{"id":79084,"date":"2015-08-29T09:52:54","date_gmt":"2015-08-29T08:52:54","guid":{"rendered":"http:\/\/www.scifinow.co.uk\/?p=79084"},"modified":"2015-08-29T09:52:54","modified_gmt":"2015-08-29T08:52:54","slug":"frightfest-2015-day-2-ghouls-ghosts-and-devils","status":"publish","type":"post","link":"https:\/\/www.scifinow.co.uk\/reviews\/frightfest-2015-day-2-ghouls-ghosts-and-devils\/","title":{"rendered":"FrightFest 2015 Day 2: ghouls, ghosts and devils"},"content":{"rendered":"
\"Dean
Dean Cates and Lauren Ashley Carter make a shocking discovery in Pod<\/figcaption><\/figure>\n

After the previous night concluded with the giant wasp antics of Stung<\/em><\/strong>, FrightFest Day 2 got off to a slightly more grounded if decidedly more intense start with Mickey Keating\u2019s gripping cabin in the woods horror Pod<\/em><\/strong>. Lauren Ashley Carter (The Woman<\/em><\/strong>, Jug Face<\/em><\/strong>) and Dean Cates star as a pair of siblings who head up to the family cabin to stage an intervention for their returned\u00a0veteran brother Martin (Brian\u00a0Morvant), who they believe has gone off the rails alone in the woods. Upon their arrival, it soon becomes clear that Martin is definitely in a state of distress, but is he telling the truth about the government experiments? And what is the pod?<\/p>\n

Keating delivers an excellent debut that makes very good use of its isolated location and modest budget. Although it starts on familiar ground, Keating builds convincing characters first,, working with his actors to create a flawed but watchable leading trio (control freak, borderline alcoholic, possible schizophrenic) before confidently slipping between genres to create something that\u2019s unpredictable and highly entertaining. With excellent performances from the lead trio (and a welcome appearance from genre legend Larry Fessenden), Pod<\/em> <\/strong>is a terrific, gripping indie horror that has plenty of surprises up its sleeve. You\u2019re going to want to catch this one.<\/p>\n

\"Trick
Trick or treaters have a big surprise for Chloe Rose and Robert Patrick in Hellions<\/figcaption><\/figure>\n

In the main screen, early risers were rewarded with Hellions<\/em><\/strong>, the latest from Pontypool<\/em> <\/strong>director Bruce McDonald. Chloe Rose plays Dora, who finds out that she\u2019s pregnant on Halloween. After her mum and younger brother head out to trick or treat, Dora is visited by a very creepy kid in a Halloween costume who seems to know about her baby\u2026then another. What do they want?<\/p>\n

McDonald kicks things off with plenty of gorgeous\u00a0small town Halloween iconography before taking a very welcome left turn into his lead character\u2019s nightmare. The bulk of the film is tinged with a striking pink hue (blame the Blood Moon, possibly) as storms rage inside the house and time becomes meaningless. Characters pop up from time to time\u00a0to\u00a0try and help, like\u00a0Rossif Sutherland\u2019s elf-eared doctor to Robert Patrick\u2019s gruff-but-kindly cop, but this is very much Dora\u2019s journey, as the kids make clear with their horrifyingly precise descriptions of \u201cwhat happens next.\u201d It\u2019s very impressive how McDonald manages to create a properly creepy Halloween movie (those masks) while pushing for something unique. His approach may shake a few viewers off along the way, but we loved this striking seasonal chiller. It’s creepy, it’s hugely atmospheric, it’s beautifully shot\u00a0and we can’t wait to see it again.<\/p>\n

\"Taking
Taking a bite out of Wind Walkers<\/figcaption><\/figure>\n

Next up, the discovery screen played host to Wind Walkers<\/em><\/strong>, from writer-director Russell Friedenberg. A hunting trip in the Florida Everglades is already decidedly awkward due to the tension between the bullish Sonny (Glen Powell) and twitchy returned veteran Sean (another strong turn from From Dusk Till Dawn<\/em><\/strong>\u2019s Zane Holtz). Things get really ugly when something starts picking the old friends off one by one\u2026Wind Walkers<\/em><\/strong> is an ambitious piece of work, attempting to blend psychological chills with monster movie fun (Predator is a clear influence). The use of Native American mythology combined with Sean\u2019s Afghanistan trauma is a nice approach\u00a0that pays off handsomely, the performances are mostly good and it hits more often than it misses. As the group are slowly but surely\u00a0dispatched\u00a0and psychic and historical wounds are opened up, Wind Walkers<\/em><\/strong>\u2019 feels fresh\u00a0and confident.<\/p>\n

\"Appealing
Appealing to better natures doesn’t go well in Landmine Goes Click<\/figcaption><\/figure>\n

