Tagged High Tension

More Disturbing Halloween Horror: Blood, Guts, Skulls and Stuff

With a list for the disturbed, one for zombies/living dead/infected, a 31-day map of horror and even a list for Halloween-ers who aren’t horror fans, I’ve come to one with a special disturbing dedication: blood and gore and uncomfortable pains!
While the other disturbing list is a bunch of general unsettling movies, this one is based mainly around effects and the visual nastiness. Now, these aren’t meant to be the BLOODIEST, or the wildest gore imaginable, nothing like that. The movies on this list are some of the ones with the effects I enjoy most, the nastiest depictions of violence, and so on, which I’ve found throughout the 4,100 films I’ve seen in the past 30 years.
Hopefully you hardcore horror fans will enjoy some of these and you’ve probably seen a few, if not all. Either way, let me know what you think and if there are any others you enjoy that ought to be shared.


Anthropophagus (1980)/ Absurd (1981)
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A perfect double feature if you want a big helping of senseless violence, relentless terror and creepy atmosphere. These two landed on the Video Nasty list during 1983; they were also prosecuted successfully.
Joe D’Amato’s Anthropophagus sees a group of friends on a Greek island terrorized by a tall cannibalistic man of mysterious origin. No more explanation needed because there’s honestly nothing much else to say. It’s the way D’Amato shows everything, his style, which really makes this something to see. Truly nasty bit of work. Goes well together with a want for blood, guts, and flesh wounds of all shapes and sizes.
Absurd1Moving on to 1981, D’Amato comes back with a spiritual sequel to his earlier Anthropophagus from 1980 – Absurd is the story of a priest chasing down a monster whose blood coagulates incredibly fast, rendering it near impossible to kill, and its killing is unstoppable.
This isn’t near as good as Anthropophagus, still it is some more savagery from D’Amato whose nastiness knows no bounds at times.
A ton of head action here: no, not a blowjob, I’m talking heads being drilled, heads being sawed, et cetera. If you’re in need of a bit of rough violence, this is certainly the ticket. However, as I said, D’Amato doesn’t come back near as good with this film as he did with the previous.
These two films make an interesting, nasty double feature. Don’t say I didn’t warn you – not plot heavy, but definitely thick with murder!

Blood Feast (1963)/ Two Thousand Maniacs! (1964)
BloodFeast
The second double feature (out of 4) on this list, it’s another one with both titles from the same director. This time, it’s the Godfather of Gore, Mr. Herschell Gordon Lewis.
The entree: 1963’s Blood Feast.
While this is by no means a great film, it’s definitely ambitious in terms of the blood and gore. With Blood Feast – the story of a killer slaying women in order to get blood to appease an Egyptian goddess – Lewis began introducing the world to his vibrant brand of gore horror. Right from the very beginning of the film, its first sequence comes off totally awesome and bizarre; a proper portion of H.G. Lewis signature style gory makeup effects. So pretty much immediately you’ll know whether or not you’re in for his type of filmmaking. I dig it and think it’s nasty as hell. This is one ridiculously fun and equally rotten bit of gore horror.
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After Lewis shocked with the previous little blood & guts flick, he came back swinging with a much better film the next year: Two Thousand Maniacs!
This one is the story six people who find themselves trapped in a town, deep down amongst the Southern U.S. and one by one they’re killed, as part of a celebration/their revenge for the town being destroyed in the Civil War.
Talk about bloody! The poster does not lie. Early on in the days of splatter horror movies, H.G. was rocking it hard. Furthermore, there’s a real dreamy quality to Lewis’ filmmaking and I feel that’s a part of appreciating what he does; sure, it’s kind of cheap, yes it is also tame compared to things today. But is it really tame? I don’t think so. Either way, there’s a certain atmosphere Lewis creates which not a lot of people take into account. Sort of an avant-garde-trash mixture. Bless him. This is a wonderfully fun and bloody piece of work.
These two Hershell Gordon Lewis movies work so well together, though, the second is much better. This gives me my fill of organs and bleeding cuts and slashed throats and more. A perfect Halloween splatterfest!

Eraserhead (1977)
ERASERHEAD - UK PosterMy full review is here.

