Can Evrenol gives us a Turkish horror film worthy of greatness in BASKIN, as a group of police officers inadvertently follow a call into Hell.
Bleed. 2016. Directed by Tripp Rhame. Screenplay by Ben Jacoby from a story by Rhame.
Starring Chelsey Crisp, Riley Smith, Michael Steger, Lyndon Smith, Brittany Ishibashi, Elimu Nelson, & David Yow.
Not Rated. 82 minutes.
Tripp Rhame’s debut feature Bleed, also known as The Circle, is a mixed-bag of tricks. Some of those tricks work wonders. Some of them are better left in the bag.
There are absolutely a few great aspects to this film. It goes for broke instead of skirting around the edges like some indie horror-thrillers. While it borrows heftily from fare such as Sam Raimi’s The Evil Dead and others, Bleed has its own energy. There are flaws, there are mistakes and bad choices, but it’s still a decent little flick that has a few scares, a few surprises. The biggest problem with Rhame’s film is that there are too many sub-genres jammed into one, and I can’t help but feel that if the screenplay stuck with trying to put less into one story there would’ve been more coherence all around. Nevertheless, if you want a decent, at times horrifically fun indie horror romp, there are far worse out there and this one will at least creep you out a couple times.
When Sarah (Chelsey Crisp) and husband Matt (Michael Steger) head to their new house out in the backwoods, ready to have a baby, start a new life, they invite some friends out for a getaway. Dave (Elimu Nelson) and Bree (Brittany Ishibashi) arrive for some fun with the couple, as well as Sarah’s brother Eric (Riley Smith) turns up with his new girlfriend Skye (Lyndon Smith).
Aside from the tension between slacker brother and husband, there are other things going on. Eric’s actually a bit of an amateur ghost hunter. So Dave brings up a story about the area; a local legend of a preacher, some sort of Satanic-like believer named Kane (Rajinder Kala). Apparently, he died in a prison fire out in the woods.
After Matt wants to disprove Eric’s nonsense, they all head out to the location of the old prison. This puts them directly in the path of a supernatural entity, the remnants of Kane’s savage spirit, and the halls of the old prison, the woods, they become a possible tomb. Unless the group can somehow manage to survive and find their way out of the darkened woods.
I’m always into any Satanic cult-ish type plots. One of the biggest things I enjoyed during Bleed were the early, brief views of Kane, the horrific preacher. Especially when Eric and Skye are having sex, then all of a sudden she starts seeing Kane thrusting at her, his terrifying face going back and forth. It’s a genuinely eerie moment that unsettled me to the core. Even earlier, when Bree – who suffers from schizophrenia – sees a glance of him sitting in a chair, there’s a definitively strange, scary look to him.
That brings me to another aspect I loved: Bree’s mental illness. Whereas some elements of the screenplay feel too jammed in, not organically grown out of the story or the plot, Bree having schizophrenia added an extra dimension to the ghostly supernatural stuff happening around the group. Because it plays against the mind, making her more susceptible to the ghosts, as she chants to herself – “It‘s not real” – and wanders around the dark hallways of the prison. To be honest, more could’ve been done with this character angle, though, what was done works proper. Earlier in the film, I actually expected she was going to play a larger part in what happens later, so it’s a nice tough in that sense. Keeps you guessing, and definitely make you fearful of what will come next.
On the one hand, I enjoyed Kane, as a character, as a creepy addition to the plot. On the other hand, there were a couple scenes I hated. When Dave comes across Kane in an isolated little room, instead of a vicious kill, something to up the intensity, there’s this very anti-climactic death via supernatural means that I found really took me out of the scene. I would’ve much preferred Kane slaughter him, or even something a bit less cheesy.
Some of my problem with the movie is the pacing. There are times it felt like things were going much too fast. Added to that, the pacing doesn’t help anything when there are too many mixed pieces. The backstory of the town, Sarah, so much of it is ham fisted into the final twenty minutes. Makes a mess of things. Sarah’s entire plot as a character needed more care. They set her up as a main character, but don’t afford her and the plot surrounding her enough time to justify everything in the finale. The end is grim, macabre, though, its impact isn’t enough because of the entire setup, from characters to the story. If things were jammed into 82 minutes, maybe the story would get stretched out appropriately. Instead, there’s like a log jam of ideas and madness near the end that never fully fits in.
This is at beast a 2&1/2 star film. There are too many threads not correctly stitched through Bleed which, in the end, hurt it overall. A few moments are downright creepy, truly scary. At times I was reminded of the recent Last Shift, a flawed film but intensely odd and with great frights. But this was even more flawed, and the end result is too much a mixed-bag to be anything more than mediocre. Hopefully Tripp Rhame continues, he definitely had some working material here, and the Kane story was excellently unnerving. If only the screenplay were tighter. Nonetheless, check it out. It’s a decent little indie, that could certainly have turned out worse. Don’t hold all its messiness against it, still worth watching once.
