Synopsis: After being informed of the sudden death of her long lost composer father (Rutger Hauer), a young virtuoso violinist Rose (Freya Tingley) inherits an old mansion in which he used to live. There, she discovers her father’s final work: a mysterious music score marked with strange symbols. With the help of Charles (Simon Abkarian), her agent and manager, she deciphers the symbols and, little by little, starts to unlock secrets concerning her father’s past, setting in motion the mechanisms of a somber plan imagined since the very day she was born. They soon discover that there’s more to the sonata in question than meets the eye which, when played, triggers and unleashes dark and terrifying forces
When first-person horror video game POV camera work ramped up the discomfort and intrigue even before the titles appear, I was fully immersed in The Sonata. What an interesting choice for a film that only utilizes this mechanism once. I had no idea what I was in for next. What I got, what unexpected and wonderful. Music is a character in this film. The score is as powerful an entity as any actor. Bravo to composer Alexis Maingaud. The Sonata has stunning cinematography. The shots are incredibly thoughtful. The lighting is haunting, perhaps even reminiscent of a Guillermo Del Toro film. The sets are simply breathtaking. The script is complex and thoroughly engrossing with Davinci Code-like intricacies. You appreciate that doom seems inevitable but you are genuinely glued to the screen. Performances, across the board, are magnificent, including the late, great Rutger Hauer. The Sonata is a masterpiece of genre filmmaking.
The Sonata, prominently features Rutger Hauer in one of his last on-screen roles. Co-written and directed by Andrew Desmond, the film also stars Freya Tingley (Hemlock Grove, The Spinning Man) and Simon Abkarian (Casino Royale), and was co-written by Arthur Morin. The film marks Desmond’s feature directorial debut. Screen Media will release the film in theaters and on demand January 10th.
Naomi Watts gives a powerful performance that is so raw, it will get under your skin for long after the credits have rolled. This stylistic film hits a nerve for the viewer instantly. Its claustrophobia consumes you as much as Watts’ character June. Clearly suffering PTSD exacerbated by the current overwhelming outside forces that play out keep June locked in her house 24hrs day for God knows how many years at the point we meet her. Her desperation is palpable. The colors and sound editing combined with brilliant slow-burn pacing make The Wolf Hour hypnotizing. It feels post-apocalyptic. It feels far too relevant. Watts is like a ticking timebomb. Her performance is one of the year’s best. This could have been a stage play based upon its singular location but I’m not sure you could have captured the heaviness of the air and environment in the same way. In film form, The Wolf Hour digs its nails into you in the fiercest way.
The craziest thing is that to say much more about the plot is to do it a disservice. It’s almost indescribable. Love Is Blind challenges the notion of being an to heal inside and out. It’s about human connection.
The uneasy dread comes into the script immediately. An old colonial home in the middle of nowhere is a great place for fear to live. Add a locked door? Yup. I wanna open it knowing full well that’s a terrible idea because obviously bad things hide behind it. But don’t we always want what we can’t have?
Performances are incredibly natural. The chemistry between Simone Policano and Jeff Ayars is magic. The sound editing brings This Is Our Home into another terrifying realm. Brooklyn Horror Film Festival goers must have had an extra visceral experience in a theater. I will fully admit that I covered my eyes and got chills more than once. I had no idea what would be coming next and it scared the shit out of me. There are some truly startling scenarios that will keep you hanging on, every single second with your heart pounding. Beautifully framed and stunningly scored, This Is Our Home proves that if we’re not very careful, grief can consume us permanently.
The 4th edition of Brooklyn Horror Film Festival officially opened last night. Clearly, I want to tell you to go see all the films but as it is highly unlikely you are a Timelord I’ve made some suggestions. Narrowing down 5 films to see at this festival is insanely difficult. BHFF is a unique fest that brings genre filmmaking from around the world to fans who love horror and have an appreciation for the art and passion that goes into getting indie films made and seen! Without further ado, here are a handful of treats you can catch this starting tomorrow!
ZOMBI CHILD
This film has a unique narrative style. Long takes establishing backstory are a stark contrast to the teen angst driven by voice-over lover letters. Weaving the strange but true history of zombification and a young girl’s adolescent heartbreak, Zombi Child presents a story about the lengths we’ll go for love. Cinematically beautiful natural light adds to the atmosphere. Performances are everywhere from subtly grounded to flamboyant and frightening. The script is unexpected but the end result is a bit of a fever dream that will hypnotize audiences.
Jess Weixler easily represents us as the audience. Her sincerity and ability to relate on an emotional level are super refreshing. Her performance feels natural and grounded. Chained for Life also sees the return of Charlie Korsmo ( a childhood crush since Dick Tracy) as the eccentric Director. The level of commitment to this character makes me miss him on-screen all the more. And now we come to our leading man, Adam Pearson. I am completely obsessed with this man. He is phenomenal. I cannot remember the last time a performance felt less like a performance and just simply a documentary. He is mesmerizing and I implore more writers and directors to seek him out and create content for him. The world needs it. Giving voice to those who are almost always exploited for their unique appearance, Chained For Life is a special opportunity to explore inclusiveness, not just in film, but every day.
This spectacularly weird and wonderful film has some of the most biting humor and solid scares. Tone-Deaf is left vs. right, generational romp through madness. The music is in your face and perfect. The script is frankly, shocking. I did not see many of the twists coming and damn, is that refreshing. The hyper Millenial stereotypes show up as modern art fever dreams for our terrifying antagonist, Harvey. Elaborate sets and repeat framing create the illusion that you will be able to predict certain tropes, but you’re dead wrong.
Amanda Crew as Olive is absolutely hilarious in her sense of entitlement and charm. She delivers this dialogue like one who has had to sit through brunch surrounded by girls whose Instagram is life. She is fabulous. Robert Patrick, who always brings to mind a bit of evil from his iconic T2 role, is balls to the wall amazing as the Baby Boomer off his proverbial rocker. As much blood as we see in this film, honest to God, the most startling thing is when Patrick’s character breaks the fourth wall. I was unsure at first if I was seeing what I was seeing, but the monologue lasts long enough for you to realize your perception as a viewer has been skewered. I was genuinely uncomfortable and dammit, I’m a Gen Xer. Writer/Director Richard Bates, Jr. has not only nailed the eccentricities of these two generations but lights a fire under the ass of the audience with quippy dialogue and carefully placed gore (yes, that’s a thing). Tone-Deaf is undeniably fun and fresh.
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