Travis Stevens delivers another fantastic film, once again using horror (and this time a lot of camp!) to get at the heart of issues that affect women.
The neighbours are a terror. Merry f*@$ing Christmas.
If evil exists, it doesn't matter whether you believe in it or not— it'll still find you, one way or another.
MOUNTAINTOP MOTEL MASSACRE's a mess. But a creepy one about the horrors of neglected mental illness.
DELIVER US FROM EVIL is a Greek tragedy as much as it is a neo-noir about morality and the misuse of faith.
This is not for the fainthearted. However, if you want to see a compelling, though disturbing, look at the misogyny inherent in Roman Catholicism: press play, if you dare.
Let Us Prey. 2014. Directed by Brian O’Malley. Screenplay by David Cairns & Fiona Watson.
Starring Liam Cunningham, Pollyanna McIntosh, Bryan Larkin, Hanna Stanbridge, Douglas Russell, Niall Greig Fulton, and Jonathan Watson. Creative Scotland/Fantastic Films/Greenhouse Media Investment/Irish Film Board/Makar Productions.
Rated 18A. 92 minutes.
In my review for the recent Last Shift, I talked about how it built a sort of supernatural twist out of the simple premise John Carpenter used in his incredible action-thriller Assault on Precinct 13. There’s a certain amount of the small, claustrophobic feel and location in Let Us Prey which owes very much to Carpenter’s film. Otherwise this is its own beast.
Lots of people no doubt came to this film simply because they’re like me and keep up on all sorts of horror films, whether British, American, German, French, or out of any other country. Others probably saw that Liam Cunningham was on the cast list; many recent fans of his come from his role as Sir Davos Seaworth, the Onion Knight, on HBO’s Game of Thrones, others of us recognize him also from things like The Wind That Shakes the Barley and Dog Soldiers. Then, even further, are those who came because they’re big fans of Pollyanna McIntosh from films like Offspring/The Woman, and more recently White Settlers.
Regardless of what draws a viewer to Let Us Prey, it ultimately delivers as both a tense and savage indie horror movie. This one has teeth. Not afraid to use them, either.
PC. Rachel Heggie (Pollyanna McIntosh) is starting on her first shift, overnight, at a tiny police station out in the backwaters of Scotland. As a few prisoners sit in their cells, PC. Heggie and Sergeant MacReady (Douglas Russell – A Lonely Place to Die, Valhalla Rising) keep an eye on things. There’s also PC. Jack Warnock (Bryan Larkin) and PC. Jennifer Mundie (Hanna Stanbridge) who’ve got their own thing going on.
But it’s when a man named Six (Liam Cunningham) shows up at the police station, brought in after seemingly being hit by a car, that everything begins to change. Rachel, her Sergeant, and the other officers have no idea exactly who or what they are dealing with, and over the course of the night Six intends to show them.
I think this review is as good a time to say it as any, given that I find this movie is pretty solid horror.
With any genre really, but in this case horror, my view is that you don’t have to be original in order to be good, great even. As long as you can bring something fresh to even the oldest of concepts, something exciting and interesting, then there’s at least SOMETHING to be mined out of that effort. For instance, like I mentioned about the Carpenter film almost being a prototype for this movie and Last Shift, there’s a way to incorporate that and still be unique on its own. Let Us Prey goes even a much different route than Last Shift, in my opinion, apart from the obvious plot/story differences. What I enjoy here is that there’s horror, yet behind it all there seems to be bits of symbolism. That is to say, other than the heavy handedness in the screenplay by David Cairns and Fiona Watson.
Unfortunately, I don’t get to enjoy it too long. There could have been much more done with all this, instead it ends up mostly as gimmickry for the characters. The barbed wire crown of thorns-style headdress? Obviously a gritty nod to the crucifixion, just fell flat more than anything because it was begging to be used for more than fodder. I’m not even religious, it’s only the fact I feel the imagery/symbolism was there to use and it ended up like discarded pieces of fat trimmed off the meat; good fat, not the useless kind. Anyways, I’m not the one who had the good fortune to come up with this whole plot and story, so kudos to the screenwriters on all the wonderful stuff they DID jam into Let Us Prey.
There are still problems.
