You don't dig PROMETHEUS? Well, Father Gore does— so buckle up!
Sightseers. 2012. Directed by Ben Wheatley. Screenplay by Alice Lowe & Chris Oram; additional material by Amy Jump.
Starring Alice Lowe, Steve Oram, Eileen Davies, Roger Michael, Tony Way, Seamus O’Neill, Monica Dolan, Jonathan Aris, Aymen Hamdouchi, and Tom Meeten. BFI/Big Talk Productions/Film4/Rook Films/StudioCanal.
Rated 14A. 88 minutes.
I’m a hardcore fan of Ben Wheatley. Some say he’s the best thing to happen to British film in a while. I say he’s one of the best directors to come along in a while, period; not just British, but all over. I think there’s something I enjoy about Wheatley because all of his films are, at their core, fairly simple. Not meant in any way negatively. What I enjoy is that he can take those simple, smaller premises and turn them into something big and exciting.
Even in this case a couple’s week-long trip in caravan, under direction of Wheatley, becomes an intriguing and unexpected story. What could easily be something dull – and I’m sure there are detractors who say it is – turns into a tense and weird ride alongside an equally tense, weird two lovers. Not only is there tension happening, Sightseers is one hell of a riotous black comedy.
Until now I had no idea Edgar Wright was an executive producer on this film. Turns out the screenplay by stars Alice Lowe and Steve Oram had been turned down for years – too dark, they said – and Wright came along to greenlight the project. I think this fits so well with Wright’s own style as a director that it’s no surprise he was willing to get onboard.
With the purposefully awkward and tense atmosphere, dark laughs, added to excellent directorial choices, I really think this is one of the best comedies I’ve seen in the last 5 years. A highly underrated film, at least on this side of the pond. I’m sure the British film fans have been ALL over this already.
Little moments which make this so funny, often in a dark way, make the movie so memorable.
For instance, even right after they’ve cleared everything with the police following Chris running over a stranger by accident, killing him, Chris tells his girlfriend Tina “he’s ruined this trip for me“.
Later while Chris and Tina are having some fun, getting the caravan all setup at the campsite, they all of a sudden notice a bright splash of blood on one of the hubcaps, abruptly interrupting their laughs. It’s in the way Chris responds I get a kick, how casual and unassuming he is about the whole thing. Gets me every time.
Then there are the tensely awkward bits of which I can’t get enough. Like the first encounter Chris and Tina have with another couple out in their caravan. Right from the beginning it is so incredibly painful to watch, but in the right way – these two are socially inept, they’re both on the fringe of life in so many ways. However, as the caravan holiday wears on, Chris and Tina find themselves becoming less and less awkward, while becoming more and more sinister. The comedy coasts along with them, only it gets progressively darker and more unsettling; at the same time, it also gets foolish with great effect.
The whole bit of the film with Martin testing his mini-caravan is ABSOLUTELY HILARIOUS! So awkward and weird and way too funny. Even from the first scene, as Chris leaves after talking with him and then Martin gets into the mini-caravan only to roll away down the hill chaotically; I burst laughing at this moment. There are a bunch of these great bits.
Something I love about Wheatley’s films are the way in which they’re edited. The are a couple other editors on this film, including Amy Jump and Robin Hill, aside from Wheatley. Hill and Wheatley have worked together ever since Down Terrace; the trio have edited together on Kill List, this film, and A Field in England. I totally dig how these three edit films. There are countless examples of how well they work.
WARNING! SPOILER AHEAD!
My favourite here, I believe, has to be the scene where Chris sneaks up on the writer he and Tina met; Vanilla Fudge’s excellent cover of Donovan’s “Season of the Witch” plays, as Chris follows him along the highlands, creeping behind, then smashes him in the head with a rock. The great part is how it’s edited with cuts of both Tina, as well as the writer’s wife. In particular, the wife is interesting – she steps on a piece of broken plate, one Chris tipped over purposely earlier, then hauls it from her bleeding foot. I thought this was just a genius bit of editing, snapping between these quick cuts at times. Not sure what it means, other than Chris sort of hurting them both simultaneously – albeit one worse than the other; the writer husband more actively, the wife inadvertently. But either way, how the editing cuts here I find is extremely effective.