One of my three favourite Davids – another one comes later (and the third is my dad) – Lynch dropped his first feature film onto the midnight circuit in 1977 with the existentially horrifying and viscerally churning Eraserhead.
The story
 ah, if you don’t already know what this movie is, there’s no real point trying to explain it. Maybe best put: the story of a man living in an unbearable industrial landscape, whose girlfriend gets pregnant and then they both must deal with it after coming out a tiny monster. Oh, and don’t forget the woman who lives in the radiator.
A whole mind trip of a film, this Lynch masterpiece has tons of the existential dread happening, from start to finish. But the visuals – holy fuck, the visuals! There are moments even some hardcore horror hounds find nauseating, simply because of the way Lynch shows us his imagery. I won’t ruin anything for those who’ve not seen it. Needless to say, you may never look at a turkey or chicken again in the same way once you’re ready to carve it up.
Fun note: Lynch still says to this day no one has ever really pinpointed what the film is about, for him.

Dans Ma Peau a.k.a In My Skin (2002)
d6This French film is the story of a woman who experiences a bad injury while at a party, then becomes increasingly obsessed with self harm – serious cutting.
A lot of people might find themselves flinching throughout large portions of this one. Honestly, it’s a tough piece of cinema. The amount of nasty cutting and self-violence here is extraordinary. Perhaps what makes the blood and makeup effects here so devastatingly effective is the fact we get inside the headspace of the main character – also the director and writer, talented woman – and come to actually care about her, maybe some of us will identify with her. So this takes it to another level. Go into this expecting you may turn it off due to discomfort.

Hostel (2005)/ Hostel: Part II (2007)
hostelFor my full review of 2005’s Hostelclick here

For my full review of the sequel – click here

Another double bill, again each from the same director. This one would actually make a great quartet feature with H.G. Lewis, come to think of it.

Say what you want about Eli Roth, he’s effective. Can you honestly say the special makeup effects in Hostel aren’t well executed? If so, you’re kidding yourself. You might not like how Roth plays out his film, you may not even like the content. There’s just simply no fucking way you’re convincing me the blood and gore here isn’t properly nasty.
Hostel came out and turned up the label “torture porn” (get what it implies but hate the term). The whole thing, to me, is a sleazy masterpiece of bloody horror. Its first half plays like a roadtrip comedy with the three dudes, cut with bits and pieces of murder. Once the second half begins, Roth takes us on a gory ride. That eyeball effect? Come on
 don’t let whatever your opinion of Roth/the movie overall may be cloud your judgement: this is some hardcore brutality. There are plenty more bits to “enjoy” when it comes to all the bloody goodness, the eyeball is my favourite.
Hostel-Part-II-New-Poster-horror-movies-42168_1296_1920I wasn’t expecting a good follow-up, honestly. Regardless of that, though, Hostel: Part II is one hell of a sequel from Roth. Of course the end turns out to be a nice little feminist twist, but most of the film sees a trio of women in peril, as opposed to the three dudes from the first. The savagery is just as prevalent here. Love the homage to Erzebet Bathory with the bloodletting bath scene. Also, I’m always a big fan of piece of shit men getting their dicks cut off. So there’s that.
Both of these films are incredibly horrific, in their own ways while still being similar. Even better than that, I find the sequel Roth came up with did well with creating an entire universe with the story, going deeper into the global club of psychopaths who round up victims for murder tourists to have a go at. On top of all the bleeding and the screams and the terror, there’s also a cherry of a decent plot, too.

Island of Death (1976)
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Back to another of the infamous Video Nasties. And I’m not putting this on the list all due to it being on there, either. Only awhile ago did I actually get the chance to see this, but christ
 what a doozy.
In 1976, director Nico Mastorakis put out Island of Death after seeing how well Tobe Hooper did with his indie shocker The Texas Chain Saw Massacre only two years before. Except without much of an intent, as I feel Hooper had with his own film, Mastorakis only wanted to bring the awe with a sadistic and perverse plot based around a British couple – who say they’re recently married yet are actually later revealed to be a brother-sister incest duo – wreaking absolute havoc on people while visiting a Greek island. Strangely enough, for two inbreeding siblings, they kill people who they deem sinful.
You’ll find yourself, most certainly, struggling to get through this because it’s not particularly good, in regards to plot or story. Neither is it overly well-acted. It’s the brutish violence and boundless depravity which will take you in. The blood flows and the gory scenes will make you understand easily how this ended up on the Video Nasty list.

