Showing posts with label horror. Show all posts
Showing posts with label horror. Show all posts

Saturday, 31 October 2026

Horror On Sea Programme and Fanatical [Short Film: In Nature]

The Horror On Sea Film Festival full programme has just been released! My animated short horror film "In Nature" is being shown on Sunday 24th January at 10am. It's been paired with another short film, Goblin, and with the feature film Fanatical.

Festival website, programme, tickets on the Horror On Sea website here.

I'll post about other highlights from the programme later, but I'm really looking forward to Fanatical. Directed by Christopher Walker, this is a film about a horror fan trying to resurrect Peter Cushing. 

That could not be a more apt plot for a Peter Cushing or Hammer tribute. Also, it's basically the plot of Rogue One.

Here's the trailer for Fanatical:

Monday, 26 October 2026

Turning Over A New Leaf [Short Film: In Nature]

My previous Lego film, We Can Get You Some Really Cheap Gear, taught me a lot about filmmaking, mainly through the mistakes I made. The biggest mistake in retrospect was trying to create something too complicated, with too many sets, characters and effects.

This post is about what I was trying to achieve when making In Nature, not about whether I succeeded - others may be the best judges of that when it has its premiere screening at Horror On Sea on 24th January 2027. Watch out for the festival programme which will go live on 31st October 2026.

In Nature poster - now with Horror On Sea laurels!

I wanted to create something simpler. I started by brainstorming ideas for 3-minute horror films, trying to come up with an idea that would only require one or two locations and one or two characters. In Nature fit the brief perfectly, or at least so I thought. I wrote the script and kept cutting and simplifying until it came down to three pages.

When writing and editing the script I also found Kurt Vonnegut's writing advice helpful. This list first appeared in the preface to Bagombo Snuff Box, a collection of short stories, and can be applied just as easily to short films and probably most art forms.

1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.

This is more of an inspiration. Value the time that your audience has given you and make the best film you can for them.

2. Give the reader at least one character he or she can root for.

I tried to make both of my scientists understandable and human, rather than focussing on, say, their intelligence. Cazaban's motivation is worth rooting for, while Dressler's frustration, and his weaknesses, hopefully make him relatable as well.

3. Every character should want something, even if it is only a glass of water.

For me this was the most helpful thing of all. Firstly it changed Cazaban and Dressler from cutouts to individual characters. Once I had their motivations - recognition for Dressler, saving lives for Cazaban - this led easily into their personalities and some natural conflict between them. 

Secondly, it led me straight to the ending, where, as recommended in Blake Snyder's Save The Cat! both goals are achieved but not quite in the way they might expect.

Thirdly, it reminded me that every character has a motivation - not just the two humans. Their orchid nemesis definitely has a desire, and I had a motivation for the mouse who appears in the opening scene as well - while I later cut parts of this section, having the motivation in my mind helped me a lot with the animation.

4. Every sentence must do one of two things—reveal character or advance the action.

This is helpful when ruthlessly cutting a script from 6 pages down to 3 pages.

5. Start as close to the end as possible.

My original script started with Cazaban and Dressler setting up tent and talking about their expedition around a fire, revealing their motivations and conflicts in doing so. While this might have been a fun scene it was completely unnecessary - better for their action to start as they approach the orchid and discuss their views as they work.

6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.

Great rule for any horror movie as it allows you to cause as much pain as you want - and gives you a good narrative reason for doing so. My own twist on this was, make awful things happen to your characters other than the obvious ones. It occurred to me that a human might react differently than a mouse to a plant toxin, which led to a great way to cause pain to one character and give the other character a need to exert themselves out of desperation - before returning to the obvious awful thing.

7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.

I can honestly say I wrote this film in the hope of creating something I would enjoy if someone else made it for me.

8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

This is in direct contradiction to one of the most famous horror film rules: the Jaws rule, or Don't Show The Monster. So a few words about why everyone else is wrong and Vonnegut is right.

Don't Show The Monster probably began with production budget issues - perhaps it's expensive to create monster effects so you want to use them for maximum effect. If this is the case, don't put them at the end. Be like Steven Spielberg and Jurassic Park, where there are only 15 minutes total of actual dinosaur footage.* These didn't go all at the end. They're spaced throughout the movie and edited in a way that gives the illusion of much more dinosaur.

Holding back the vision of the monster causes frustration for the viewer - particularly if the characters in the film can see it. It just feels like a cheap trick to build suspense, as if the filmmaker doesn't know of any other way to do this.

I also learned from watching and trying to make music videos that you can make any concept, however surreal or nonsensical, acceptable to the viewer provided it is introduced early in the video. If there is no early reveal of the monster then there's a greater risk that it will appear silly or unrealistic when it makes its late arrival. I can think of plenty of examples of movies where the anticipation builds up and then the actual reveal in the last few minutes is a disappointment.

The late reveal of the monster is an overused, boring movie trope and there are plenty of alternatives. Reveal glimpses of it. Reveal part of it. Reveal it, but hold back a second, bigger monster. Gradually reveal its capabilities, or allow them to increase through the movie. Build tension through human conflict, or through atmosphere or music. Or just don't worry and make a film that is horrific and fun for as long as possible.