HERE ENDETH THE SPOILER!
For me, the greatest part of Sightseers is the juxtaposition of the comedy and its awkwardness with horrific murder at the hands of both Chris and Tina. Every excellently hilarious segment seems to come along with a heart dose of violence.
The best scene of murder, and in turn makeup effects, comes when Chris murders a man chastising Tina for leaving dog shit at a public historical site. Building up to the violence, there’s this funny moment when Chris and Tina sort of land on the same page; if only for a moment. Then Chris traipses up behind the man, who decides to walk away instead of pursue an argument with this manic couple, and proceeds to bash his skull in with a big, heavy walking stick. When we get slight glimpses of the leftover face, it is HEINOUS! In the best possible horror-ish sense.
But this leads me to another part of Sightseers I found interesting. There’s a strange sort of awakening in this scene, as Chris and Tina become closer. While Tina watches Chris bashing in the man’s head, though she appears to be slightly traumatized, not long after she seems to be totally in on it, willingly; a radio report they hear in the car prompts her, and Chris, to go mad with glee. Then later, Tina herself joins in on the murder without even being coaxed into by Chris (except for the dumb and thoughtless flirting he engages in). They become, tenuously, a murder couple.
So it’s this weirdly violent story undercut with a romantic tale. The ending is the ultimate undercutting of the romance, however, there’s still a love between Chris and Tina. It reminds me of the real life story of Ian Brady and Myra Hindley who committed the Moors Murders – as in, if Tina had never gone on that caravan holiday with Chris, she’d probably never have killed a person in her life. Yet Chris and his personality, his actions, draw her into murder. It’s no secret Tina is a bit slow, in many ways, so I’d venture to bet she would probably have lived at home with her mother until the end of time had she not met him.
This is absolutely a 4.5 out of 5 star film. While at times it might seem there’s nothing going on, plenty happens under the surface and right in front of us. Dark comedy comes as immediately obvious, but underneath it all there’s the story of two damaged people. Chris and Tina are the victims of unfulfilled expectations – most of all, Chris hates himself and everyone around him who are either more competent or more successful than he is. This is where the violence originates from. However, it’s interesting to see how Tina latches onto Chris and sort of supports this vicious, animalistic side to him; for her, being a muse to his violence is equal to or even greater than being the muse to some writer. It’s only once Chris sort of messes it all up by shamelessly flirting that Tina turns against him, using her own violence to then turn the tables. Without ruining the ending, Tina gets a major last laugh that I’d not expected whatsoever, personally.
If you’re a fan of Ben Wheatley, then absolutely see this as soon as possible. Great black comedy, burnt like toast. As well as there’s a real horror aspect at times, between the violence and a trippy little dream sequence. I’m a huge fan of Kill List, as well as the vastly different A Field in England and Down Terrace. Ultimately, though, I’m beginning to think my favourite of his work is Sightseers. The performances from Alice Lowe and Steve Oram, also the screenwriters along with frequent Wheatley collaborator Amy Jump, are so unbelievable and it’s as if they’re being completely natural; so much so you’d almost have a hard time separating the actors from their characters’ personas. This has got a bit of everything, from a road trip-like feel of adventure, to awkward and dark comedy, and even a nice dash of horror for good measure.
What’s not to like?
If you’ve got any SENSIBLE and thoughtful comments about Wheatley’s film, drop one below and let’s chat!
Chronicle. 2012. Directed by Josh Trank. Screenplay by Max Landis.
Starring Dane DeHaan, Alex Russell, Michael B. Jordan, Michael Kelly, Ashley Hinshaw, Bo Petersen, and Anna Wood. Twentieth Century Fox.
Rated 14A. 84 minutes.
I’m always a defender of found footage. There are plenty of instances of bad found footage films, but who cares? Why does it bother people SO MUCH? For every few bad ones, there’s a really good one waiting to be found. Honestly, if you dig through a lot of the indie found footage efforts you’ll find more than just a few good movies. Any genre or sub-genre can be used well if it’s done appropriately, in a way which helps the story a film is telling or a mood that’s trying to be attained.
