Review Category: Movie

THE OTHER LAMB

PLATFORM: DVD, DIGITAL DOWNLOAD | RELEASE DATE: OCTOBER 26TH, OCTOBER 16TH (MUBI)

The shadow of Charles Manson looms ominously over this, the latest feature from Polish director Malgorzata Szumowska. It’s evident from the off that something isn’t quite right about the all-female community living in the woods. Living under the supervision of a man known only as The Messiah, these women and girls attend to their daily duties while singing the praises of their long-haired and bearded man. Selah (Raffey Cassidy) has never known any different, but even she realises that something might be amiss here. As the Flock goes on the move after being banished by local law enforcement, Selah sets upon the long and difficult road to liberation.

No sleazy exploitation picture this, Szumowska’s slow-and-steady coming-of-age tale is a chilly thriller with more in common with the work of Yorgos Lanthimos than Tarantino. Eagle-eyed viewers will notice that the film even shares a lead in actress Raffey Cassidy; magnetic as the conflicted young Selah. What the film lacks in pacing, it makes up for its gorgeous cinematography, making the most of its remote woodland setting and icy colour palette (filmed in Ireland, pretending to be America). Visually, it’s The Handmaid’s Tale crossed with Shyamalan’s The Village. Tonally, it’s not far off either.

Viewers expecting the thrills and spills of your traditional horror film about woodland cultists may be disappointed – The Other Lamb is a slow, torturous battle for emancipation. Its story is not especially original and the storytelling is muddled at times, but that doesn’t make this film any less powerful. This is provocative, disturbing, and deeply unsettling cinema… and all without a single jump scare or flamethrower in sight.

INHERITANCE

PLATFORM: NETFLIX | RELEASE DATE: OUT NOW

Lauren Monroe is the eldest of two in a wealthy, successful family; she’s District Attorney, brother a senator, and Dad… a… banker? Gambler? Rich, anyway. And clearly awful. Anyway, after the Dad’s sudden death Lauren inherits his secret, which is that [SPOILER ALERT] Simon Pegg is buried in a bunker at the bottom of the garden. If you can continue a plot from that which only builds in tension and intrigue, then you’re a better man than writer Matthew Kennedy and director Vaughn Stein.

Chained and haggard Pegg slowly reveals his identity and background, but with sufficient sense of unreliable narrator for you to wonder what really happened. However, also with sufficient evidence that Lauren’s Dad chained him up in the bottom of his garden without due process for you to think “Call the police Lauren! What is wrong with you, you horrible woman?!”

Pegg is trying his hardest throughout (and having much more fun towards the end) although his channelling of Jack Nicholson would feel less heavy-handed if he wasn’t constantly saying “You want answers? You want the truth?”. In fact, the whole cast do try, but the dialogue is often quite weak, particularly in the long-awaited Rashomon moment reveal.

Inheritance’s central theme seems to be the unearthing of dark secrets beneath the perfect family but this image is undermined by the fact that even Lauren seems like a stroppy cow, with the rest of the family ranging from shit-eating smug to obnoxious bully, to toxic trophy wife, and the first secret we learn is that THEY’RE KEEPING SIMON PEGG AT THE BOTTOM OF THE GARDEN. Genuinely though. Where could you go from there?

VAMPIRES VS THE BRONX

PLATFORM: NETFLIX | RELEASE DATE: OUT NOW

The spirit of the 1980s, embodied in fun flicks such as The Goonies, Explorers, Flight of the Navigator etc, and already wonderfully evoked on TV’s Stranger Things, lives again in this charming, boisterous entry-level horror movie designed to introduce younger viewers to the world of the undead without giving them screaming nightmares.

The Bronx is slowly being gentrified; buildings are being bought and businesses bought out by the sinister-sounding Murnau Industries (see what they did there?). A likeable bunch of youngsters, already determined to save their local bodega from closing down, begin to suspect that there’s something very strange in the neighbourhood when people start to disappear. Bobby Carter (Gerald Jones III) witnesses a vampire attacking a local gangster and along with his friends he discovers a nest of bloodsuckers spreading out across the Bronx under the cover of a creeping and beneficent incursion into the district. All they have to do is convince their parents and the authorities that Murnau Industries isn’t quite what it appears to be.

Vampires vs the Bronx, despite its rather silly and lurid title, is a lot of fun, a real family horror film bursting with heart and passion, a familiar story of young friends enjoying a wild adventure with plenty of scares and mild jeopardy but no real blood-curdling horror. For all its vampiric snarling and slightly cheesy 1990s special effects there’s no bloodletting at all in this nippy, sprightly little film that stars a great young cast of unknowns and plays gamely with all the familiar tropes of the vampire genre. A happy Halloween horror treat!