Masters of Horror: “Imprint” (dir. Takashi Miike) (2006)
imprintMy vote for most disturbing segment ever made for television – Takashi Miike’s Imprint from the horror anthology series Masters of Horror.
Miike has turned up on another list I did for Halloween this year (for his 1999 horror-thriller Audition). He comes back here again with a vengeance.
Without giving away too much, an American traveler who once visited Japan for a time goes back for another trip. When he looks to find the geisha with which he connected so emotionally on his first visit, she is nowhere to be found, and he soon begins to unravel the devastating mystery surrounding her disappearance.
Think it sounds okay? One of the most disturbing movies I’ve ever seen, and it was a television episode; though, it wasn’t allowed to air if I’m not mistaken. I bought the two seasons of this show and found myself blown away by this one in particular. Lots of nastiness from one of the true masters, Takashi Miike.

Videodrome (1983)
videodromeFor my full review, click here.

A personal favourite of mine, David Cronenberg’s Videodrome is similar, in a few respects, to what he was doing in eXistenZ later down the road. However, they’re definitely different, vastly so, as this 1983 classic goes much harder and more metaphorically at the body horror sub-genre.
Sleazy TV producer Max Renn (James Woods) searches for the ultimate in raw, real content for his channel. In his search, Max comes across an ultra-real show named “Videodrome”, featuring what seems to be actual snuff and torture, et cetera. Slowly drawn in, his quasi-girlfriend Nick Brand (Deborah Harry) goes to audition for the show, having an interest in masochism particularly. What happens next takes Max to the brink of reality and sanity at once.
Cronenberg is one of the genius filmmakers of cinema, even better that he’s Canadian (as I am one; he’s a national treasure). He’s very much an auteur, I would say he’s pretty much the king of body horror. Even further than that, I’d definitely say Cronenberg is at least ONE of the godfathers of the sub-genre. Lately he’s moved a little bit away, which is fine. You just cannot deny his power. Some of the effects here, provided by maestro artist Rick Baker, are simply unforgettable – the fleshy VHS tape, the mutilated/deformed bodies, and so on. Plus, on top of all the body horror, as is his style, Cronenberg also gets into how we relate to media, whether movies or television, what have you. Very interesting movie and also harrowing in terms of its body horror imagery.

Haute Tension (a.k.a High Tension a.k.a Switchblade Romance) (2003)
high_tensionFor my full review, click here.

Alexandre Aja is a favourite of mine, in terms of modern horror filmmakers who have emerged over the past 15 years. He’s vicious, funny, he’s displayed – in some of his films – that practical special makeup effects still have a place in post-2000 horror, it isn’t all about CGI. Most of all, I think he wears the biggest and best of his influences on his sleeve.
The story of Marie and Alexia, two college friends – they head for a vacation back to Alexia’s parents home in the country, deep in the cornfields. On their first night, a killer comes knocking at the door. Systematically he murders the family, except for Alexia – all the while, Marie is hiding upstairs in a room at the top of the house. Marie manages to slip into the killer’s creepy truck before he whisks Alexia off. This begins an intensely vicious night of cat-and-mouse maneuvering, swimming in blood.
I never once saw where this horror movie was going the first time I saw it. Then when you watch it over and over again, which I’ve done (because I fucking love it), it’s interesting to watch knowing where it will go and still find yourself enthralled. There are some of the most perfect special makeup effects in High Tension. It has such a great 1970s/1980s horror sensibility, one of the biggest reasons why I can’t get enough of this Aja masterpiece. Some will tell you the twist is something you’ll see coming. I don’t believe that; people who say those things, some of them anyways, are usually just naysayers unable to point out anything particularly bad about a movie they don’t like (for whatever reason). You’ll be blown away, or in love depending on how sick you are like myself, by all the blood and gore from start to finish. Plus, the performances are incredible, even the near mute killer. This one is a definite shocker you need on the Halloween movie marathon list. If you don’t dig subtitles, get over it or miss out on a fantastic piece of modern horror-gore cinema.