Audiences and critics seem to be\u00a0divided on the subject of Levan Bakhia\u2019s Georgian-set Landmine Goes Click<\/em><\/strong>, in which American tourist Chris (Sterling Knight) is left standing on a landmine out in the mountains when his best friend Daniel (Dean Geyer) discovers that Chris has slept with his fianc\u00e9e Alicia (Spencer Locke). Daniel bails, leaving the two to try to save Chris\u2019 life, but when a local comes across the pair, Alicia is in just as much trouble as he is.<\/p>\n

Landmine Goes Click<\/em><\/strong> doesn\u2019t really waste any time getting to the situation that dominates the bulk of the film, creating an effectively unpleasant scenario in which the person who might be able to help is only interested in one thing. Kote Tolordava (who sadly died earlier this year) deserves kudos for his portrayal of Ilya, who toys with the two desperate Americans, but, to this viewer at least, there\u2019s not enough beneath the surface to justify its subject matter, or its relatively lengthy running time. It\u2019s depressingly predictable in the misogynist behaviour of its characters, but doesn\u2019t give the female characters any agency either, giving Chris’ emotional journey priority. The final act goes some way to introducing some depth but we were disappointed. Still, others like it a lot, so this does seem to be one where you might have to try it and make up your own mind…<\/p>\n

\"Family
Family struggles in The Rotten Link<\/figcaption><\/figure>\n

Argentinian filmmaker Valent\u00edn Javier Diment\u2019s The Rotten Link<\/em><\/strong>, on the other hand, succeeds as a\u00a0portrayal of a\u00a0small town\u2019s grubby underbelly. Our main family works for the town: Raulo (Luis Ziembrowski) delivers wood, his sister Roberta (Paula Brasca) works as a prostitute in the local bar every night. Their fearsome mother Ercilia (Marilu Marini) cautions Roberta not to go with Camilio (Luis Aronsky) or the town will have no further use for her, but when Ercilia dies, there\u2019s no protection left\u2026 Diment has created a convincing, atmospheric symbiotic community gone bad, and for the most part The Rotten Link<\/em><\/strong> is a compelling drama as opposed to a genre film. Roberta has become an object in a town where the idea of duty has become a tool of oppression and subjugation; everyone might know each other\u2019s name but there\u2019s nothing good about this small town. A late turn into gore is frankly overdone, but there\u2019s much to admire here and Marini\u2019s performance as a matriarch determined to protect her family until the bitter end is fantastic. It will stay with you long after the credits roll, and we\u2019d definitely recommend seeking it out.<\/p>\n

\"Ali
Ali Larter takes cover in The Diabolical<\/figcaption><\/figure>\n

Next up in the main screen was The Diabolical<\/em><\/strong> from first time director Alistair Legrand. Ali Larter stars as Madison, a single mum in a house she can\u2019t afford. If her impending bankruptcy and her son\u2019s behavioural issues weren\u2019t a big enough problem, the house is also haunted. The Diabolical<\/em><\/strong> wins some points early on by establishing its evil spirit, and the fact that the family is very much aware of it, early on. Money issues mean that Madison can\u2019t pack up and leave, and she\u2019s tried everything from doctors to mediums. The flashes that precede the apparition are also a nice touch, as the spirit is only around for so long before it disappears again. The problem is that it\u2019s just not particularly gripping or scary, and a late twist is both ridiculous and somehow plodding. The effort to put a new spin on the haunted house movie is clear, but despite its best efforts, The Diabolical<\/em><\/strong> failed to impress.<\/p>\n

\"There
There are no hiding places in Jerzualem<\/figcaption><\/figure>\n

Doran and Yoav Paz\u2019s Jeruzalem<\/em> <\/strong>also started off on familiar territory, as beautiful young Americans Sarah (Danielle Jadelyn) and Rachel (Yael Grobglas) head off on holiday to Tel Aviv, before being convinced by a handsome archaeologist that they should go to Jerusalem instead. The movie feels as though it\u2019s prepping us for another \u201cterrible things happen to Americans when they leave America\u201d fable as our two heroines drink, take drugs and hook up, but it goes in a\u00a0 very different direction. The found footage, too, is given a fresh spin through Sarah\u2019s Google Glass (not called Google Glass, obviously), which give her dad the chance to try to call at unfortunate moments, and which tell her \u201cfatal error\u201d when she falls. It\u2019s difficult to list the film\u2019s influences without giving the game away entirely, but there\u2019s a nice mix of found footage horror tropes at work here and the first half, which is pretty much entirely horror free, pays off as our characters are put through hell in the second. There\u2019s some smart social commentary too, as our protagonists are all in the exact same amount of peril, regardless of religion or nationality. It\u2019s definitely not without its faults (some of the dialogue clunks, and some of the performances aren’t\u00a0great), but this is fun, gripping, ambitious and intelligent and it certainly marks the directors as a duo to watch.<\/p>\n