ORÍGINES SECRETOS (UNKNOWN ORIGINS)

CERT: 18 / NETFLIX / RELEASE DATE: OUT NOW

Unknown Origins – although surely, given the movie’s Spanish title and its subject matter, Secret Origins is a better translation? – is a Netflix original from Spain, which is proving to be quite the fertile ground for the company.

Adapted by David Galán Galindo from his own novel, the movie opens with a gruesome murder scene which puzzles Madrid homicide detectives Valentín and Cosme until Cosme’s comic book-loving son Jorge realises that it is an attempt to recreate the secret origin of the Incredible Hulk. Further crimes matching the pattern emerge and the race is on to discover just who is responsible for the killings, and what their ultimate game may be.

Javier Rey is just there as Valentín, and the film’s real stars are Brays Efe as Jorge and Verónica Echegui as cosplaying head of homicide Norma, adding some gravitas to roles which – especially in the case of Jorge – appear to have been written as mere ciphers. Galindo’s story stretches credibility to its limits, and while it doesn’t require a deeper knowledge of comic book history it is certainly enhanced by one. The ultimate reveal is fine and would have had more impact if Valentín were a more likeable character.

Unknown Origins does something unusual with the superhero genre, and is paced well enough to keep your attention throughout. If Galindo had fleshed out his characters a little more, this might be another Netflix hidden gem; as it is, it’s merely not a waste of your time.

G-LOC

CERT: 12 | PLATFORM: DVD, BLU-RAY, APPLE, AMAZON, GOOGLE PLAY | RELEASE DATE: OUT NOW

Director Tom Paton is best known for his low-budget and high concept Sci-Fi movies, that tend to focus on cool action sequences, breath-taking locations and snappy dialogue. G-LOC is perhaps his most ambitious movie so far, being a pure sci-fi movie set mostly aboard space-ships.

In G-LOC, the Earth is about to die. Humans are fleeing to another world called Rhea but thanks to complications with space-travel and time-dilation, the humans on that world aren’t keen on a regular flood of refugees. Stephen Moyer plays Bran, a man desperately trying to flee Earth because he has nothing else to lose. He’s assisted by Edison, an AI assistant which looks very cute and is brilliantly sarcastic. Edison is voice acted by Mike Beckingham; a regular with Tom Paton’s movies and we can see why; despite being only a voice in a box, Edison’s performance is resonant and memorable.

Bran’s efforts to flee Earth are hindered by those on the Rhean supply ship, namely Ohsha (Tala Gouveia) and Decker (Casper Van Dien). We get the occasional flashback to Earth to add some extra pathos to Bran’s journey, but mostly it’s contrast the vast open skies of Earth to the cramped and hostile confines of the space-craft. The performances are pretty strong; Moyer’s desperate refugee plays well against Gouveia’s working-class every-person. Van Dien also delights in his role, chewing the scenery when he can.

G-LOC is an old-school sci-fi tale. It addresses current issues by using the future as a way to explore the past and present. It’s low-budget is quite obvious and we would really love to see what Paton can do with some heroic funding.

CATS & DOGS 3: PAWS UNITE!

CERT: U / RELEASE DATE: OUT NOW (CINEMAS)

Way back in 2001, Lawrence Guterman’s high concept family comedy Cats & Dogs pitted cats and dogs against each other with a spy thriller spin and while some mean old critics were sourpusses about it, the film was a box office hit, with a very fun concept that was well executed, boasting a strong cast and some memorable characters. Nearly 20 years on however, the franchise feels like it has aged in dog years.

2010’s Cats & Dogs: The Revenge of Kitty Galore was pretty poor but my word Cats & Dogs 3: Paws Unite! sadly is a pavement foul of a trilogy closer. A mostly standalone film (with links being formed only through the concept and a passing mention of previous series baddies), Paws Unite! sees a world where some degree of harmony has been reached between the two species, who work at the agency together to keep the peace. But a new threat rises, when a mysterious and sinister transmission promises to have cats and dogs back at each others throats. And it is up to a ragtag crew to stop this plot from an all new villain.