Macabre (1980)/ Demons (1985)
macabre_posterMoving on to our next – and fittingly final – double bill: back to back Lamberto Bava madness!
To start, the 1980 horror (amazingly it is loosely based on a true story) Macabre. This one is insanely fun in the sickest horror sense. A woman is reeling from the death of her extramarital lover; they were in a car accident and he was decapitated. After a 12-month stay in an institution, she gets out and heads back to the apartment where she and her lover would meet to make love and be together. Soon, her landlord begins to suspect there’s still something going on between the woman and her lover.
So that description alone should intrigue you + the poster art there! To tell you the truth, the poster itself I’ve got there is a bit telling. But still, not like my description wasn’t either. If you want some nasty horror dealing with dead bodies and psychosexual tension, this will make any Halloween properly disturbing with a nice spate of – you guessed it – macabre imagery.demons_1_poster_01After Macabre‘s more subtle story, believe it or not, is the 1985 cult classic Demons. For those who don’t know, Lamberto Bava is the son of revered Italian horror/giallo director Mario Bava (see: A Bay of Blood & more). So while his father was an absolute powerhouse overall in cinema, not someone I would banish to simply being a great genre director but a true artist, Lamberto doesn’t quite rise to that height. That being said, he is still an amazing horror director. Demons is an all-out barn burner: a bunch of people are trapped in a theatre, home to demonic entities, and they proceed to kill/possess everyone possible inside. Honestly, there’s nothing else to say about the plot – it is what it is, and that’s all right. This is one wild piece of horror, similar to a zombie film yet these are demons; the more they possess people, the greater their numbers. Not only that, the special makeup effects in this one are gnarly and awesome as hell. You have to put this one on if you’re watching Lamberto Bava, it’s a wild ride, and a nice contrast piece to Macabre, a very different sort of horror. These two movies together will really get your blood flowing. Turn Halloween into a night of terror with this double feature full of depravity and utter chaos.

Offspring (2009)
offspring_xlg It’s strange because so many people seem to have seen Lucky McKee’s The Woman from 2011, yet inexplicably ignore its predecessor – the 2009 indie Offspring.
Based on a novel by Jack Ketchum, and subsequently his screenplay for the film, this is a tale of the remaining cannibals from an old clan who move in on a nearby town and begin to wreak havoc on its people.
There are some intense bits here, especially with the inclusion of the feral children in the clan; one scene immediately comes to mind when a woman walks into her kitchen, only to find blood and body parts and kids nibbling on the tasty little bits they’re holding. This is one really macabre story and its execution I find pretty damn good; not perfect, but good enough. Not sure why this one has a super low rating on IMDB, perhaps some might find it cliched or overdone, I don’t know really. The mind of Jack Ketchum comes out pretty nicely, to my mind. He is a unique and terrifying writer.
Either way, I do know this has enough satisfyingly disturbing bits of gore and morbidity in it you might spend a few minutes before bedtime making sure no cannibals are hiding out in the kitchen.

Angst (1983)
ANGSTCULTEPICSNEWSFor a full review and examination of this shocker, click here.

Loosely based on the real murderer Werner Kniesek, Angst is the tale of a madman released from prison, after which he brutalizes and murders a family in their small home.
Truly, to me, this 1983 cult horror film out of Austria is actually an examination of institutionalization crossed with an already violent psychopath, almost the meeting of two immovable forces crashing against one another. Right from the first scene, we know how madly gone the psychotic (Erwin Leder; best known from Das Boot) has become in his time through the prison system.
And that’s part of why Angst is so powerfully disturbing – aside from the messy, bloody bits, the entirety of the film has us knocking around in the head of this man. We’re never given any of what’s going on outside of him, anything from a different perspective, but rather this depraved killer is our guide, our sherpa into the heart of utter darkness.
If your Halloween season hasn’t been viscerally disturbing enough, get ahold of Angst. It’s becoming better known over the past few years, particularly with the Blu ray release, however, it’s still not widely recognized enough in my opinion. There are easily drawn comparisons between John McNaughton’s Henry: Portrait of a Serial Killer. Though, trust me: this movie is far different, it gets deeper into the brain matter of its killer and really tries to strip things down to push us into the main character’s uncomfortable headspace.

SalĂČ, or the 120 Days of Sodom (1975)
MV5BMTQyMDQ4NTY2Nl5BMl5BanBnXkFtZTcwMjk2NDQ3MQ@@._V1_UY1200_CR110,0,630,1200_AL_This 1975 Pier Paolo Pasolini-directed shockfest is one you’ll undoubtedly see turn up on most of the disturbing horror lists out there. Anybody in their right mind will find this completely raw and hateful nasty, no doubt about that. The most hardcore horror fans readily admit this is one insane piece of cinema.
While I do think there’s a major part of this movie speaking to fascism, et cetera, the majority of what you’ll find incessantly horrifying here is the imagery. And it’s not subtle, not even for a hot second.
Think – have you ever thought to yourself “I’d love to see a movie where people commit sodomy, eat human faeces, then throw in some violent torture/murder and a suicide to boot”? If so, this one is for you!
Okay, I don’t make this one sound in the slightest appealing. Because it’s not and I’m not trying to fool you here. This is a list of disturbing horror to do solely with imagery, effects, and so on. You won’t find a more visceral piece of cinema ever, maybe. Many argue this has no purpose, but under all its nasty and in-your-face nausea, Pasolini had something to say with SalĂČ and after all these years – four decades later – people are still debating it, still fighting it, the controversy surrounding the film and Pasolini himself continues to burn in the public heart of film lovers. So can you say, either way, love it or hate it, that Pasolini’s movie is not effective? You’re kidding yourself if the answer is no.
Putting this one on could ruin October for you; the entire month. But if you’re adventurous, and a little messed up, pop this in and rock out to the Pasolini mindfuck machine.