I’m not a huge fan of Max Landis, solely because of some of his interviews and his incessant Twitter ranting/whining – who am I, though, to have an opinion on his personality really? That’s merely how he comes across on social media, and IN the media. Either way, I don’t particularly like how he bashes other films while some of his own don’t do so hot. It’s as if every movie that comes out he’s got his own version, his own ideas, a fan-fiction script built around his conception of how the plot and story should’ve went. Or, he simply has negative opinions instead of being constructive. This doesn’t get in the way of me enjoying any work he does that’s actually good. But honestly? To me, Chronicle is the only decent output of his. Only one man’s opinion.
The fun really begins once the guys are documenting themselves a little while after their encounter with the glowing meteor. First, they throw baseballs at one another and hit each other in the faces, until Andrew (Dane DeHaan) steps up and stops one of them right before it hits his face – the look in his eyes and the reaction they all have is excellent. One of the things I love most about this part is how natural they all feel together. Of course they each have their own separate personalities within the group, the three do feel like friends and the relationship seems natural on camera. Part of why some found footage does not work is because everything feels so forced and inorganic. Here in Chronicle I feel that how the actors make the relationships between their characters feel so organic is a huge part of the film’s overall charm. When you’ve got actors like Michael B. Jordan and Dane DeHaan holding up this type of movie, the relationships and the characters themselves all feel tangible. As opposed to other movies where young actors don’t pull their weight, the main trio including Alex Russell have tons of charisma. Plus, their energy and their commitment to the respective roles is evident. I often say certain roles couldn’t be played by anyone other than who was cast; that’s not always true. Although, here it’s pretty damn true.
DeHaan is a solid actor. As of late, he’s been banging out good performances. From his work as Lucien Carr in Kill Your Darlings to The Place Beyond the Pines and his short part in The Devil’s Knot. Almost everything he touches, whether his role is big or small, has been very interesting; sometimes if only for his efforts.
The other person whom I love is Jordan. He’s a charismatic man who brings an immediate likability to the character. And it goes well with the others. They each have distinct and different personalities, but Jordan’s character has the personality which anchors them all. All three of the main characters are representative of people we all knew in high school, certainly, and Jordan is that funny, nice, inclusive sort of dude who bridges the gaps. At the same time, he’s almost a perfect parallel for the character DeHaan plays, so that’s another reason why I loved him in the film. Mostly, the actors are able to bring us into the human dramatics at the center of the action, the root of why the movie and its screenplay are so damn interesting in the first place.
A big aspect of the movie and why it succeeds in being so innovative as a found footage film is the incorporation of a good deal of special effects. And awesome ones, too. The best part of this is the fact the video camera has a plausible way of staying around, no matter how wild it may seem in its placement. Because with the powers, the camera can go anywhere, be anywhere, simply by DeHaan’s character levitating it and taking it wherever he goes. A reason why I hate reading reviews on found footage movies sometimes is because so many people are too concerned with the footage itself – and yes, I understand that’s part of it, but why nitpick SO HARD? Sometimes, it’s deserved. Others it doesn’t need to be a relevant factor, you can just enjoy the found footage premise. At least Landis wrote his screenplay in a way that takes this into account, and jumps that hurdle in a fairly excellent manner. So then when you add in all the special effects on top of that, there’s an impressive feeling to many of the film’s scenes.
One favourite part of mine is when they go flying, tossing a football, and the danger of the powers slowly starts to become more and more evident. The fact these high school kids are blessed with such intense superpowers, and they’re so immaturely interested in testing them out, makes the stakes of the film higher. We work up to that, too. First, the special effects start with the baseball throwing, then as above, the Lego building (which I love love loved). Then, it moves onto bigger things, taking us further and further with these high school guys until the scary aspects of their newly gained powers emerge, becoming dangerous for them personally and later violent for anyone and everyone around them.
Even more than that, the special effects and the powers are on display in a vastly different sense than any regular superhero film.
