pure O
Raging Grace (United Kingdom)
Another Body
Swallowed is a genre-obliterating film with fantastic performances. Jena Malone adds gritty believability. To no one’s surprise, she manages to bring charm and intensity. Koch and Colon have spectacular chemistry, and you 100 percent buy their relationship. Koch possesses an accessible vulnerability. Colon’s honesty feels grounded. Bravo for their openness to go full frontal nude. We all know how rare that is, and it makes complete sense given the plot. The film also features a solid villainous turn from Mark Patton, a genre legend from A Nightmare on Elm Street 2. One line, in particular, is slyly redemptive given his status in the horror canon.
The camera work has visceral intimacy. Writer-director Carter Smith (The Ruins) gives audiences a unique genre entry, with the leads being LGBTQ male characters in scenarios we usually see female characters tackle. Swallowed is part crime thriller, part coming-of-age, and body horror. This film is an LGBTQ scenario of nightmares. Get ready to squirm.
It stars Jena Malone (The Hunger Games Film Series, Cold Mountain, Stepmom), Mark Patton (A Nightmare on Elm Street 2: Freddy’s Revenge, Freddy vs. Jason), Cooper Koch (Fracture) and Jose Colon (Feature Acting Debut)
One of the most extraordinary and exciting cinematic experiences of the year, GRIMMFEST 2023 audiences got a taste of the uniqueness of Moon Garden. A five-year-old girl’s trauma manifests as bizarre and visceral images as she sits in a coma. The audience hears the real-time action as the doctors and her parents navigate their tumultuous relationship. Guided by her parents’ voices, Emma attempts to escape her mysterious prison world, wading through creatures of good and evil. Moon Garden is an industrial steampunk fairy tale that is relentlessly haunting and undeniably riveting.
Moon Garden is character and world-building at its best. Fascinating and terrifying all at once, we are right alongside Emma in this frightening in-between existence. A bit of Return To Oz with a touch of Pan’s Labyrinth, the magic of Moon Garden grows with each passing second. The editing is stunning. In addition to the monstrous action, writer-director Ryan Stevens Harris incorporates memories, giving Emma the tools to survive in her strange surroundings. It’s a beguiling screenplay tackling love and fear. 
Ashleigh Murray is Alex’s best friend, Grace. She gives us the perfect balance of sweet, supportive, and firey. She’s a foil for Beauchamp. Sherri Sheperd is outstanding as Alex’s AA sponsor Ronnie. This is a fantastic turn filled with grounded concern, loving energy, and wise words. Her calm demeanor balances the chaos beautifully. She is a thoughtfully curated character.
Jonny Beauchamp plays Alex. Writet-director Barry Jay‘s screenplay allows him to show his vast range as he assumes some of Shane’s personality traits as the story progresses. Beginning as a meek and mild, lost young man, Alex slowly becomes increasingly more aggressive. Mike C. Manning (Slapface) throws you off balance from the moment he appears onscreen. He oozes toxic masculinity, helped by his intense workout obsession and the score. Shane goes from subtle to overt manipulation quicker than I expected. He is downright scary. While Manning portrays the ultimate gaslighter, his character is more nuanced than at first glance.
Overall, the lighting is a bit dark for my taste, but the score is carefully crafted and smartly used. The script morphs into a sick and twisted revenge story I did not see coming. There is a complex moral ambiguity that is endlessly intriguing. The Way Out is an unexpected journey of self-discovery and one credible psychological thriller.
Like in The Blair Witch Project, each character goes by their real-life name. Banfitch is the sole cinematographer. The shaky handheld camerawork gives the film solid legitimacy. The sound editing varies based on the speaker’s proximity to the camera, lending to the validity of the experience. With the film opening with a horrifying 911 call, memory card number one contains relatively mundane introductions to the characters. Background information reveals itself in what is essentially Robbie’s private vacation footage. But, you’re so entranced by the opening audio, you become obsessed with discovering the cause of those screams. That, my friends, is compelling editing.
Card two introduces the mystery in earnest. Card three is chaos. 99.9% of the film occurs through Robbie’s lens’ perspective. Much of the explosive final hour is lit by nothing but a flashlight. Therefore, a great deal of what we can’t see paralyzes us. Don’t for a second think that the daylight is any safer. What we do get a glimpse of is gag-inducing and chaotic fear. Ultimately, the ear-piercing manipulation of sound grabs you by the throat. I forgot to breathe. Fair warning: Everything is so dizzying you may get queasy. The script evolves in such a clever and unique way I just resigned myself to yelling. “WTF?!” at each new reveal. It simply keeps going and going. I stopped trying to figure out which way was up. THE OUTWATERS‘ final few minutes made me gasp. If that’s not an endorsement, I don’t know what is. Robbie Banfitch is the next great horror auteur. No one can take that away from him.