*Technically there are zero minutes of actual dinosaur footage in Jurassic Park - due to highly restrictive health and safety rules imposed to protect animal wellbeing, Spielberg was forced to use CGI and animatronics instead of real dinosaurs.

Saturday, 17 October 2026

Premiere Announcement [Short Film: In Nature]

In Nature has made the official selection for Horror-On-Sea 2027. The World Premiere Screening will be on Sunday 24th January at 10.00am in Southend-On-Sea.

You can find information about Horror-On-Sea on the White Bus Festivals website here. The 2027 programme will appear in the next few weeks. I'll post more about the festival once the programme goes up.

I've loved coming to Horror-On-Sea for several years and have always found it a friendly community where filmmakers of all levels of experience, and fans of all kinds of horror, come together. Really looking forward to being part of the programme this year.

Friday, 16 October 2026

The Door Under The City [AI Text Adventures part 2]

This article is part of a series of posts about AI. It’s written by a human being (me) but this and other posts may include examples of identifiable AI-generated response text and imagery.

It began with a question:

+ Can you simulate a text adventure?

ChatGPT assured me that it could:

Absolutely. I can run a fully interactive text adventure where you choose what to do, and I handle the world, characters, consequences, inventory, combat, puzzles, and hidden events.

It went on to suggest several themed settings, but also suggested that we could just start, and spun off the first few lines of a game called THE DOOR UNDER THE CITY. So that’s we did.

ChatGPT created a horror-themed game involving escaping from an apartment. There were mysterious phone messages, appearing footprints, lights shining through the floorboards, and when I drank a mug of tea I found that not only had it gone cold, but my own eyeball was looking up from inside it. I also encountered an increasing number of doubles of myself, each instructing me not to trust the others. 

The game played out like a classic text adventure in that I typed commands and ChatGPT returned the next scene or event. An inventory was maintained - at the start I picked up my phone and mug from the room, and was later able to use the phone light in a dark coridoor and to drink the tea. The map was also fairly consistent, or at least whenever I retraced my steps I found myself in the previous location with changes consistent with the theme such as the appearance of a new door.

I was not able to predict anything about the story - as I'd hoped. The dark atmosphere was maintained and the repeated messages and threats, the indications that something bad was always approaching, knocking or trying to break in, and the eyeball in my tea, all gave the game a nicely tense flavour.

Partway through, confronted by several clones, I asked them what was going on. The answer came in the form of an argument between one clone who provided a theory about time travel, with clones as past and future versions of myself, and another who told me that this was a lie and:

Every time you make a choice, the building creates another version of you. Most of them don’t survive.

The game ended after, having escaped to the street and encountered a mysterious taxi, I opened a door standing alone on the pavement and found myself back in the apartment. The fact that the game reached an ending by itself is significant given what happened in some of my later experiments.

Although atmospheric, the story was repetitive. Doors, knocking sounds, approaching threats, appearances of doppelgängers and the warnings not to trust anyone occurred over and over through the game. There was a sense that ChatGPT became obsessed with a particular idea, in this case the doppelgängers.

Also, despite the continuous sense of threat, nothing bad ever happened whether I chose to react to the warnings or did the opposite. If I turned around to face a sinister entity there was never anything there. I wondered if ChatGPT was avoiding writing about actual pain or harm. Could this be an example of a guiderail? On the other hand ChatGPT may have been deliberately focussing on atmospheric horror, or preparing the ground for some actual danger later.

I experienced an interesting counting error when I met the second double. Here's what happened:

You turn around. There is nothing there. No creature. No doorway. No corridor. Just yourself. Except this version of you is standing much too close. He looks terrified. Behind him, your other self—the one beside the red light—is staring at you.

Now there are three of you.

The closest one whispers: “You shouldn't have turned around.”

The second one says: “Don't listen to him.”

The third says: “Neither of us is the real one.”

The red light goes out. In the darkness, all three voices speak at once: “Choose.”

What do you do?

By the end of the response the two clones had become three. My guess is that ChatGPT first wrote the line "now there are three of you" - which is correct, but then wrote the rest of the response interpreting the same statement as three clones in addition to myself. This type of counting error also occurred in later experiments.

I don’t think I learned a great deal about AI psychology but I made a start. I have learned that ChatGPT already knows what a text adventure game is, and can create and run one with no instructions, although the results might be chaotic, limited, repetitive, or obsessed with doppelgängers; ChatGPT can make counting errors, possibly by responding to the meaning of its own statements rather than the actual mathematics of the scene. I suspected that some aspects of the game might have been restricted by guardrails.

I also suspected that my decisions were actually driving the creation of the game, although in an unpredictable way. Writers sometimes refer to being “plotters” (those who plan ahead) or “pantsers” (those who fly by the seat of their pants). I wasn’t certain at this point but my impression from this game was that ChatGPT is a pantser pretending to be a plotter but actually making everything up on the fly.

Out of curiousity I asked ChatGPT to create a cinematic poster based on the transcript of the game. Here's the result, which does include recognizable plot details mainly from the second half of the game.