I’ve always been amazed by Chronicle, from the first time I saw it when it was released a few years ago now. 4.5 stars all the way. There were a few minor nitpicks I have, but they’re not worth discussing. Overall, this is a solid piece of cinema with plenty of drama and science fiction to go around. Furthermore, despite anything else Max Landis was able to flip the superhero genre on its head with this one, at least slightly. We’re so used to seeing superpowers used for good, other than the villains we see in the good guys’ movies – because let’s face it, the heroes are always the focus anyways. But here, we almost see the birth of a villain, and it gives us a sort of prequel to life of a supervillain; also with the same care and tact superheroes are given, showing us the inner life, the workings of his mind and how he comes to be who he is in the end.
If you’ve been dragging your feet on this one, give that shit up. Check this one out and hopefully it might prove to be a nice counter-balance to all the superhero movies now inundating our senses, of which I’m not a fan. This is a different twist on an old story, so there’s plenty of fresh, fun stuff to keep your mind aflutter.
The Conspiracy. 2012. Directed & Written by Christopher MacBride.
Starring Aaron Poole, James Gilbert, Alan C. Peterson, Ian Anderson, Peter Apostolopoulos, Roger Beck, Angela Besharah, Bruce Clayton, Julian Richings, Laura de Carteret, Gavin Fox, and Ron Kennell. Resolute Films and Entertainment.
Rated PG. 84 minutes.
Often times I usually think anything PG-13 is going to be too tame for a horror, even a thriller. Let alone rated PG. Yet The Conspiracy is PG and I find it seriously chilling at times.
Part of why I enjoy the film – another found footage style effort in the form of a documentary based on a conspiracy theorist – is that it’s filmed pretty well, the editing is solid, as well as the fact it’s got some great acting and an interesting score. A lot of people want to try and say if it’s a faux documentary/found footage film then there ought not be a score, however, that’s nonsense. I think it works just as well to have a soundtrack in a found footage film as it does anywhere else. Think what you want, but if it works then it works.
Essentially, I think why I’m so into the movie is because conspiracy theory, of all sorts, interests me. Not only the theories, but the culture amongst the people who believe in them or tout them around. Because as a character in the film says, we cannot totally disprove certain conspiracy theories, and that’s how it’s allowed to go on indefinitely. So while even as I think some of these theorists are completely nutty, there’s a part of me that’s interested in it all because like I said – you can never totally prove there’s no shadow government behind everything, et cetera, as it’s a sort of circular logic that keeps spinning forever.
Combine a bit of myth surrounding Bohemian Grove – a retreat partially documented by right-wing madman Alex Jones, probably the only interesting thing he has ever done – plus Aaron Poole in particular who I think is a solid actor, then The Conspiracy comes out to be fairly awesome. There’s no outright horror, though, I think there’s a bit of existential horror at work here and certainly enough of a thrill – the end is intense – to make me enjoy every last second of the film.
Aaron (Aaron Poole) and Jim (James Gilbert) come across a man named Terrance (Alan C. Peterson). To others, Terrance is another raving lunatic on the streets trying to spread the word about 9/11 conspiracies and every other kind of conspiracy imaginable. However, Aaron especially begins to believe Terrance may be on to something. When out of the blue Terrance goes missing, Aaron and Jim set out to try and locate where he is, what happened, as well as if anything at all behind Terrance’s theories may be true after all.
Eventually, they’re contacted by a man supposedly named “Mark Tucker” (Bruce Clayton) who wrote an article about the Tarsus Club – a group of the richest of the rich – which Aaron and Jim are searching for more information on. Soon enough, they both begin to spiral down a rabbit hole of conspiracy theory, as they’re able to sneak their way into a Bohemian Grove-style party at the supposed retreat for the Tarsus Club.
Inside, all will be revealed. Or will it?