I really don’t know exactly why Sergeant MacReady (Russell) turned into the wild religious maniac he did. I guess I do; it doesn’t work for me, though. Totally dig the confrontation between MacReady and Six (Cunningham) where the entire idea of Christianity v. Atheism came out. However, this simply doesn’t account for him going off the way he does. There was some amazingly disturbing subject matter happening in the subplot of MacReady, but it simply wasn’t thought out well enough. All the same, I did enjoy Russell’s performance because he got to go crazy and, though tempting surely, he stopped short of hamming it up.
Part of what I did love here is that this movie is a modern horror with great aesthetic things going on all around; from the visual look to the pounding, unrelenting score.
First off, the cinematography by Piers McGrail, who also shot the excellent looking (though ultimately disappointing) The Canal, is a part of what sets the overall sombre mood and tense tone of the film. Aside from an amazingly shadowy, rich textured look to many of the scenes, the composition of certain shots is absolutely marvellous. Old school style framing with these incredibly proportional shots which can, at times, box you in the way proper horror ought to, anyways.
Second, and just as important, there comes a lusciously composed score out of the mind and hands of Steve Lynch. I’ve never honestly heard anything he’s done, not that I know of, but this score is WOW – downright homage-like, harkening once more back to John Carpenter, and all at once there’s also a totally different quality to the different pieces, a heavier, more terrifying feel. Some moments really gut punch you, in the right sort of sense. Other scenes have this dreadful foreboding skin laying thick over every beautiful shot where the atmosphere seeps into your skin and really entrenches you in the world Let Us Prey presents. Hallmark of a solid horror is always nice atmosphere, in part due to cinematography and score working in conjunction as one creepy unit; this film bears those marks, more than plentifully.
While I don’t agree with certain reviews stating the police station here is a type of Limbo, or anything similar, I think there’s absolutely some Hell-ish stuff which transpires. That leads us into the greatest part about the film: the horror. Pollyanna McIntosh and Liam Cunningham are equally wonderful in their respective roles, but what gets me going about Let Us Prey is good old fashioned horror fun. From the savage antics of Sergeant MacReady, to one of the officers slamming a chair leg through a guy’s head with gory pleasure, there are more than enough moments to satisfy the gorehound horror fans amongst the pack.
The finale is somewhat lacking. Not that I’m a person who needs ALL things wrapped up in the end. However, there’s a bunch of things happening thematically and I don’t feel as if the finale and ending do enough for me in terms of closing off those themes, ones they started in on initially, so there’s a copout in that sense. I didn’t want a bow on top and a neat little present of an ending – there’s something missing. I can’t say what, but the Cairns/Watson script needed a more suitable finish, which left me walking away lacking.
Let Us Prey is a 3.5 star film, for me. The script leaves me a bit lukewarm by the end, but the performances are really great all around – even from the smaller roles – and the horror is downright nasty, as well as relentless for a good deal near the end. The problems I do have with the script are relatively minor. There’s enough tension and excitement throughout this awesome Scottish indie to keep anyone interested. If not, well there are nice frilly little action movies with bright shapes and colours for you to look at: over here we’re watching brutal horror movies!
Monty Python's 1979 classic, LIFE OF BRIAN, which takes aim at the Roman Catholic Church specifically, & the history of Jesus Christ.
Nothing Bad Can Happen. 2014. Directed & Written by Katrin Gebbe.
Starring Julius Feldmeier, Sascha Alexander Gersak, and Annika Kuhl. Celluloid Dreams.
Not Rated. 110 minutes.
While I usually try not to go too deep into personal theories of a movie, if it appears to me as metaphorical, Nothing Bad Can Happen feels very much to me like a film meant to be taken as metaphor, and with that, I feel like this review will mostly focus on my subjective interpretation.
The film follows a young man named Tore (Julius Feldmeier) in Hamburg who attempts to build a new life in a religious group, The Jesus Freaks. After having a seizure during a rock band’s performance, a man named Benno (Sascha Alexander Gersak) helps him out, and brings him to safety at his home. There, he begins a relationship with Benno and his family. Eventually Tore even moves into a small guest area at Benno’s home. However, things soon become darker, more sinister for Tore than he could have ever anticipated. A battle of wits begin, as Benno begins to mentally and physically torture Tore. Though the young man clings to his faith, Benno becomes more sadistic as time goes by, ultimately inflicting some of worst punishment possible on Tore.