I reflected that, while the idea of starting a completely random adventure was appealing, the result wasn’t quite what I wanted from a game. For example I would have liked more of a story or mission structure, and the doubles of myself were really boring – I wanted a world populated with more interesting people. Perhaps I could write a detailed prompt to give ChatGP a clearer direction for the setting and the kind of adventure I wanted to experience.

So that’s what I tried next.

 

Sunday, 23 August 2026

A Rockwork Orange [Short Film: In Nature]


The sets for In Nature are different from the urban locations I built for We Can Get You Some Really Cheap Gear - this time instead of flats, city parks or banking offices I needed desert rocks and canyons, so I've had to really work on my rockwork. It turns out candlesticks make great cacti - who knew?

I set up a timelapse for building the first canyon set:




Saturday, 22 August 2026

The Brick And The Dead [Short Film: In Nature]

NEW FILM PROJECT

It's been about a decade since my last foray into filmmaking. In the past few weeks I've started work on a new project: "In Nature" a short horror film using LEGO stopmotion.

I have ambitious goals for this project: including zero use of generative AI, and creating a theremin-based score. At the same time I've learned from my previous experience with LEGO filmmaking and have written the script more carefully, using a smaller cast and fewer locations.

Sets were designed in Bricklink Studio...



...and arrived looking like this

Colour-sorted and ready to build






Tuesday, 3 September 2024

Raising The Bear [Review: Winnie The Pooh: Blood And Honey 2]



Office Marlow: "F**k it, let's bounce."
Tigger: "That's my line!"

Although Christopher Robin has survived the horrors of his time in the Hundred Acre Wood, he has not escaped the nightmare. Not only has he seen his fiancée murdered and witnessed a series of traumatic killings, but he is now being blamed for the massacre, no-one believes his version of events, and even worse the story is being made into a film. And then the killings begin again.

Winnie-The-Pooh: Blood And Honey, released in 2023 and reviewed here, was a lot of fun, with plenty of action, gore and sacrilegious dismemberment of fond childhood memories. It was entertaining but never really rose above its super-low budget and amateur or student project vibe, and it felt rushed and messy in places. The 2024 Golden Raspberry Awards jury agreed with my take, awarding it Worst Movie, Worst Director, Worst Screenplay, Worst Remake/Rip-Off/Sequel and Worst Screen Combo. I guess they liked the music then.

Something strange quickly became apparent as I began to watch Winnie-The-Pooh: Blood And Honey 2. It's actually rather good. There's a step up in every aspect of the filmmaking - excellent camerawork, colouring, editing, a much stronger script, and some really good performances, adding up to a complete film. The conceit of the horror-film-within-a-horror-film is a deliberate and classy callout to the Scream movies, and there are plenty of other genre references to enjoy.

There are also smart backstories for both Christopher Robin and Pooh, leading to a climax and some shocking final revelations. Admittedly some of the backstory is revealed through dialogue, but if the first rule of moviemaking is "show don't tell", then the second rule is "if you must tell, get Simon Callow to do the telling."

And I am happy to report that all of this decent filmmaking does not detract from the gore, sacrilege and subversion of the first movie. Pooh and Piglet are now joined by Tigger and Owl. Tigger takes some time to get into his stride - it's only towards the end that he really gains bounce and earns his stripes. Owl on the other hand is marvellous - played by Marcus Massey in Hammer villain style with plenty of creepy monologues. The gory body effects, one of the strengths of the first movie, are multiplied to stomach-churning levels.

This is no Get Out or Babadook, but if it's not elevated horror it's still a horror movie that will satisfy die-hard horror fans. It also bodes well for the next batch of films in the Pooh cinematic universe - the Poohniverse. I am now looking forward to Bambi: The Reckoning, Peter Pan's Neverland Nightmare, Pinocchio: Unstrung and Poohniverse: Monsters Assemble.







Score: Three stars out of five.

All movies reviewed on The Sci-Fi Gene blog are awarded three stars out of five.


Saturday, 11 May 2024

Bearing All [Reviews: Cocaine Bear and Winnie-The-Pooh: Blood And Honey]

While all the bear stuff is happening on all the social medias (#TeamBear) this is a good time to retrospectively review two bearsploitation movies released in 2023.

Cocaine Bear (2023), directed by Elizabeth Banks, is loosely based on a real incident in 1985, where a bear found and ate cocaine that had been dropped from a smuggler’s plane.

The movie tells the story of some tourists, a mother, daughter and friend, a park ranger and a wildlife campaigner, some wannabe criminals and some serious criminals who all converge on a forested national park. Into the mix is added the missing cocaine and the bear that finds it. In real life there is no evidence that the bear harmed anyone. In the movie this is not the case and there are several gory fatalities. However this is a character-driven story rather than a bloodbath for its own sake.

The bear is also a character. Early scenes show the effects of the drug – one minute the bear is aggressively focussed on hunting tourists, the next it is happily distracted by a butterfly. As the movie continues we learn a little more about the bear’s background and can empathise with it – this is particularly true of the final act.

Overall this is a unique, enjoyable movie with an excellent, witty and thoughtful script and great performances from all of the ensemble cast, and I would recommend it to fans of horror, comedy, action and bears.



Score: Three stars out of five.

