‘Wildling’ is the next debut of filmmaker Fritz Böhm, and the telling of an age-old tale in a brand new way, because, who doesn’t love a good werewolf story?
Wildling starts off strong, with plenty of build and solid base for the backstory of Anna, who was taken at birth and raised by “Daddy”, who keeps her locked up (with electric door handles to boot) and heavily medicated to prevent her from being eaten by the Wildling.
Daddy, who also happens to be the sheriff, tells Anna that the Widling has eaten all the children and she is the last one left, an effort to justify his actions to her.
As time goes on, Anna eventually ventures into becoming a woman and upon her first period, Daddy starts injecting her with something to help slow down the process.
This starts to unravel the secure environment that Daddy has built for Anna and it eventually comes crashing down, leaving both Daddy and Anna in the hospital.
With Daddy recovering in the hospital, Anna ends up in the care of another sheriff, played by Liv Tyler whose horrendous “acting” derails mostly every scene she is involved in.
I cannot stress how BAD Tyler was in this. Monotone. Unemotional. Expressionless. It was a terrible performance all the way around.
Anna is now in the home with the new sheriff and her high-school brother who she befriends and, eventually, develops a romantic relationship with.
But, Anna starts to change, becoming more like an animal.
Anna and her housemate attend a party where a class bully attempts to rape her, but Anna kills him, so now, the whole town is after her.
This is where the movie takes a nosedive.
Suddenly, Daddy is back, and despite the fact he was illegally harboring and imprisoning a child, he apparently stills holds his position and wields authority.
Despite evidence of rape, the bully is now the victim of a heinous murder, something that just doesn’t sit right with you in terms of the story playing out.
Also, if you’re a sheriff in this town, not only can you avoid jailtime for imprisoning a child and injecting her with crude medicines that constitute abuse, but you can also direct a forest fire that nearly burns down the entire forest, all so you can kill that little girl.
REVIEW: The Clovehitch Killer
IFC Midnight is back at it again, in a good way, with ‘The Clovehitch Killer’, adding to an impressive year of delivering quality horror flicks, making IFC Midnight one of the premier destinations to find solid horror movie content on a consistent basis.
In Duncan Skiles’ movie, it tells the story of Tyler (Charlie Plummer) who begins to unravel a deadly mystery involving his father (Dylan McDermott). According to the synopsis:
“After Tyler finds a cache of disturbing images in his father’s possession, he begins to suspect that the man he trusts most in the world may be responsible for a series of unsolved murders.”
Tyler’s dad, Donald, is heavily involved in the community, and in the church. The community itself is still reeling over a string of murders attached to the infamous Clovehitch killer, whose calling card is a knot tied to a random part of a victim’s home, or where a victim’s body is discovered, and whose murderous reign ended a decade ago.
However, Tyler’s new friend Kassi (Madisen Beaty) believes that the killer had not stopped, and has continued murdering. After Tyler discovers some disturbing photos hidden in his father’s work shed, he forms a friendship with Kassi and joins her obsession with unraveling the mystery of the identity of the killer.
As they start theorizing that Don is the killer, Don start covering up his tracks and doing his best work in trying to convince Tyler that he is not the killer, instead placing full blame on his brother Rudy (Mark A. Nash) who is in a vegetative state due a car accident that occurred, coincidentally, 10 years ago.
However, the clues continue to point to Don, and both Tyler and Kassi are faced with a life-and-death situation as they inch closer to uncovering the truth behind the Clovehitch killer.
The movie is perfectly placed, with plenty of logical twists and turns to deliver a refreshingly realistic telling of a serial killer-based thriller. McDermott delivers a fine performance as a slowly unraveling psychopath who has played his clean-cut alter-ego perfectly, but has finally succumbed to his inner, devious, urges. A solid film from start to finish, with an ending that will stay with you for it’s tragic nature.
REVIEW: The Farm
Last week, ‘The Farm’ arrived amid a ton of anticipation and hype, and frankly I was excited to see what kind of twisted gore was in store for what seemed to be a detached, deranged, and devilishly entertaining film, one that could be a sleeper pick for horror fans.
Fright Nerd has covered ‘The Farm’ extensively, from it’s run at the festivals to it’s pending arrival on VOD, and last week was an exciting time to see what was finally causing all the buzz that was calling it one of the most violent films of the year.
Unfortunately, ‘The Farm’ served absolutely no purpose, and was mindlessly lost with no clear direction, definition, purpose, or place within it’s own existence.
Hans Stjernswärd’s film had the look and feel of a special, memorable, horror flick but a terrible script coupled with a lackluster approach at giving any explanation or backstory for anyone, anything, or any event going on within the film completely derailed it.
In similar films, they rely on the gore and kills to get by, but this film dragged on endlessly with very little of either, leaving you waiting for something to happen, and something to entertain you.
The film had all the ingredients to be a super cool film, but just like the final image in the final scene of the film, the film had me scratching my head waiting for something….anything.
REVIEW: Errementari: The Devil and the Blacksmith
Often times you can find a hidden gem on Netflix, especially in the horror genre, so I often times find myself going on the hunt for an obscure title that may surprise, and actually resonate with me. I stumbled across one film that could have been one of those hidden gems, and here is my review.
‘Errementari: .The Devil and the Blacksmith’ came out in 2017 and Netflix picked it up for release on it’s massive streaming platform in 2018 and tells the story of, “A brutal blacksmith tortures a demon he blames for his misery, unaware a trespassing orphan is about to change everything. Based on Basque folklore.”
The blending of fantasy story-telling and horror is interwoven with beautiful cinematography throughout the film, and although it is a foreign language film, Netflix does a good job with the dubbing, sans a certain scene that involves a slapping sound that sounds like a massive cracking whip more than a subtle quick slap across the face.
Aside from that, the story is told very well, albeit some corny scenes, and the pace of the movie is perfectly set. However, illogical nuances are more embarrassing than beneficial for a film that brings the viewers directly to hell. Apparently, demons can’t resists the power of the almighty chic pea. Yes, chic peas are the downfall, even the depths of hell, and it’s little elements such as that they add a ridiculous tone to a movie that really would have been better without it.
Despite the obvious flaws, Netflix did a good job taking a foreign language film and delivering it for the English speaking audience. The story flows well, the special effects work, and the overall delivery of the film, and characters work. While the aforementioned flaws cause for more laughs than the movie delivers scares, it’s still a solid flick.
Sure, it’s no Pans Labyrinth, but it’s watchable and worth the 1 hour and 39 minute investment of time, although it won’t blow you away.
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