There are certain found footage movies which don’t do a proper job in setting up their atmosphere. Yes – certain movies in the sub-genre don’t necessarily try to make things look overly impressive, in that they go for a low budget feel to make the supposed documentary, or footage, look real. And that works for some of them. Not all, but some. With The Conspiracy, the filmmakers give things a very crisp look. Yet still, there’s an absolute air of authenticity even while things have that slick, sleek feel. Especially nowadays, when the quality of even some of the most inexpensive cameras is fairly fabulous, there’s no necessity to try and go Blair Witch Project and have the entire film look bare bones (not an insult; I love that fucking movie). Furthermore, the less amateur appearance makes the faux-documentary at the core of the film feel more impressive, as if the main characters know what they’re doing, pulling us right into their world, their lives, their issues. Not to say they couldn’t have accomplished this with a lower budget look and feel. But the fact this film has a vibrant, beautiful appearance makes it easier to initiate oneself into the movie’s world.
Part of the appeal of the film is the descent into madness. The Conspiracy pulls from all sorts of documentaries over the past 10 years or more. From the Alex Jones Bohemian Grove infiltration, to the Bruce Burgess 2008 Bloodline which supposedly investigated The Priory of Sion and its connection to keeping secret the bloodline of Jesus Christ. There are bits and pieces of these in there, as well as others. But this isn’t just a copy of anything. Yes, the finale does resemble Alex Jones’ documentary on Bohemian Grove, particularly the undercover nature of the main characters and their access to The Tarsus Club’s grounds. But it’s not a replica of Jones. It has shades of his documentary, though, stands on its own well enough. Particularly, the finale with The Tarsus Club devolves into something very frightening. Even scarier is the finish, as we discover not all is as it seems. Then it leads us to ponder the nature of conspiracy theory, where the whistleblowers end up and how they turn out. Plus, it makes us wonder about those controlling the world around us, hiding just beneath the surface fabric of our existence. Without ruining the ending, I’d like to think part of it speaks to how, no matter the craziness and seemingly out there nature, conspiracy theories – or some of them at least – can’t be proved wrong, and therefore, the running nature of some stories such as this one, the open endedness, it can be a chilling feeling. There is no real resolution by the end of The Conspiracy. When the credits roll we’re still haunted by The Tarsus Club, their annual hunt, and all the things they do at their big club.
4 stars. All the way. Certainly there could’ve been improvements in different areas, but most of all I thought The Conspiracy succeeded in being totally eerie without resorting to full-on horror. Using the mystery and intrigue of the conspiracy theory world, Christopher MacBride spins a tale filled with terror. Again, not many PG films are able to do what this film has done. It’s a special treat in the found footage sub-genre to receive such an impressive outing, one that’s unexpected and surprising at many turns. When you can, seek it out. A great bit of found footage that will hopefully catch you off-guard.
The Pact. 2012. Directed & Written by Nicholas McCarthy.
Starring Caity Lotz, Casper Van Dien, Mark Steger, Sam Ball, Haley Hudson, Kathleen Rose Perkins,Agnes Brucker, Dakota Bright, and Petra Wright. Preferred Content.
Rated R. 89 minutes.
I’ve got to confess, I really have a thing for Nicholas McCarthy’s films. Of course I saw this before Home a.k.a At the Devil’s Door (which I’ve reviewed).
The Pact took me by surprise. There’s nothing here which reinvents the wheel, changing the horror genre. All the same, I feel like there’s good suspense in this movie. There is something to say for having a nicely executed film when it comes to tension.
Personally I enjoy the slowburn film, and The Pact is certainly one of those. McCarthy doesn’t just give it all up quick, revealing everything at once; there are motions to get to where he is headed. There are plenty of comparisons to the cult TV movie Bad Ronald, a classic in its own right, but I don’t feel like there’s anything ripped off here. Similarities at one point in the plot, otherwise it’s nothing to seriously consider for long.
McCarthy’s film is interesting – it weaves aspects of the haunted house sub-genre with very raw, serial killer-esque horror. The fusion is definitely creepy, and I found it a whole lot of fun. I’ve seen it a couple times now since it first came out, I was excited to see it when it had been first announced, and I’m sure I’ll watch it again – watching it once more as I review. There are faults, like a lot of horror out there, there aren’t so many that it ruins anything. One of the better indie horror movies I’ve seen over the last 5 years.