The film utilizes classic devices. Mirrors and reflection play a dual role. Reds and fuchsias feature prominently in the form of nail polish, shoes, a toothbrush, Kyoko’s blouse, a robe, and phone case, and most importantly, the scar. I can see why this was such a hit on the festival circuit. WOMAN OF THE PHOTOGRAPHS begs a larger conversation about image and self-worth as dictated by the internet and society.
The writing is perfectly genius, as it disguises the mystery within the secretive nature of the religion. I watch a lot of horror. ATTACHMENT had me on the ropes. I had no idea where this script would land. The language barrier raises the stakes, as important revelations become lost in translation, literally. Performances are spectacular and nuanced. The emotional journeys are lush. Their pasts slowly revealed creating a genuine and curious bond. I could not take my eyes off the screen while watching Attachment, fearing I’d miss the smallest detail. Audiences will be hypnotized.
Although the zombie makeup is not great, costumes and general makeup are thoughtfully aged and disheveled. Something that is usually a sticking point in low-budget apocalyptic films. I was equally impressed with the locations. It appears the filmmakers had a lot of options, and they used them to their advantage. Performances are strong all around. A large ancillary and featured extra cast makes for a more impressive final product.
While the drama is a touch overplayed, perhaps akin to a Lifetime drama hokeyness, that does not lessen the intriguing arc in a genre that is tricky to conquer with new ideas. So while we’ve seen the sentimental attachment aspect in the past, the surprising plot point surrounding the very badass Ellen Hillman was phenomenal. Alive‘s final reveal garnered an honest, approving nod from me. I applaud the passion and commitment of writer-director David Marantz. It undoubtedly has an audience.
The film begins with intriguing flashbacks of a cult murder, newspaper clippings, and a hauntingly saccharine song. The setup immediately captured my attention. A sudden shift in style and time reveals Karma and Sunny living in fear and relying on the kindness of former cult members for protection. Small crumbs of cult life are just enough to keep you invested in Karma’s fate.
Michael Madsen is vile. His iconic voice serves him well as Paul, giving him an effortless presence. He could have been made more menacing with a few tighter shots overall. Kimberly Alexander plays Sunny with extraordinary nuance. This roller coaster ride of a role spans every emotion; adoration, cruelty, and unadulterated honesty. Alexander goes for it.
It takes a solid 25 mins to get to any action, but then it is pretty much maniacal from there on out. The plot gets more sick and twisted as we roll along, both physically and psychologically. WAKING KARMA shines brightest in the scenes between mother and daughter. The shockingly devastating dialogue by director Liz Fania Werner with co-director Carlos Montaner‘s DP work almost demands an in-depth 
The thrill of taking the otherworldly hand becomes like a drug to the group. This shockingly dangerous behavior throws me back to my teen years, forcing this horror fan to wonder if I would suffer the same fate. A goody two shoes concerning drugs and alcohol does not negate my risky excursions in the New England woods in the pitch black of summer nights. As Mia and her friends battle the typical parental control and need to fit in, their heightened chase of danger spells nothing but doom. Writers Bill Hinzman and Daley Pearson, with concept by Danny Philippou, give us all the background we need to get sucked into this wild scenario, leaving just enough mystery to keep us salivating. 
The practical fx are solid. The film’s special effects makeup team does a remarkable job of creeping the audience the fuck out. The work becomes more elaborate as the story progresses. It is spectacular. 
DUNGEONS & DRAGONS: HONOR AMONG THIEVES TO OPEN FEST
Flamin’ Hot
Parachute
Angel Applicant
Down Low
A Disturbance in the Force
Brooklyn 45
Breaking Fast with a Coca Cola
I Probably Shouldn’t Be Telling You This
The Bus (Spain)
Beyond The Fringe (Spain)
Dead Enders
Breaking Silence
Aespa VR Concert at Kwangya (Republic of Korea, U.S.)
Eggscape (Argentina)
Even though the script overflows with tropes, they are masterfully woven into a compelling narrative. As multiple complications arise, the camera finally moves in a smooth dronelike manner. Then the gore hits us right in the face. *nudge, nudge, wink, wink* I would pay so much money to experience YULE LOG again in 3D. No, seriously. Also, don’t for a moment think you have the slightest idea of what comes next. YULE LOG is absolutely deranged and ridiculously entertaining.
Performances are outstanding. The commitment to the absurd is perfection. With shocking emotional swings and spectacular editing, there is not a slow moment. How Adult Swim managed to sneak in a last-minute horror film without Warner Bros. knowing blows my mind. It’s a holiday miracle. The creativity applied to this low-budget and undeniably genius production makes it one of the finest genre films of the year. YULE LOG is a Willy Winka mindfuck of a revenge horror. Don’t dare leave before the credits. You’ll miss out on writer-director Casper Kelley’s original theme song. It’s one final bizarre and brilliant stocking stuffer.
The noteworthy turn comes from Cindy’s neighbor Doc Zuess. John Bingham, whose character is reminiscent of Roberts Blossom from Home Alone, is brilliant. His performance legitimizes The Mean One, bringing it out of its Hallmark moments.
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