All movies reviewed on The Sci-Fi Gene blog are awarded three stars out of five.

Winnie-The-Pooh: Blood And Honey (2023), directed by Rhys Frake-Waterfield, is one of a new crop of copyrightsploitation movies taking advantage of the fact that many classic books are now out of copyright. Other recent examples of this genre include Mad Heidi (2022) and Mickey’s Mouse Trap (2024).

The entirely reasonable premise of this movie is that Winnie-The-Pooh and Piglet, abandoned by Christopher Robin when he grew up and went to medical school, have become violent, sadistic killers. They take revenge on CR and his fiancée Mary when they return to the Wood try to find CR’s childhood friends, but also go on an indiscriminate killing spree, attacking a group of students holidaying in a cabin. There is blood. Honey, too, but mostly blood to be fair.

The copyright-busting movie genre has its interesting quirks. It is A.A.Milne’s Winnie-The-Pooh books that have come out of copyright – the Disney movie version is still protected. So there is nothing to stop a filmmaker presenting Pooh as a serial killer, but he cannot legally be shown wearing a red T-shirt (instead he wears a redneck-style lumberjack shirt). To make it even clearer that this is the book Pooh not the Disney Pooh, the movie starts with an animated introduction very much in the style of the original E.H.Shepard illustrations.

The genre is also growing fast – there is a sequel, Blood And Honey 2, out this year, and further films in the Poohniverse or Twisted Childhood Universe are in the pipeline, including Poohniverse: Monsters Assemble which will feature Pooh alongside twisted literary versions of Bambi, Pinocchio and Peter Pan. Meanwhile the first version of Mickey Mouse, as seen in Steamboat Willie, is now unprotected hence Mickey’s Mouse Trap and several other movie and game projects.

Blood And Honey is a low-budget, low-expectations movie: viewers expecting the quality of script, plot, performance or production values of Cocaine Bear may be slightly disappointed in some ways. These unreasonably high demands from cruel, selfish moviegoers might also explain why this movie won five Golden Raspberries and hardly any Oscars. On the other hand this is a full-on, no-holes-barred gorefest. It’s probably the most violent Winnie-The-Pooh film ever - even more violent than A Blustery Day. And as an animator who myself, back in 2012, put swearing, drug-taking and generally badly behaved LEGO minifigs on screen here, I do appreciate there is a pleasure in the subversion of innocence.

Score: Three stars out of five.

All movies reviewed on The Sci-Fi Gene blog are awarded three stars out of five.

Wednesday, 20 October 2021

Killing Me Softly [Reviews: The Love Witch and Season Of The Witch]

Witches are an endless source of fascination. Despite the attempts of Hans Christian Anderson, centuries of overzealous missionaries and Roald Dahl to paint them as agents of evil, our culture is full of more positive examples of witchcraft, whether in books, films, or in the real world with the modern day resurgence of Wicca. As a child I learned to read with Meg and Mog and later enjoyed reading about Mildred Hubble which should allow you to calculate my age. TV is full of portrayals of witches as powerful but sympathetic figures, such as Julia Wicker in The Magicians, or the magical cadets of Motherland: Fort Salem. Meanwhile there are plenty of films that use the concept of the witch in interesting ways - here are two recent examples I enjoyed.

The Love Witch

The Love Witch (2016) stars Samantha Robinson as modern-day witch Elaine Parks who sets out to start a new life and find love - with unfortunate, deadly consequences for her would-be lovers. It's filmed as a stylish tribute to 1960s Technicolor, with lavish settings and exaggerated colour schemes. Parks is literally a femme fatale but also a complex character, vulnerable, lonely and driven, and mesmerizing to watch. In some ways she reminded me of Alice Lowe's character Ruth from Prevenge, but Parks is not actually driven to kill (well, not often), it's just that her love is too intense for the men she charms.

The Love Witch also celebrates another form of witchcraft - that is, obsessive auteur-driven filmmaking. Anna Biller wrote, directed, scored, edited and produced the movie, spent several years finding, restoring or making the furniture for each scene, and made her own foray into witchcraft. The result is a unique and powerful vision combining feminine and feminist themes.


Season Of The Witch

Season Of The Witch (1973) is an early George A. Romero film. It's curiously deficient in brain-eating swarms of zombies, instead the story revolves around dissatisfied and Wicca-curious housewife Joan (Jan White), her controlling husband, and her daughter who is having an affair with a teacher. Joan is introduced to Marion, a newcomer to the suburb who practises witchcraft, and gradually becomes drawn into witchcraft herself. This is more of a drama than a horror film, although there is threat and violence in places, and Joan experiences some creepy dream sequences in which she faces exaggerated or metaphoric versions of her everyday life. 

Romero described this as a feminist film, and I think this is justified: it is the story of a woman in a controlling relationship who finds a way to empower herself and change her life (this escape theme also qualifies it as Science Fiction TM). The feminist aspect is simpler and less sophisticated than The Love Witch, and arguably the feminist credentials are further eroded by the release history, as a cut-down version was published and marketed (I think misleadingly) as softcore porn.

Both films portray witches as powerful and unintentionally dangerous, while at the same time portraying witchcraft as a positive feminine role and as an alternative to patriarchy and convention. I awarded both films three pentagrams out of five.