Nichole Barlow (Agnes Bruckner) goes back home with her daughter Eva (Dakota Bright) for the funeral of her mother. Her sister, Annie (Caity Lotz) hates their mother; it’s clear she was an abusive, possibly insane woman. Annie has too many residual feelings to go back to their old house. Finally, Nichole is able to convince Annie to come home, but when Annie does her sister is suddenly missing. With Nichole up and disappeared, Eva is sent to live with cousin Liz (Kathleen Rose Perkins). However, when Liz vanishes as well, Annie experiences a strange, supernatural event in the childhood home she hates so much.
The police, of course, are involved, but naturally they don’t believe a supernatural entity is causing the disappearances. One cop, Detective Bill Creek (Casper Van Dien) gives Annie the benefit of the doubt after they work past an initially rocky introduction. They go back to the house, looking for clues; Annie finds a hole in the wall, like a peephole, but not too much else. Annie tracks down a girl she knew from high school, Stevie (Haley Hudson), who acts as a ghost medium of sorts. Stevie is brought to Annie’s childhood home, where she channels the spirits – she also cries out “Judas!” over and over in a fit, until her handler Giles (Sam Ball) ushers the girl away, literally beating Annie away from them.
From there, the discoveries Annie begins to uncover are less supernatural, more real, more threatening and violent than she could’ve ever imagined.
SPOILERS AHEAD – Don’t blame me for ruining a film if you’re here mining for clues about it before watching; that’s just fucking nonsense.
There is plenty of debate over whether or not Charles Barlow (Mark Steger), a.k.a Judas, is a ghost. People often cite the fact there is one scene where Dt. Creek visits the Barlow house and his camera catches an apparent ghost on the screen. First of all, there’s no real way you can say for sure that the ghost-like apparition on the camera screen is Judas; it’s a blurry shot. People try to argue about the screen of the lens, the shot of the camera on film, yadda yadda. Look – it could easily be the ghost that’s already established to be in the house: the mother. We shouldn’t have to mull over a part of the film that can easily be explained without getting stuck on a small shot, that seems, to me, fairly obvious in its intention. Sure, it may be a little trick to some, but I don’t think it points to the fact that Judas is a ghost. He is not a ghost, in my opinion. He is a real killer, still alive, and still killing.
I mean, look at this way – if Judas was a ghost, like the mother was a ghost, they wouldn’t be seen, right? Then why didn’t he just wreak havoc on the several people in the house when Annie brought Stevie over?
Logically if Judas is a real living, breathing person, he’s not going to come up and start trying to attack three people at once. Even with a knife, there’s no guarantee he would make it out of there without at least one of them getting a good punch/kick/something in on him. Judas clearly had to be somewhat intelligent enough to come up with an intricate way of snaking around the house unsuspected, killing people all those years and remaining hidden away from the outside world – so, a smart killer would know when to kill, when not to kill.
Not to mention, Stevie the ghost medium picks up on the mother; she can feel the bad things, the abuse which happened, because she hovers around the closet, which is where so much of the abuse clearly took place at the hands of the mother. Stevie doesn’t say anything that could definitively make the case that Judas is a ghost; it doesn’t seem she comes out with any indications that his is the ghostly presence being felt in the house. Could be I’m wrong, I just don’t see anything pointing directly that way when it comes to her character. A decent indication, in my mind.
Some cite when Annie sees him on the bed in the motel, I believe that’s the scene. That also does not fly. She was having some serious dreams going on, she saw a decapitated woman; don’t forget, she jumped in the air towards the door as it closed and everything froze. I mean, do we really need to start to break down such obvious dream sequences? No. We do not.