While there is definitely an idea here in the concept of secondary pets wanting revenge on cats and dogs for pushing them to the sides of adoption (a premise you could do something with), you sadly know that you are in for a “ruff” ride when the script makes such a big deal of its oh so hilarious agency acronyms that spell out F.A.R.T and P.O.O.P. Paws Unite! may have received a cinema release here in the UK due to COVID but cannot hide its home video (which it was virtually everywhere else) DNA.

This sequel, with its many cliches and story that invites blasé feeling, is atypical ‘straight-to-disc sequel based on a once popular brand’ fodder. The animals are cute (we love animals here at Starburst) and are also the best actual actors in the entire movie too and yes, it is harmless and inoffensive for the very youngest of audiences, but there is virtually nothing here to distinguish this from any other talking animal picture ever made, save for its tentative connection to a popular past film. In fact, you would be better served just going back and watching that to be honest. As it holds up miles better than this.

One memorable character emerges in vengeful lizard Zeke (Paul Dobson) but the lack of energy and indeed the absence of the original’s scene-stealing villain Mr. Tinkles, even in cameo form, only adds further disappointment to a “sequel” that is eye rolling more than it is side splitting. With its moments of wonky editing of real pet footage, ropey mouth moving CGI and gags that are completely stale, as well as a human story that is as beige as it gets, Cats & Dogs 3: Paws Unite! often unfortunately reminds you, exactly why it is a film that you had no idea was even being made. Still, the animals are absolutely lovely!

THE DEVIL ALL THE TIME

PLATFORM: NETFLIX | RELEASE DATE: OUT NOW

Lodged between World War II and the Vietnam War, The Devil All the Time tells the story of Arvin (Tom Holland) whom, while protecting his family from unforgiving forces, is trying to live with a traumatic past. For fans of the original source material, you will be pleased to notice that the narration is done by none other than the author of the book himself, Donald Ray Pollock.

Disturbingly setting the stage is Arvin’s Father, Willard (Bill Skarsgård), who is vital when it comes to influencing Arvin’s future actions, and protective nature. Maybe most importantly, he proves to Arvin that you can fight your corner, if you pick the right moment. Also doing a terrifying, but precise job at nailing the gruesome tone in its opening segment is a frantic, and career changing turn from Harry Melling, as the maddening preacher Roy.

Accompanying the main plot are isolated stories that have frightening, corrupt leads obeying their delusional thoughts. From Robert Pattinson, Sebastian Stan, Jason Clarke, and Riley Keough, we dig into the chilling side of their acting portfolios, and it’s this effort that makes for satisfying viewing when our hero Arvin is seemingly forced to cross their paths.

Antonio Campos and Paulo Campos have made a shocking, complex film, that behind the curtain describes the intense connection humans can have with religion, and how that belief in a higher being can at times be taken advantage of to cover up evil acts. This is one of the most ruthless, yet gripping Netflix Originals to date.

TRAIN TO BUSAN: PENINSULA

PLATFORM: CINEMA, DIGITAL DOWNLOAD, BLU-RAY, DVD | RELEASE DATE: NOVEMBER 6^TH (THEATRICAL), NOVEMBER 30TH (HOME VIDEO)

Four years after Train to Busan, this second sequel (following Seoul Station) strives to do something different with the franchise but flounders under the weight of its underdeveloped characters, concepts, and subplots. The script follows a group of Koreans living in Hong Kong who return to a quarantined, zombie ravished Incheon to retrieve a truck containing $20 million. Naturally, their path is beset with the salivating undead but it’s more than just zombies the gang should watch out for.

The plot, led by established protagonist Jung-seok (Don-Wong Gang), splinters into several strands which, when combined make it muddled and chaotic. Potentially interesting supporting characters are introduced but are not developed enough to lend weight or resonate. A prologue provides context and compels momentarily but emotional/character arcs are sacrificed for synthetic CG laden set-pieces that unravel like glitching screensavers.

The lawless, post-apocalyptic Incheon and its survivors, led by an ex-military dictator-like sergeant Hwang (Min-Jae Kim), provide the backdrop for a gawkily woven second half which connects family dramas to the cash stash and a separate rescue mission, not to mention the zombie apocalypse itself which saturates the milieu like a franchise anchor, stunting both character and narrative growth.

Act 1 amuses along with later rambunctious set-pieces yet Peninsula feels panic-fashioned to be epic and distinct, resounding as a protuberant cash cow drained to enervation. Peninsula adheres to contentious franchise characteristics and tries to do, and be, too much at once. Despite these grand ambitions, this (hopefully) final entry is a superfluous zombie clotted CG kerfuffle and discombobulating VFX smudge that’s a sometimes fun but frequently unfocused victim of its own branding.