Sunday, 31 January 2021

Ghost In The Machine [Review: Host]

Housebound under lockdown conditions, Haley and her friends decide to use their weekly Zoom call to carry out an online séance. Haley (Haley Bishop) has hired a medium, Seylan (Seylan Baxter), to lead them in what will no doubt be a fun, entertaining evening without anything sinister or dangerous happening. What could possibly go wrong?

Host (2020) is a found-footage horror movie that takes place in real time during a Zoom call. It’s not in any way related to The Host (2013), the movie based on Stephenie Meyer’s alien parasite rom com novel reviewed here, or to Korean newt-based horror The Host (2006), reviewed here. Host is set during the 2020 COVID-19 pandemic - and it was also filmed during the 2020 COVID-19 pandemic, during a period of lockdown. Cast and crew could not leave their own homes so had to set up equipment and film themselves at home, with director Rob Savage guiding them remotely. The concept of the Zoom séance is a clever way to make a film under these tough conditions.

Other aspects of the film add to the improvised feel – the cast all use their own names, and family members appear in cameo or supporting roles. The script makes good use of all the Zoom cliches we’ve grown to love tolerate over the past year – sound and vision glitches, people joining while mute, dodgy animated backgrounds, pyjamas and badly-timed Ocado deliveries. Acting is excellent, there’s a lot of humour, and there’s a good, gradual ramping up of tension leading to full-on catastrophe.

In a year where making any movie has been difficult, a crew have come together against the odds to release a new, low-budget, creepy and effective horror movie not unlike Paranormal Activity, reviewed here. In fact my only criticism of this movie is that it is a little too like Paranormal Activity, with one or two fright scenes almost borrowed wholesale. For this reason, although I really enjoyed Host, I am only giving it three stars.



Score: 3 out of 5 stars

All movies reviewed on the Sci-Fi Gene blog are given a score of 3 out of 5 stars.

Monday, 3 August 2020

Shake, Rattle and Roll [Review: Shivers]

Along with Nakatomi Plaza, Peach Trees, Wyndham Tower and the unnamed High-Rise, I have unfortunately had to add Starliner Towers to the list of high-rise buildings to avoid. It's a shame - the period architecture, the peaceful island location and the easy accessibility of the on-site swimming pool, supermarket, medical and dentist's surgeries and parasitology research lab all make it so tempting...

Shivers (also released as The Parasite Murders and They Came From Within) is a horror movie from 1975 directed by the emerging David Cronenberg and set in a tower block in Montreal. Dr. St-Luc is the resident MD tending to the inhabitants who have started to develop odd stomach complaints that are definitely not related in any way to his colleague's work on a parasitic organism designed to replace organ transplants. He is asked to investigate a suicide-homicide that took place in one of the apartments, and discovers a link to the parasites - and the possibility they have already been spread to several other residents through their fun and games.

Taking Shivers out of the context of other films, it's an uneven quality experience and mainly of interest as it shows an early Cronenberg still coming into his powers. Acting is hit and miss, sometimes sincere and convincing, sometimes melodramatic or wooden. Scenes of violence, sex or sexual violence are also variable. A few of these scenes are horribly effective, including the homicide-suicide where an older and sinister man appears to be attacking a schoolgirl, and clips of their fight are juxtaposed with a new couple being shown around the luxury tower-block. 



Other effective horror scenes betray the director's influence by his contemporary George A. Romero as the residents, turned into sex-crazed demi-zombies by the parasite, try to corner St-Luc and nurse Forsythe.  The parasite creature is fun but doesn't ever appear convincing or threatening itself - the most effective creepy scenes are the ones that don't show the creature at all but just its' trails of blood. However the legacy of this film is the continued popularity of parasite-horror, including such classics as Alien (1979), The Thing (1984), Species (1995), The Faculty (1998), the Cronenberg-inspired Slither (2008) and so on. Meanwhile Cronenberg grows in filmmaking ability and his own later films such as Videodrome and eXistenz develop the bio-horror theme further, and the high-rise genre also continues to develop - High-Rise (2015) is essentially a re-make of Shivers without the parasites.



Score: 3 out of 5 stars
All movies reviewed on the Sci-Fi Gene blog are given a score of 3 out of 5 stars.

Friday, 24 July 2020

High School Musical Of The Dead [Review: Anna and the Apocalypse]


Anna (Ella Hunt) dreads breaking the news to her father that she doesn’t want to go to University. Her father is still grieving for the death of her mother. Her best friend John is “secretly” in love with her, while their other friends Chris and Steph are tryin
g to find their voices as student filmmaker and journalist.

Anna and the Apocalypse is easily the best of the High School Musicals. Disney’s decision not to include zombies in any of the others was clearly a mistake. It’s not too serious – more Shaun than Dawn, but still with plenty of bite, and just enough blue language and young-adult themes for a Christmas movie. Zombies themselves make a poor movie enemy. They’re slow and weak except in numbers, so there always needs to be a human threat, in this case the melodramatic deputy head Mr. Savage (Paul Kaye).