The pupil dilation argument will not stand! When a person dies, their pupils dilate immediately. Judas doesn’t have massive pupils, however, we don’t see him immediately after he dies. He lays on the floor, the door opens – we see another reaction shot of Annie – all before the camera zooms in on the dead eyes of Charles. So, we again cannot make a definitive judgement with that information because it doesn’t fully jive. The reason, I believe, that they zoomed in on the eyes is obviously because of the earlier shot of Annie – we clearly see her eyes have heterochromia. It’s visible in other shots, particularly one right near the end when she’s crying, looking in the rearview mirror of her car and wiping off the tears; both different coloured eyes are seen. What does that suggest? Well, as far as I know, heterochromia is an inherited trait, so that would come to suggest that Charles Barlow is simply an uncle – he is Annie’s own father. At least, that’s how I see it anyways. I think others out there have noticed this long before myself.
My bet is on Charles Barlow, the Judas Killer, being very much alive. Not a ghost. That’s also the dichotomous part of what I dig in this movie: one part supernatural entity horror, one part serial killer mystery-thriller. Maybe I’m wrong, and Nicholas McCarthy has this pegged as totally supernatural. Though, I doubt that. If it’s all supernatural, that sort of spoils my fun. I like the bits of ghost stuff we get with the mother – as if the pact she’d made with Judas was so wrong she couldn’t move on to death fully until it was made right – she fought to push her own daughter Annie away, even as a ghost, to try and make up for what happened in that house. It’s a real fun mix, that’s one of The Pact‘s biggest strengths as a genre picture; there’s a crossover between the types of sub-genres throughout the film.
I thought the acting was pretty damn great, especially when you consider that there are so many indie horror bombs out there saturating the market to the point of overflow.
Particularly, I found the central performance by Caity Lotz as Annie Barlow to be a knockout. She is a great actress. Certain horror films seem to want to delegate the Scream Queen role to women – not all, but a good deal. The Pact doesn’t make the man the saviour – even when Casper Van Dien rears his chiseled head to seemingly lend a helping hand (he only ends up with a slit throat for his trouble) – instead, Annie Barlow is the one who must solve the mystery, who has to confront all the worst that her childhood home has to offer; both supernatural, as well as far too murderously real. Lotz shows a good range of emotion.
This also has a good deal to do with the script. Nicholas McCarthy doesn’t make Annie out as the victim. Instead, she is a tough, maybe even hardheaded woman who won’t take no in her search for the truth as an answer. Mainly I’m just glad McCarthy didn’t make this a typical horror – even if some of the moves are cliched at times. There are predictable elements, but he avoids (most of) the pitfalls.
Also loved Judas – so damn creepy. Mark Steger did such a fucking perfect job embodying this nasty, weird killer. I was just so chilled by his love of murder, the way he moved, the way he looked. When he was crying on the bed in several of those scenes… wow.
My biggest complaint about this one is at the VERY FINAL SHOT when McCarthy cops out, going for this one last sort of freak out – an eye opens wide, peering (seemingly) through a hole in the wall. I’m not even sure what McCarthy wanted it to achieve. Most of all, I think the shot confuses his message. On the director’s commentary, I believe he actually said he regrets choosing this shot and leaving it there, if I’m not mistaken. Too bad he ended up putting it here, it really doesn’t do justice to any part of the film; cheapens the ending when I found it all effective enough. I’ve not yet seen the sequel, and don’t exactly intend to because I thought this was good enough as a standalone film without needing a follow-up.
The Pact is a 4 out of 5 star horror film. I really do love the mix of supernatural and serial killer themes. That being said, I think that’s part of what makes the movie suffer. It’s not Nicholas McCarthy’s fault if people don’t get what the movie is aiming for – except for maybe that dreaded closing shot of the eye; big mistake. I do see that mistake as being a mixed message on the part of McCarthy.
It does not ruin the movie for me. I can’t let something minor like that closing shot totally destroy all the mood and suspense McCarthy setup throughout the entire film. Great horror movie, and again, it’s one of the best indie horror movies I’ve seen in the past 5 years or so. I dig McCarthy, and hope to see more horror from him in the future. He seems to do well with supernatural elements, though, I’d like to see him also try something that’s totally serial killer-centric; those latter parts worked so eerily for The Pact, McCarthy executed them with finesse.
See this if you haven’t yet. Maybe you’ll have a totally different opinion. Either way, I could watch this even more often than I already have because it’s creepy, fun, and a little fresh – despite what some others might have you believe.