Thanks for reading another of my Halloween lists this year. Once more, as always, I’m hoping you’ll find at least one flick to put on during October. Especially the closer it gets to the 31st. This list will induce shock and awe, I know it does for me. These are all pretty wild movies, to me. If you have any other suggestions for blood, guts, skulls and assorted nasty stuff, please drop a comment and let me know in what sort of madness you’ll be indulging over the next couple weeks.

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Kristy: Lower V. Upper Class Horror

Kristy. 2014. Directed by Oliver Blackburn. Screenplay by Anthony Jaswinski.
Starring Haley Bennett, Ashley Greene, Lucas Till, Chris Coy, Mike Seal, Lucius Falick, Erica Ash, James Ransone, Mathew St. Patrick, and Al Vicente. David Kirschner Productions/La Sienega Productions/Electric City Entertainment.
Rated R. 86 minutes.
Horror/Thriller

★★★★
Kristy_Random
There’s nothing absolutely unique to Kristy. I can’t say there’s anything I’d call overly innovative, honestly. Yet something about the film draws me in. I’ve seen it three times in total now. There’s nothing to dissect, nothing to unpack and pick apart, nothing to examine. But each time I viewed Kristy, something lingered in me about this horror movie I could never fully shake. At least not for a couple days.
People look at the movie and see it as cliche-ridden, predictable horror with situations we’ve seen a million times before. I’m not saying director Oliver Blackburn reinvented the wheel on the genre. Nor am I trying to claim Anthony Jaswinski’s script is revolutionary, it doesn’t take horror and turn a mirror in on itself or bring new light to the tropes of the genre, anything in that sense. Simply put, I find Kristy just a good old fashioned horror movie. The difference which makes me think it’s better than the rest? A kick ass lead character, who is female and who doesn’t merely survive on instinct, she wills her survival into existence. Then takes some more.