The dance numbers are fun and the songs are good, very much in the HSM / Grade 4 Keyboard style. A highlight is Turning My Life Around, a bright, joyful number as Anna dances through town oblivious to the horrors around her.

Score: 3 out of 5 stars
All movies reviewed on the Sci-Fi Gene blog are given a score of 3 out of 5 stars.


Trailer:



Singalong version of Turning My Life Around

Sunday, 19 July 2020

Harvest Moon [Review: Elizabeth Harvest]


Newly-wed bride Elizabeth (Abbey Lee) and her super-rich husband Henry (Ciaran Hinds) arrive at their isolated mansion to begin their honeymoon and are welcomed by Henry’s servants Claire (Carla Gugino) and Oliver (Matthew Beard). Elizabeth is shown all the riches of the house – swimming pool, endless wardrobe, wine cellar blah blah blah but there is one door Henry instructs her never to open. Henry then immediately abandons his bride for a brief work-related trip, leaving her to her own devices, and Elizabeth makes a terrible discovery – the first of many.

Elizabeth Harvest is a dark, soulful mixture of horror, sci-fi and fashion film. Although the setting is different, the twists and turns of the plot, the beautiful cinematography and the pervasive sense of loneliness reminded me of Duncan Jones' Moon.




Score: 3 out of 5 stars

All movies reviewed on the Sci-Fi Gene blog are given a score of 3 out of 5 stars.

Tuesday, 14 July 2020

Bring On The Wall [Review: Deep Dark]

Hermann (Sean McGrath) is a Failed Artist TM trying to express himself through the oft-neglected medium of hanging mobiles and trying to win the attention of gallery owner Devorah Klein (Anne Sorce). Hermann’s mother sends him to his rich uncle in search of a Real Job TM – but instead his uncle sends him to a dilapidated apartment to use as an artist’s retreat until he finds inspiration. So nothing weird so far. However…

In the apartment, Hermann finds a mysterious hole in the wall. Pulling a thread from the hole leads to communication with a strange entity – one who has the power to help Hermann make his mobiles into successful art. And all the poor lonely entity wants in return is Hermann’s company. What could possibly go wrong? Surely there won’t be a terrible price to pay for all that success…

Deep Dark is a lo-fi horror movie from 2015, directed by Michael Medaglia, with shades of Being John Malkovich and Little Shop Of Horrors, but with a few more WTF scenes than either.


Deep Dark also has a wicked sense of humour and a fair helping of blood, guts and other disgusting stuff, although it’s also strangely restrained at times. Not everything makes sense. For example the opening scene features a man removing a bathplug from his abdomen. It’s a great horror scene, really inventive, well done! but I have no idea how this fits in with any of the rest of the film. However for the most part this is a well plotted movie with a strong subtext. The relationship between Hermann and his somewhat unusual muse is a metaphor for the pain of the creative process. At least I hope it's a metaphor. If all artists actually have to do this then I have more respect for them than ever.

Score: 3 out of 5 stars

All movies reviewed on the Sci-Fi Gene blog are given a score of 3 out of 5 stars.

Sunday, 5 April 2020

Midsommar Murders [Review: Midsommar]



Dani, recovering from grief after the deaths of her sister and parents, and her boyfriend Christian who wants to break up but doesn't think this is the right time, travel to Sweden with some friends to attend the midsummer celebration at a pagan commune, the Harga. They all have a happy, healing and relaxing time, there's nothing sinister about this secret community or their religious festival and there will definitely be no murders or mutilations *innocent face*.

Sorry. Midsommar is a bleak and bloody horror film about a secret commune that appears very friendly and social at the start, but it's not long before Dani and Christian are shocked to witness a ceremony where two older members of the community take their own lives by jumping from a cliff. From here the weirdness builds up quickly. The festival includes other rituals including a version of Maypole dancing as an endurance competition and a May Queen coronation, all building towards some sort of final ritual. Meanwhile there's a mysterious book, mysterious goings on at night, mysterious disappearances, mysterious glances, mysterious food and drink, mysterious lack of mobile phone signals and mysterious inability to leave the commune. As is often the case in this genre of films, this is not going to end well.

Midsommar is directed by Ari Aster, also responsible for the unsettling horror film Hereditary. Dani is played by Florence Pugh. I would describe Pugh's performances in Lady Macbeth and in this film as intense and unforgettable. Possibly because the cast is large, there are few other stand-out performances.

Horror based on pagan culture (or misunderstandings of it) is a well-developed subgenre. In some ways Midsommar is a Swedish take on The Wicker Man and there are many similarities between the films. However while Police Sergeant Howie is a sane man (if a bit of a prude) cast into an insane world, Dani is different. She's already traumatized before she arrives at the Harga and, while she is further traumatized by what she sees, she responds in unexpected ways to her situation and becomes stronger, calmer and more open to the strange ceremonies.

A horrific three stars out of five.



Score: 3 out of 5 stars
All movies reviewed on the Sci-Fi Gene blog are given a score of 3 out of 5 stars.

Saturday, 26 October 2019

Meet The Parents [Review: Get Out]

Photographer Chris (Daniel Kaluuya) is travelling with his girlfriend Rose (Alison Williams) to meet her parents for the first time, and is anxious about how they will react to an interracial relationship. On arrival he is greeted warmly and his fears appear groundless - but the parents have their own eccentricities, and the more he gets to know the Armitage family, the more he becomes convinced that there is something strange and sinister afoot at their household.