SAINT MAUD

After months of many turgid to mid-range horrors slinking onto our home viewing platforms finally a bona fide genre masterpiece arrives, and deservedly in UK cinemas. Saint Maud is a skilfully crafted scare-fest augmented by fascinating characters, spellbinding performances and terse storytelling, that twists and terrifies as much as it enthrals.

Writer/director Rose Glass’s feature debut tells the tale of a God-fearing palliative carer, Maud (Morfydd Clark), who is assigned to chain-smoking, 49-year-old ex-dancer Amanda Kohl (Jennifer Ehle); a burnt-out diva with stage 4 lymphoma. Amanda initially seems to quietly consider her carer’s religious convictions as idiosyncrasies so facetiously joins her in prayer. Maud is taken aback by her new patient’s brazenness but the two bond when Amanda takes comfort/finds humour in Maud’s dainty, ecumenical ways. The couple’s friendship is tested further after Maud attempts to purify Amanda by ridding her life of sin. But when this is met with retaliation Maud realises saving Amanda’s soul might cost her, her own.

The story delivers a dark and dreamy array of off-kilter characters in a slickly captured British seaside town. Repression, ulterior motives, manipulation, and psychosexual tension govern the lead characters, reinforcing Rose Glass’s tightly structured tale with conflict, complexity, and subtext. This interplay, coupled with two sensational lead performances enrich the drama and heightens tension, especially when key character’s crack in the latter half and the plot deviates from one of internal conflict into total terror and psychosis.

Glass works wonders with her foreboding, frontal lobe probing, pulse-raising feature debut. Cinematographer Ben Fordesman’s visuals also contribute to making Saint Maud so alluring and delectable. Rustic, near burnt, Gothic interiors recall the likes of Hammer, some Neil Jordan, and a nip of lurid ‘70s horrors like Audrey Rose, Full Circle, and Deep Red alongside José Larraz’s Symptoms and Vampyres, by way of Polanski’s Repulsion. Dimly lit golden browns and crimson room tones recall Peter Strickland’s brilliant In Fabric, but Saint Maud is a slightly stronger work with surplus skull-rattling scares which liquify pineal glands and frazzle noggins to a fear-induced stupor while syphoning fluid from other quavering organs.

Saint Maud starts as seething and creepy but flits into an electrifying riptide through hell by way of religious lunacy; elegantly blooming into an introspective, hallucinogenic, unholy, tweaking nightmare about how the redeemed can derail into isolation, delusion, paranoia, and delirium. The story then simmers from a slow burning skin crawler to an explosive, electrifying and frightening finale with the power to haunt your soul. It’s both terrifying, beautiful, subversive, and skewed as though viewed through a warped glass of port. Saint Maud is not only one of the best horror films of the past decade, but probably one of the best British horrors of all time.

MADEMOISELLE (1966)

CERT: 15 | PATFORM: BLU-RAY+DVD | RELEASE DATE: OUT NOW

In the decades since its release in 1966, director Tony Richardson’s arthouse study on eroticism and social ostracism Mademoiselle has continued to divide the critics. Richardson’s immersive black-and-white treatise on transgression and individualism in rural France is infused with the sensibilities of French art cinema. Jeanne Moreau stars as the titular schoolteacher, a sociopath determined to bring misfortune down on her rural community. She’s a menace: causing floods, setting fires and poisoning livestock. Her anti-social behaviour is driven by resentment and unfulfilled desire, although she later consummates a relationship with a woodcutter who she ultimately betrays.

Prior to his work on Mademoiselle, Richardson had made the social realist classics A Taste of Honey and The Loneliness of the Long Distance Runner and the broader comedies Tom Jones and The Loved One. In complete contrast, Mademoiselle is a highly stylised, languid art-flick bursting with abstract symbolism and metaphor. Fans of the movie herald it as a beautifully shot exposition of alienation and deviancy; while many unimpressed reviewers have instead dismissed it as banal and pretentious twaddle. It’s certainly a distinctive film, lit up by an extraordinary performance by Moreau. But Richardson’s reluctance to compromise in bringing what is a very esoteric and contrived vision to the screen has always repelled as many viewers as it has impressed.

The film is well served by this latest release by the BFI. In addition to the usual photo gallery and trailer, there’s an illustrated booklet of essays, an interview with actor Keith Skinner (who played the young Bruno), and the 1982 BFI drama Doll’s Eye. A knowledgeable and persuasive audio commentary by the film critic Adrian Martin is particularly recommended.