At college trying to live her own life, Justine (Haley Bennett) works scrubbing dishes while studying her ass off to get good grades. During Thanksgiving, her boyfriend Aaron (Lucas Till) heads off to spend time with his obviously rich family, as does her roommate Nicole (Erica Ash) at the very last minute when her father suddenly gets time off from a political campaign.
Virtually alone – except for the groundskeeper, a young man named Scott (James Ransone), and sparse security including the friendly Wayne (Mathew St. Patrick) – Justine finds herself walking the halls, listening to music, studying, and generally passing away time. Though, Nicole left behind her BMW offering it to Justine in case she needs to get away from campus.
When Justine takes the car out for a drive and stops at a convenience store, one nice gesture towards a girl named Violet (Ashley Greene), who rudely declines, turns into a night of absolute terror and a horrifyingly tense struggle for survival.
Screen Shot 2015-09-19 at 1.46.40 AM Screen Shot 2015-09-19 at 1.41.59 AMAn immediate thing I noticed, then saw again more the next two times I saw the film, is how at the beginning of Kristy, the college campus has this beautiful, bright visual sense about it. Even while Justine finds herself alone across the entire college, there’s still this brightness everywhere she goes. Blackburn chooses to film much of everything in the first 15-20 minutes in this way, making the college and Justine’s life seem pretty relaxed. Along with that, there’s a pretty good little montage sequence where Justine goes through the motions, passing time swimming and bouncing around the lonely, empty halls with her headphones playing “Pumpin’ Blood” by NONONO as it bleeds out into the film’s soundtrack itself.
Then once Blackburn moves further into the screenplay, we start to get a mood shifter in terms of visuals. We see Justine go out at night, then things figuratively and literally get foggy. She drives through fog, almost like a barrier as she leaves the enclosed safety of the college campus gates into the real, terrifying world. You can almost look at it in the metaphorical sense: once you leave college/university, real life is there, real will fucking get you.
Because this is where Justine’s life changes, at the convenience store. This is also where the tone of Kristy links back to its grim opening sequence. Real life outside of the college campus clashes hard with Justine. Worst of all is the fact Justine herself is not the “Kristy” the antagonists are searching out to taunt, torture, and kill. She is not the rich type girl, but only drives her friend’s car (most likely a car her friend got from her parents). Funny enough, Nicole, the roommate with the BMW, is more the type Violet (Greene) and her crew are trying to find. There’s a tragic and scary irony in that. Especially considering the fact Justine even tries to befriend Violet by paying for the latter’s items at the store.
Passing through this point, the land of no return. Things get legitimately suspenseful, tense, and downright frightening at times moving forward. I love the interaction at the convenience store/gas station with Justine and Violet, then the clerk is thrown into the mix, as well. There’s great tension in that scene, which I found thick enough to bite. Great stuff and a well-written scene. This is the setup leading into the film’s real meaty bits.
Screen Shot 2015-09-19 at 1.42.16 AMScreen Shot 2015-09-19 at 1.42.45 AMA notably unsettling scene happens when Justine goes back to the dorm rooms at one point; as she goes by the wall of one room, unbeknownst to her, has all the pictures scratched up, specifically the eyes. I thought it was a brief and real eerie shot. This slowly ratcheted up the tension, adding to Justine’s fear without her even knowing.
In conjunction with creepy scenes like this one, I love the score composed by François-Eudes Chanfrault; his excellent work has included Alexandre Aja’s High Tension, Inside, and Vinyan. The amazing music goes along SO WELL in certain scenes that it’s hard to deny its effects. Moments when Justine finds her life threatened, when the danger is most real, the music swells and sort of throbs at you. In quieter moments the score lulls you in and captures you, the emotions onscreen jump into your head and into your chest. Chanfrault has a knack for incredible music and I think he is a definite asset here.
Screen Shot 2015-09-19 at 1.43.41 AMWhat really does it for me throughout Kristy‘s meagre 86 minute runtime (including the credits/post-credits scene) is the central performance of Haley Bennett as Justine. Not only her performance, I think Anthony Jaswinski’s screenplay has a great character in Justine. She’s a vulnerable, scared young woman in the beginning whose lonely Thanksgiving on campus turns into a nightmare. By the end of this psychologically daunting horror movie, I found myself almost fist pumping because of how kick-ass this woman had become; she had inside her, just like the intellectual side of herself coming out through class and study, this venomous and visceral side which was required in order to cast out these predators. They hunt her down, thinking she’s someone she is not, and she also becomes – in a sense – someone she is not in order to overcome their savagery. I think an important part of Kristy – not just why I like it – is the fact Justine starts off in a position of weakness, but really takes charge and becomes a tougher, stronger person after coming out the other side of a bloody, haunting situation. Justine reminds me of the Erin character from Adam Wingard & Simon Barrett’s You’re Next, yet without the same background, and in a sense a bit cooler.
Screen Shot 2015-09-19 at 1.44.07 AM Screen Shot 2015-09-19 at 1.44.55 AMThis leads me to the fact I love the finale of the film, so incredibly much. Again, nothing innovative or absolutely fresh, I simply find it hits all the right notes and really becomes this visceral experience. With Justine, we walk through this hell-like evening, or more like run and fight, until she essentially snaps and becomes the hunter instead of prey. She takes on these murderous masked psychopaths and there’s this awesome quality to her redemptive scenes I find really powerful, in terms of horror. I think some might fin the first 40 minutes a little slow pace, which I personally don’t mind. To those viewers I say: hold in there. The next 44 minutes are pretty spectacular, in my opinion. This portion of Kristy truly grips me, as the action and horror get more and more intense, barreling towards a nice finish.
And make sure you check out the scene after the credits.
Screen Shot 2015-09-19 at 1.43.18 AM Screen Shot 2015-09-19 at 1.46.28 AM Screen Shot 2015-09-19 at 1.46.54 AMWith some real amazing horror moments and a strong female lead in Haley Bennett, Kristy is a 4 out of 5 star film in my books. Tons of modern horror aims to be scary yet doesn’t hit the mark, as well as the fact we don’t often see a lot of horror movies where the lead female characters are anything but simple survivors, based on the merit/lost lives of others or a lot of lucky; Kristy is at times terrifying and always sees the character of Justine as someone who is willing to fight, to work, to really strive towards conquering the fear and obstacles surrounding her.
Check this out. Honestly, I think it’s worth the time, even if only for the final half hour. Plus I find the ending/post-credits scene intriguing with the idea from the beginning – of an online type of cult, people killing these “Kristy” substitutes in order to “kill god” as they put it. Very wild and weird and horror-ish fun.
There’s some great character in the screenplay, as well as genuine moments of horror and terror, in equal amounts. Maybe this is not for everyone. For me, it’s a movie I can watch over and over again obviously. Hopefully it might strike others in a similar way, chilling and thrilling to the end.
Screen Shot 2015-09-19 at 1.47.02 AM