Get Out is a well-received horror movie from 2017, directed by Jordan Peele. It has won several awards including the Oscar for best screenplay - and well deserved. This is a clever film. The theme of racial intolerance and stereotyping is explored intelligently to play all sorts of psychological games with the audience, while subtle clues are incepted to pave the way for a horror twist in the final act. The movie opens with a subversion of a stereotype - a black person becoming increasingly nervous as he walks through a white neighbourhood, and proceeds to a fairly brutal kidnapping - this scene signals from the start that this is a horror movie, as otherwise the build-up of tension in the first act is so restrained that you might forget this and think you are watching some other kind of drama. There is a challenge in a film like this - if you make racism the main theme throughout, how do you come up with a horror twist that's even more horrific at the end? I don't want to spoil the movie, so all I can say is that this goal is achieved.


There's little to criticise here. In addition to the script, the performances are excellent and the setting deeply atmospheric. There are one or two tiny plot holes, including an escapology feat that I still haven't figured out, and a completely superfluous and ill-advised use of a candle, but that's about it.

Meeting the parents is a terrifying concept in itself, explored in depth in the films Meet The Parents (2000) and Meet The Fockers (2004). These films are sometimes misclassified as comedies rather than psychological thrillers. They are however enjoyable, unlike the all-time worst meet-the-parents movie, Guess Who's Coming To Dinner (1968). I have watched this double-Oscar-winning film to spare you the pain of doing so - its' excruciating to watch in the 21st century, even knowing that it was progressive and well-meaning back in the day, and exploration of racial issues is clumsy, a million miles away from Peele's brilliant script.

Get Out succeeds on all levels. A truly horrific three stars out of five.

Score: 3 out of 5 stars


All movies reviewed on the Sci-Fi Gene blog are given a score of 3 out of 5 stars




Thursday, 11 July 2019

Eerie, Indiana [Review: Stranger Things 3]

Stranger Things season 1 celebrated the Eighties. Stranger Things 2 started to get a bit creepy around the Eighties if we're being honest. Stranger Things 3 has been stalking the Eighties in violation of its court order for months, and now the Eighties hasn't been seen for several days  - we suspect that Stranger Things 3 has kidnapped the Eighties and is holding it hostage in some kind of fortified basement dungeon, possibly in preparation for some kind of nightmarish ritual.

Stranger Things 3 is set in a strangely exaggerated 1985. I'll try to avoid major spoilers for those of you who haven't yet binge-watched the whole of season 3. This is just to report that Stranger Things 3 is definitely worth watching, it's up to the same standards of insanity, creepiness and Eightiesism as the other two series. Your favourite characters are back (whoever they happened to be). Some minor characters from previous series come out of the shadows - it happens quite late in the current series but when given a chance Erica (Priah Ferguson) really comes into her own.

There are baddies trying to re-open the breach to the Upside Down (this is only a minor spoiler for the first scene of the first episode), and these particular baddies are absolutely consistent with the global political situation in 1985. My only minor criticism is that we don't get any sense of what motivates them, or exactly they want from the Upside Down. It's not exactly prime construction land.

On the other hand, the mysterious forces from the Upside Down set into motion during series 2 are also up to something nefarious of their own, and they certainly do have a real motivation - this aspect of the plot is a slow burner but it's beautifully thought out, with everything falling into place and making sense about two thirds of the way through. The new big bad is a clever development of ideas from season 2, and also gives the Duffer Brothers plenty of opportunities to reference iconic movies such as The Blob or Terminator 2.

It's also really satisfying seeing that all of the main characters, without exception, have grown and changed since season 2. It would be interesting to see this in other movies from the 80s - there was no sequel for ET (I'm not counting the Atari game) so we never really get to see how Elliot and Gertie were affected by their rather strange childhood.

Here there's a lot going on for the younger generation about the transition from childhood to adolescence - and particularly about what happens when Mike, Lucas and Max are going full steam ahead with this while Will is in a different place and Dustin... well, just watch. Different life challenges await for the young adults, particularly Nancy and Jonathan who are working in literally the worst local newspaper ever, and for the adult adults - you might have thought that Joyce and Hopper had suffered enough over the past two seasons, but no. The challenge for the writers is to keep all these stories going in parallel, and this is achieved in an interesting way through synchronicity - in each episode, all the groups are doing something in common, whether that's searching for someone who can help solve a puzzle or dealing with a romantic break-up.



Stranger Things in general, and this series in particular, has really impressed me. It stands head, shoulders and very long legs above most other Netflix content, as well as other eighties nostalgia pieces such as Super 8 or Ready Player One. Now the visual style has become so well defined I'm really interested to see where it goes next - perhaps the Nineties?