\"Toyah
Toyah Wilcox takes up arms in AAAAAAAA!<\/figcaption><\/figure>\n

We\u2019re kind of at a loss for words when it comes to Steve Oram\u2019s AAAAAAAA<\/em>!<\/em> <\/strong>The co-writer and star of Ben Wheatley\u2019s Sightseers<\/em> <\/strong>has created a decidedly inaccessible but undeniably unique dystopic comedy, in which everyone behaves like apes. There\u2019s no dialogue, just grunting, moaning, and screaming. The plot revolves around a power struggle in a London home, as Julian Rhind-Tutt\u2019s obnoxious patriarch is challenged by Oram\u2019s confident party-crasher. The characters drink, fight and fornicate, as Oram pisses on a fridge, Toyah Wilcox shits on the floor and Julian Barratt tenderly caresses a Battenberg. Chances are you\u2019ll either think it\u2019s an obnoxious drama student experiment or a bold, hilarious vision. We fell somewhere in the middle, alternately frustrated and giggling hysterically. Honestly, you\u2019ve not seen anything like it.<\/p>\n

\"Helen
Helen Rogers is in a tight spot in Body<\/figcaption><\/figure>\n

Anything would feel more conventional after AAAAAAAA!<\/em> <\/strong>and Dan Berk and Robert Olsen\u2019s Body<\/em> <\/strong>is a fairly traditional \u201cwhat the hell do we do with this body?\u201d thriller. Holly (Helen Rogers), Cali (Alexandra Turshen) and Mel (Lauren Molina) decide that their Christmas plans are too depressing, and accept Cali\u2019s invitation to head to a big empty house. Shortly after they realise Cali isn\u2019t related to the owners, a man (Larry Fessenden again) tries to stop them leaving before ending up in a heap at the foot of the stairs. So what are they going to do? Body<\/em> <\/strong>starts very well\u00a0with its convincing and likeable leading trio; Rogers (from Joe Swanberg\u2019s ‘The Sick Thing That Happened To Emily When She\u00a0 Was Younger’ V\/H\/S<\/em><\/strong> segment) is particularly good. Similarly, the leaps that the girls take to try and stay out of prison are decidedly unpleasant but not entirely far-fetched. The bonds of friendship inevitably stretch and tear as the bulk of responsibility is put on Holly, and before you know it there\u2019s a whole other issue complicating things…Body doesn\u2019t challenge genre conventions but it\u2019s a strong, well-acted thriller that keeps you gripped as its twists and turns unfold.<\/p>\n

\"Barbara
Barbara Crampton defends herself in We Are Still Here<\/figcaption><\/figure>\n

One of the films that we were most excited about going into the festival was Ted Geoghegan\u2019s We Are Still Here<\/em><\/strong>. Barbara Crampton and Andrew Sensenig (Upstream Color<\/em><\/strong>) play grieving couple Anne and Paul Sacchetti, who move to remote house in a small town after losing their son. Anne is convinced that his spirit is still with them, but are the restless inhabitants of the house somewhat more sinister?<\/p>\n

Geoghegan\u2019s debut is a stylish, assured and highly entertaining horror throwback to (mostly) the work of Lucio Fulci that\u2019s funny but heartfelt. It starts\u00a0as a fairly somber\u00a0drama (complete with wintry setting) with strong performances from his two leads, then Geoghegan quickly puts his foot on the accelerator, bringing Larry Fessenden and Lisa Marie\u2019s wonderful pair of hippie spiritualists into the mix and putting his monsters on full display. It\u2019s definitely self-aware but the laughs never come at the expense of the film\u2019s characters, as Crampton in particular puts in excellent work as the still-grieving Anna. There\u2019s also some wonderful effects, from the ghouls themselves to a fantastic sequence involving Fessenden and a sock. It\u2019s arguably a little too eager to relate its own mythology, but, like a blend of The House Of The Devil<\/em><\/strong>, The House By The Cemetery<\/em><\/strong> and HP Lovecraft, it\u2019s clever, atmospheric, stylised, scary and a huge amount of fun. We loved it.<\/p>\n

\"Michael
Michael Pare is having a bad night in The Shelter<\/figcaption><\/figure>\n