THE PYRAMID’s Filled with Terror & Poor CGI

The Pyramid. 2014. Directed by Grégory Levasseur. Screenplay by Daniel Meersand & Nick Simon.
Starring Ashley Hinshaw, Denis O’Hare, James Buckley, Christa Nicola, Amir K, and Faycal Attougui. Twentieth Century Fox Film Corporation.
Rated R. 89 minutes.
Horror/Thriller

★★1/2
the_pyramid_poster_a_p
There’s no way that I can honestly say The Pyramid is a great horror – most of the CGI alone warrants enough criticism to put it out of the running.
However, what I can say for my personal take on GrĂ©gory Levasseur’s film is that I enjoyed it simply because it’s fun.

A movie does not need to be perfect to be enjoyable. You don’t have to either love or hate a movie; not in the real world. It’s silly to think that movies have to be flawless in order to be enjoyed.
By the same token, you can both criticize a film for its flaws while simultaneously you’re still able enjoy what you’re watching.
The Pyramid is enjoyable for me because it’s fun. It isn’t the same old found footage movie of people going out into the woods, or a tv show presented and his crew get trapped inside a haunted building. At the very least, we’re treated to a location and situation that isn’t often touched on through found footage (the only similar film is another one I enjoyed though plenty seem to hate: As Above So Below).

The Pyramid takes place during 2013 as the protests in Egypt against President Mohamed Morsi were heating up big time.
Father-daughter archaeology team, Dr. Miles Holden (Denis O’Hare – of whom I was a big fan already but especially since his genius turns on FX’s American Horror Story) and Dr. Nora Holden (Ashley Hinshaw) are on a dig where a pyramid with only three sides, as opposed to the four contained on the pyramids in Giza. Once the structure is unearthed, a robot is sent in – as soon as the pyramid was opened, toxic air inside killed a man in a near instant. After the robot goes offline, the Holdens, as well as their team – along with Sunni Marsh (Christa Nicola), a documentary host, and her cameraman Terry “Fitzie” Fitzsimmons – all head inside, geared up, ready to discover what they can.
Unfortunately, the area is being cleared out due to the protesting in Giza and surrounding areas. Quickly the team enters the pyramid quickly as possible without alerting any of the authorities.
Inside there are dark and dangerous things lurking amongst the shadows, things that have spent centuries feeding, and waiting for the arrival of fresh meat.
the-pyramid-2014Stop being an archaeologist for a second and start being a human being” – I keep seeing people cite bad dialogue, using this as a source. I mean, why? What makes that such a bad line? Denis O’Hare’s character was just saying he didn’t want to destroy a wall because it had been put there, however long ago, by people who’d built that pyramid, so much historical hard work. Instead of wanting to get out of that place, he was more concerned with preserving things for historical and archaeological purposes. So I don’t understand how that line comes off as poorly written dialogue. Someone please explain to me why that line written on paper is bad because I don’t see it. Maybe the delivery isn’t perfect? Either way, this is not, to me, an example of bad writing. You don’t think someone would ever say those words? Try being trapped in an ancient, underground pyramid with a guy who’d rather just suffocate alive than bust up any of the old artifacts down there. Then perhaps the line might feel more ‘natural’.
gallery-thepyramid4-gallery-imageNow, I’m not saying that The Pyramid avoids all the tropes of the found footage genre, or that it’s perfect – as I said starting out, it’s far from a perfect horror.
Typically there are always the arguments of “You lead us here”, et cetera. This moment comes, of course, after things start to get really hairy and one of the members, MIchael (Amir K) on the expedition is killed. Sunni flips on Miles and blames him for leading them down there, but as he points out she has to take responsibility because nobody forced her into the pyramid. I guess you can’t really avoid these types of arguments in found footage, as usually there is a ring leader. Most often, though, it’s usually the person insisting on keeping things filming – SO THAT THE WORLD WILL KNOW WHAT HAPPENED! If anything, at least they don’t go for that exact scenario. There’s a reason to keep filming here, as just being in the pyramid alone is a pretty amazing feat. I’m just glad there isn’t the same series of arguments over “Get that camera out of my face” and “Stop asking me questions – what is wrong with you?”, and so on. Might not be all fresh, but it does still avoid some of the familiar nonsense of the sub-genre.
6_zpsbcexgskw.jpg~originalThere’s no part of me that will deny the CGI throughout The Pyramid is pretty bad. Almost all of it, honestly.
I guess when it comes to certain stories, characters, et cetera, in horror films there’s only so much you’ll be able to accomplish with practical effects beyond the blood and the murders. That being said, there’s no reason CGI has to look atrocious. I think, had the filmmakers somehow come up with a way to costume an actor instead of draping them in CGI, the Anubis creature could’ve been much more frightening.
Problem is that when bad CGI dominates the screen, there’s a real smack in the face for an audience. You go from seeing these big sets, this giant pyramid and all these hieroglyphics around, statues, to this hulking presence of bulbous CGI pushing through the frame. It’s too much of a contrast from the real look of everything else to the fake look of Anubis, as well as the other little creatures and things. I liken it to looking a nice painting then throwing a bunch of cartoon cutouts on top and acting out a scene. There’s already suspension of disbelief with a horror like this, but that doesn’t mean things need to look fake and silly looking. I’m sure it’s easier said than done to balance the budget of a huge film, especially when there are so many costs. However, with Alexandre Aja (director of such films as the fantastically gruesome High Tension, the stellar remake of The Hills Have Eyes, and another I enjoyed which others hated – adapted from Joe Hill’s novel, Horns starring Daniel Radcliffe) backing this project, you’d think there would be some way to make sure the CGI came out looking much better. Really dropped the ball on this aspect, which is one of the reasons so many people did not enjoy the film overall, I think.