Sunday, 27 January 2019

Medium Latte [Festival Report: Horror-On-Sea 2019]

I was only able to attend one out of the six days of Horror-On-Sea this year so I made the most of it, taking in 6 feature films and several well-chosen short films. I picked up some... unusual DVDs on the second hand tables, so more on that story later when I've watched them. I ended the day in the casino beneath the venue for a drink and a chat with some of the festival organizers and filmmakers - as I found last year, this is a friendly, down to earth festival where the Underworld can meet the elite. After a brief flutter I left the casino up by £4 and a free pen, so can't complain about that either. I have added screening one of my films at Horror-On-Sea to my bucket list. In order to achieve this item I may need to actually make some films.




Themes for this year, at least for the day I attended, included vampires, mediums, cats, hipsters, curses, parallel worlds, international film, great memorable characters, and bonkers. Bonkers is the new jump scares.

Overall I was bowled over by the quality of the films screened. Every single one was either highly enjoyable, or still highly enjoyable if slightly too long. I'll post individual reviews of some of the films later, but I'd like to highlight some of the highlights - so here are the Sci-Fi Gene Awards for Achievement In Horror:

Snakes On A Plane Award for Achievement in the Naming of Horror Films:
awarded to Polterheist (UK, dir David Gilbank)

Last Temptation Of Christ Award for Achievement in Theatrical Portrayal of Jesus:
awarded to Vidar The Vampire (Norway, dir Thomas Aske Berg and Fredrik Waldeland)

Hidden Figures Award for Advancement of the Cause of Feminism:
awarded to Space Babes from Outer Space (USA, dir Brian  Williams)

If the winners would kindly proceed through the interdimensional gateway to the parallel universe where there is actually money for this kind of thing, I (or my interdimensional double) look forward to welcoming them to the glamorous award ceremony and presenting them with their antimatter trophies.





Monday, 21 May 2018

It's Oh So Quiet [Review: A Quiet Place]

It is the post-apocalypse. We know this because the streets are deserted, the traffic lights have fallen over, and three children are raiding a supermarket and their parents are encouraging them. Encouraging them silently though - the family communicate in sign language and are taking care to stop any loud noises. Why? The family leave the shop without incident but an incident on their walk home explains everything you need to know about the threat facing humanity from the new rulers of Earth: vicious predatory creatures that are blind but respond in an instant to any loud sound.


A Quiet Place is not your typical Michael Bay film. It's quiet! And short! This is a low-key creature horror focusing almost entirely on the fate of one family in their farm hideaway. Their quest is not to unite the people of Earth and take back our world, although Lee (John Krasinski) is obsessed with finding the aliens' weakness, but simply to survive and protect each other. Keeping everyone silent is hard enough when your family includes an anxious child and a frustrated teenager, and you've all been through a traumatic tragedy already - and all of this pales into insignificance when Evelyn (Emily Blunt) discovers she is pregnant. The film remains true to this focus and even when the family come face to face with the creatures, it avoids any temptation to build into massive action-movie set pieces. There's almost no exposition - the scenario tells its' own story. And there isn't too much lens flare. The main use of overt CGI is the creatures themselves, and they are a particularly nasty bunch.

The concept of A Quiet Place, perhaps the cleverest horror movie concept I've come across for some time, reminded me of Day Of The Triffids, another post-apocalyptic scenario where humanity is robbed of its advantage over the creatures, in that case by being blinded. This is also the second mainstream movie in the past year to feature prominent use of sign language as a major plot point, following in the very quiet footsteps of The Shape Of Water.


Thursday, 15 March 2018

Fifty Angry Men [Review: Circle]


Fifty people awake to find they are standing on glowing red spots in a circle in a dark room. They quickly learn that they are playing a deadly game – every few minutes one person is killed instantly by a shock from the hemisphere in the centre, their body then dragged out into the darkness by unseen forces. If they step off their circles they also die. It takes them a few rounds, and a few deaths, to understand that while they cannot prevent the scheduled rounds, they can choose who dies in each round.

Circle is a literal, minimalist version of the balloon debate – if the balloon is losing altitude and you can’t all survive, who gets chucked out of the balloon and how do you persuade others to do the chucking. The starting fifty are diverse enough to (loosely) represent all of humanity. As the players learn how to vote for each other, alliances and dividing lines appear around age, race, gender, sexuality, politics and profession. Players try to use this to their advantage, but if they seem too manipulative then other players may turn on them next.


This is a low-budget, one-room, concept movie – The Hunger Games meets Exam meets Cube (links are to my reviews of these films) with a dash of Lord of the Flies and a twist of Twelve Angry Men. While the scenario is contrived, even compared to other one-room movies, the writers and directors, Aaron Hann and Mario Miscione, have hit on a simple but effective concept which builds tension over and over again, and the script stands up well covering a lot of ground.

The main expense for this film was probably the cast of fifty actors - all unknown but certainly up to the job, so the conflict is believable. There's a lot of death, it's sudden and brutal although not too bloody, and while some deaths are shown directly many are communicated through reaction shots. The ending isn't easily predictable, and left me with a lot to think about. The film could be a metaphor for political extremism, media bias or the rise of prejudice in general, and of course it's even more relevant in the age of Reality TV.

Two important questions are left unanswered: when does the board game version come out, and how many batteries will it require?

To disambiguate, this is low-budget movie Circle (2015) – not the movie of Dave Eggers’ internet parody novel The Circle (2017).