This is apparently based on a news article director/writer Katrin Gebbe read. While I have not searched out the article in question, I still believe Gebbe uses the, at times brutal, story as a way to discuss religion. In particular, she looks at how those who are constantly, and consistently, abused over and over by their religious institutions still keep their faith – often going so far as to excuse the abuse. Furthermore, the actions of Benno as the movie progresses make you realize he was initially trolling for weaker prey when first meeting Tore – once he saw the younger man seizure, he knew this was his victim. Also, you can obviously realize after some time Benno is not Christian any sense whatsoever – much how I feel about those who abuse their power to rape and abuse those without it using their religious position to conceal their actions (those people do not truly believe in anything – religion or otherwise).
This method Benno uses is exactly how the abusers, using religion as their cover, choose which person to subject to their torturous desires. Much like the rapists using the Roman Catholic Church to cover up their heinous sexual assaults on countless, seemingly never ending boys and girls. And still, the abuse reigns on as people continue to bow at the altar of these corrupt churches. Without ruining the ending, there is very little optimism in the finale of Nothing Bad Can Happen – there is a half and half, bittersweet sort of finish. One side speaks to us so that we can learn from all these abuses, and hopefully some who face this abuse also can get away eventually. On the other side, we see how faith can get someone through terrible, horrifying trauma, and yet at the same time could really destroy one’s self altogether. As much as Gebbe based this on supposed true events, I really do believe this is meant to be a metaphor of the larger-scale abuse going on throughout many religions – not simply the Catholics, as I mentioned (I was personally brought up Roman Catholic due to my mom and I living with my grandparents for the first 8 years of my life & when finally given the chance by my mother and father a few years later I gave up church for the rest of my life). Every religion has, and is capable of, abuses, and this almost says to me alone that religion is not as wonderful and miraculous as those who practice their individual religions regularly would have you believe. Nothing Bad Can Happen explores all these things, and more, through a very dramatic film while also incorporating real savage moments of psychological horror.
The absolute best part of the film is its central performance. Julius Feldmeier plays Tore brilliantly. The whole film is quite subdued and what I call “quiet” – there isn’t any action, it’s all based around the drama of the script. In these “quiet” films (I’m not generalizing – just stating for the purpose of this review), I find actors often get to really get into the scenes more, in terms of character. Sure, action stars can really get into their own characters, but in films like Nothing Bad Can Happen where the plot does involve or incorporate any big set pieces, special effects, or other things et cetera et cetera, actors have nothing else except for the dramatics of their character and the scenes to focus on. All of the subject matter here is very heavy, and Feldmeier gives a great performance as a young man who is determined to find his way through life, and everything that comes with it, through his belief in Jesus Christ. As somebody who does not take part in organized religion, an actor has to do some serious work for me to empathize with a character who is almost blinded by his faith. Regardless, Feldmeier does such a good job as Tore it was impossible not to feel for his character. With every degrading act Benno unleashes on Torre, both the determination and pain coming through in Feldmeier’s performance tightened the tension of the film, as well extended my empathy tenfold for the character. Really great stuff. I believe this is the first feature film Feldmeier has been a part of, and I do hope to see him again soon after this one.
Nothing Bad Can Happen didn’t reach Canada until 2014. Because of this, it is absolutely one of the best films I had the pleasure of seeing this past year. I’ve included it on Fathersonholygore’s Best of 2014 List. There’s something about this film which captivates me, and I believe most of that is due to the fact Katrin Gebbe gives us a dose of reality while also spinning the story into a much larger fabric representing the universal abuse of the weak, and possibly gullible, followers by their own religious institutions.
The film itself is a real great work of drama with thriller elements, and a healthy dose of horror, to my mind anyways. This is absolutely a 4.5 out of 5 stars for me. I can’t wait to get a copy on Blu ray because there are no doubt bits and pieces I missed when I first had the privilege of seeing the film. Highly recommended. Keep an open mind – an inquisitive, free mind – and think about the bigger implications of Nothing Bad Can Happen. A real powerful work from Katrin Gebbe – someone who I again hope to see more from in the near future.