In the Discovery Screen, John Fallon\u2019s promising directorial debut The Shelter<\/em><\/strong> was a moody, atmospheric look at a broken man getting put through the emotional wringer. Michael Pare plays the homeless Thomas, who is having a rough night of it before he sees an empty, welcoming house. He settles in for the night, but there are some surprises in store for him\u2026The Shelter<\/em><\/strong> swirls Christianity and Silent Hill<\/em><\/strong>-levels of guilt to torment its protagonist, and Fallon\u2019s strong visual style combines with a very strong turn from Pare to good effect. After a grim and gritty opening, the film becomes increasingly dreamlike before whatever is in the house takes hold and Thomas is forced to confront his demons. There\u2019s a confidence to Fallon\u2019s choices too, as he gives us a not particularly likeable protagonist and maintains a sombre tone throughout this emotionally raw journey. It has some problems, particularly with pacing, but this is a strong low-budget debut. We\u2019re definitely interested to see what Fallon does next.<\/p>\n

\"Abigail
Abigail Breslin and Wes Bentley get to work in Final Girl<\/figcaption><\/figure>\n

Abigail Breslin continues to accumulate genre cred with a strong performance in Tyler Shields\u2019 very stylish Final Girl<\/em><\/strong>. She\u2019s Veronica, who\u2019s been schooled in the art of murdering people who prey on young girls from a very early age by the intense William (Wes Bentley, on fine form). Now, it\u2019s time to put practice into action as she takes on a group of four dashing young men who take her to the woods to make her their latest victim. Final Girl<\/em><\/strong> is beautifully shot (take a bow, cinematographer Gregory Middleton) but once the film gets into its stalk and slash it quickly becomes routine, despite the table-turning set-up. It\u2019s at its strongest exploring the creepy relationship between Veronica and William, but that\u2019s shunted aside with the arrival of the guys. Not without its charms, but there\u2019s a more interesting film to be made here.<\/p>\n

\"Angela
Angela Dixon will Never Let Go<\/figcaption><\/figure>\n

Meanwhile, Howard J Ford\u2019s Never Let Go<\/em><\/strong> wasn\u2019t really a horror film, more of a Taken-style action movie about a woman on holiday in Morocco chasing down the bastards who stole her baby before it\u2019s too late. Ford made his name with his African zombie movie The Dead<\/em> <\/strong>(and its sequel), co-writing and co-directing with his brother Jonathan. He\u2019s on solo duty here, and has no less dedication to presenting breathless action sequences, but the entire subplot involving who the baby\u2019s father is never convinces and breaks our suspension of disbelief. The gritty realism of the chase is undone by the daftness of the backstory, despite a committed lead performance from Angela Dixon.<\/p>\n

\"Seances
Seances won’t end well in Demonic<\/figcaption><\/figure>\n

The final film of the night was James Wan\u2019s Demonic<\/em><\/strong>, which has a surprising amount of pedigree in front of the camera. The excellent Maria Bello and Frank Grillo are a psychologist and detective respectively, called out to a notorious murder house where it looks like an attempt to conjure spirits has gone terribly wrong. The only survivor is John (Dustin Milligan), who remembers fragments of what happened\u2026Despite\u00a0 a strong cast (Magic Mike<\/em><\/strong>\u2019s Cody Horn and Mean Creek<\/em><\/strong>\u2019s Scott Mechlowicz are two of the missing kids), Demonic<\/em> <\/strong>feels like a run-of-the-mill re-tread of several other movies. The structure is important for some third act reveals but for the most part it robs the haunted house sequences of their tension, which is frankly lacking anyway. Full credit to Bello, Grillo and Milligan for committed performances but this is a disappointment.<\/p>\n

Join us tomorrow for reviews of Deathgasm<\/em><\/strong>, Bait<\/em><\/strong>, Frankenstein<\/em><\/strong>, Sun Choke<\/em><\/strong> and more!<\/p>\n","protected":false},"excerpt":{"rendered":"

Reviews of We Are Still Here, Pod, Jeruzalem, Hellions, AAAAAAAA! and more from FrightFest<\/p>\n","protected":false},"author":39,"featured_media":79095,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"MSN_Categories":"Uncategorized","MSN_Publish_Option":false,"MSN_Is_Local_News":false,"MSN_Is_AIAC_Included":"Empty","MSN_Location":"[]","MSN_Add_Feature_Img_On_Top_Of_Post":false,"MSN_Has_Custom_Author":false,"MSN_Custom_Author":"","MSN_Has_Custom_Canonical_Url":false,"MSN_Custom_Canonical_Url":""},"categories":[2615,8],"tags":[4689,4038,2634,3515,797,4354,4688,4676,4353],"acf":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/www.scifinow.co.uk\/wp-content\/uploads\/2015\/08\/we-are-still-here.jpg","_links":{"self":[{"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/posts\/79084"}],"collection":[{"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/users\/39"}],"replies":[{"embeddable":true,"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/comments?post=79084"}],"version-history":[{"count":0,"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/posts\/79084\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/media\/79095"}],"wp:attachment":[{"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/media?parent=79084"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/categories?post=79084"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.scifinow.co.uk\/wp-json\/wp\/v2\/tags?post=79084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}