SPOILER ALERT – HERE THERE BE SPOILERS!
One effect I did like, or at least the second half of it, is when Dr. Miles Holden gets his heart ripped out. The first part looked a bit cheese-filled, but when the hand is sticking out, Miles is staring wide-eyed at it, and then it pulls back out of him, I thought that piece of the effect went really well. Because it didn’t look completely CGI built, it had at least a fraction of practical effects. Another bit I liked was the first night vision bit with Fitzie where he sees Dr. Holden get his face melted off – Anubis is all CGI, but the face melting still looks pretty damn gnarly!
For me, I love the practical make-up effects instead of big nonsense computerized junk – any day of the week. Most horrors will at least get a star or two alone from me if there’s an effort on the part of practicality. If not, I find it hard to engage with. Some horror does have pretty good CGI, but the good ones in that arena are those that don’t overuse it either – they know when to employ it, sparse, and they recognize all the other times where there’s no need of it at all. So, if The Pyramid was able to include more effects of a practical nature there might have been a better visceral reaction to all the other.
The Pyramid 2014 HD WallpapersI can’t recommend The Pyramid in that way I would recommend other horror movies I’ve enjoyed. Simply because I don’t think this is a great movie.
But like I said in the beginning – you don’t have to think a movie is perfect to have a good time watching. There are fun bits in The Pyramid. While the CGI is far from anything I thought worked, there’s adventure to this horror-thriller. We don’t have to watch a bunch of young people running around in the woods, constantly screaming – both in terror and at one another – there’s actually a different story here than the same old tripe with which we’re presented.
The Pyramid does not need to be perfect. Sure, I would’ve loved to see a lot of changes because this could’ve been an absolutely excellent horror movie if there were better practical effects and not so much reliance on the bad CGI. Especially the final 10 minutes – Anubis looked the worst when the red flare lighting was glowing and you could seem him terribly clear. Before, he skulked around in the dark, so there were times it didn’t look as glaringly bad.
So there is plenty of room for improvement. I don’t deny that at all.
What I’m saying is, just because a movie doesn’t work as a 5-star film does not mean it has to be without merits. There is at least some decent acting, a halfway sensible script (despite what others might say), and an intriguing location/plot to work around in. See this for a bit of fun – don’t expect something on the level of William Friedkin’s The Exorcist, but don’t expect a complete piece of trash like some reviews might have you believe.

Enjoy – or don’t! That’s up to yourself.