Clocking in at just over one minute twenty seconds (including credits), The Tattooist is the briefest of short films, but has enough visual flair to grab your attention. The story revolves around the murderous exploits of the titular character. Because the film is so brief and quick, it’s barely enough time to fully comprehend how the narrative flows. What we do witness is the kidnapping of multiple people and them being subjected to horrendous torture, that resembles something straight from the Saw or Hostel movies.
When writing reviews I always make a decision of if I want to reveal plot points or spoilers. This isn’t in any way to ruin the experience of the film for people who haven’t seen it, but I like to write as if you, the reader, and me are having a cup of coffee and chatting about a film we’ve just watched together. I find it a lot more engaging and intimate. So I apologise if during my reviews there’s a lot of spoilers, but that’s my process. This won’t be the case with the short film Occurrence at Mills Creek because I’d found it very difficult to fathom anything interesting?
“See me. Hear me.”
So as the dust settles and people start heading back to their normal everyday lives, it’s a time for reflection of the weekend that’s just past.
Horror fans from all across the UK travelled in their droves to attend For the Love of Horror 2019, which took place at Bowlers Exhibition Centre in Manchester.
“A spine chilling death defying experience.”
There’s a problem with Rob Zombie. As a filmmaker he’s a conundrum. He’s a jigsaw puzzle, but with a few pieces missing and those missing pieces are what’s stopping him from connecting fully with fans of the horror genre.
Never has a director in the horror genre been as polarising. There are the people that see Zombie as an extremely creative talent and there are the ones that absolutely despise him
“The evil returns.”
There’s a very poignant line given by a therapist to character Arthur Fleck in the movie Joker that basically sums up its overall message: “Nobody gives a fuck about people like you.” The character of the Joker has been featured on screen four times previously, but this is the biggest change in dynamics than ever seen before. So too is the environments those previous incarnations have played in. This time around there’s no mention of superheroes or capes. This is the most grounded, gritty and most realistic take on the character and the city of Gotham ever.
“Put on a happy face.”
Back in 2015, Ted Geoghegan released his directorial debut We Are Still Here and took a lot of people by surprise, including myself. A well-crafted horror that didn’t follow the same old cliches that a lot of horrors do today. His follow up, Mohawk, is kind of following the same route. Not so much a horror this time, but a film that depicts plenty of horrors and a complete diversion from his previous movie. The tale follows the events of 1812 where war is boiling over between the Americans and the British. Sandwiched in between is the Mohawk tribe who reluctantly refuse to take sides or fight.
“They’re gonna kill us all if we don’t fight.”
Japanese wannabe actress Mayumi is abducted by an absolute nut-job called Vendenski and his hysterically seedy cult – Capital Messiah. They’re feared throughout the criminal community for reasons that are beyond me, but nobody seems to be able to touch them, until Mayumi’s brother, Kenji, travels over in search of his missing sister. Oh yeah, I forgot to mention Kenji is a Karate Master, wouldn’t you just know it? This now sets the wheels in motion for Kenji to stroll around L.A. all brooding and a fish out of water, but cracking skulls as he’s doing it.
“He is no Mr. Miyagi.”
London 1888; the Jack the Ripper murders are gripping the nation and the people of Whitechapel are growing increasingly scared. Chief Inspector Abberline is struggling to figure out who the killer is, and with the added pressure from above to catch the murderer his demons begin to get the better of him. But there is someone out there who wants to help…watching…in the shadows…waiting to strike. Mixing Jack the Ripper and Batman is a formula I’ve been waiting for since reading the steampunk/superhero mash-up Gotham by Gaslight back in 1989.
“There are worse things out there than Jack the Ripper.”
When I first watched Hell House LLC I’ll be totally honest, I wasn’t expecting much. Found footage movies have run their course, but I was genuinely impressed. It had some genuinely creepy moments. Two years later we are given its sequel, Hell House LLC II: The Abaddon Hotel. Now, because I was so surprised by the first installment I was really looking forward to this. Unfortunately after a mere ten minutes into the movie it was evident this wasn’t going to fulfill me with the same joy.
“This hotel has a long history of unexplained events being caught on camera…”
We are here to discuss a horror movie that uses the formula of found-footage. No matter how many times you review a film that uses this technique you can’t help bring up The Blair Witch Project. Unfortunately there will always be comparisons. Films have tried to replicate this style, but rarely succeeded in finding that magic ingredient The Blair Witch Project possesses. Fortunately Hell House LLC breaks the mold. Going into this movie I’ll be perfectly honest I didn’t expect much. In my defense I have had to suffer numerous found-footage movies over the years that are absolute trollope.
“New York’s scariest haunted house tour.”
When Netflix dropped Spanish director Paco Plaza’s new film Veronica earlier this year, I doubt even they predicted it would get the attention it’s had? Some people have dubbed it “the scariest film ever!” and it’s supposedly based on a real events, so naturally I had to check it out to see what all the fuss was about. I’m a fan of Plaza’s [•REC] movie so I knew he would cook up some decent scares.
The story is set in Madrid in 1991 and focuses on teenager Veronica.
“Someone answered your call.”
Matthew Holness is best know for his turn as Garth Marenghi, the darkly comic horror novelist that spoofs trashy 70’s British television, but here in his directorial feature debut there’s nothing humorous, in fact things are extremely grim indeed. What formula he does stick to is keeping with the style of trashy 70’s British horror films.