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!
Last Shift. 2015. Directed by Anthony DiBlasi. Screenplay by Anthony DiBlasi & Scott Poiley.
Starring Juliana Harkavy, Joshua Mikel, J. LaRose, Natalie Victoria, Sarah Sculco, Kathryn Kilger, and Mary Lankford Poiley. Skyra Entertainment.
Rated R. 90 minutes.
Marketing has dubbed Last Shift as a cross between Satanic style horror and John Carpenter’s amazingly tense/low key thriller Assault on Precinct 13. Now it’s not a copy, regardless of how the trailer might have you feeling. Absolutely the setup to this film is directly mirroring Carpenter, but that’s about where the similarities end. The premise itself stands as something lifted from that movie. After all the initial bits of the story stand in place, the foundation of what’s to come, things change and drive further into horror than Assault on Precinct 13, which was savage in its own right but more in the vein of nasty thrillers.
As far as Anthony DiBlasi goes, I’ve personally enjoyed some of his previous work. At least what I’ve seen. I absolutely LOVE his screenplay adaptation of Clive Barker’s short story “Dread”, the film as a whole is chilling and effective. Furthermore, I thought Cassadaga was an equally nasty follow-up; not without faults, but an interesting horror movie. Having not seen his other films, such as Missionary and the segment “Mother May I” from The Profane Exhibit, I can’t say I’ve been a fan of all his work. However, I think he’s a decent hand in the modern horror game. Not at the top, though, he’s certainly got a lot of strengths as a horror filmmaker.
Last Shift has flaws, the writing is not as good as it could be, nor is the acting from Juliana Harkavy or Joshua Mikel always at the level of emotionality and range it needs to attain in order to match the horror aspect’s intensity. Either way, this is a solidly unsettling horror movie that wears its bloody entrails on its sleeve, and even when the swings for the fences strike out, I think DiBlasi does a real good job crafting a unique film. Part homage, part haunted house film, Last Shift might get to you at times.
If you let it.
A rookie cop, Officer Jessica Loren (Juliana Harkavy) is left on duty at a police station overnight. It’s closing time for this cop shop, the one already ready for operations. By herself, Loren needs to wait for a pick-up by the Hazmat team; they’re coming to take something out of the station’s armoury.
What Officer Loren does not know about is that the station is haunted. A year before, cult leader John Michael Paymon (Joshua Mikel) and a couple of his followers killed themselves – a year to the day. Loren is forced to confront the terrifying presences at work in the station, all by herself on the last shift.
One thing I’m always harping on about in my reviews is atmosphere, mood, tone. I’m a big fan of all these things; some might say atmosphere is mood and tone, I think they’re different things. Regardless, Last Shift does an excellent job from the start in terms of atmosphere – even in the first scenes between Loren and the sergeant, I thought there was this spookiness about everything, a sort of sterile look to the station and just this lingering air of dread about these moments. This continues on, as some of the things we see starting out are shots of Officer Loren walking the halls of the station alone, the cold and lifeless halls around her – very quiet and subtle bits.
A great eerie scene comes quick before we’re even 20 minutes in. Loren finds herself in the locker room of the station. First, she picks up a picture of her and her father in a locker, she ends up placing it back behind the shelf. But secondly, as she turns, Loren almost smacks into an open locker door right next to it… only to discover every locker door is open in the whole room. It’s a really easy scene, yet I found the quietness of it all chilling. The way Loren sort of pauses, looking around, the moment lands and sets under the skin. Also, it’s not played as a jump scare, like it may have typically been done under direction of another filmmaker, or in another script. Instead it’s a nice little thud in the chest. Afterwards Loren has to go on about her night, but both she and the audience can feel the tone of the film really setting in with these creepy build-ups.
Lots of people have their opinions on what’s scary or what’s not. Personally I don’t get jumpy when terrified, no movie has ever lifted me out of the seat I’m in. However, I’ve walked away from plenty films (and I’ve seen hundreds and hundreds of horror movies) feeling like I really want to check behind the shower curtain, or make sure my doors are locked, windows are shut, and so on. I’ve crept around with a knife once or twice from being so unsettled by horror. Not afraid to admit that. If you’ve never been affected that way, at least ONCE, then you may be dead. Seriously: check your pulse.
What Last Night does effectively is use the atmosphere of dread DiBlasi conjures up and levels you at times with legitimately eerie imagery. At times the dialogue lags, as does the plot, but I think just about every solitary second of horror comes across as vicious. It’s excellent, most definitely my favourite part of the entire movie.
Like the moment when Officer Loren realizes SPOILER AHEAD BIG TIME Officer Price (Matt Doman) is dead, a hole through the back of his head. END SPOILER!
I found that one real top notch moment. Mostly because I honestly didn’t expect it. There was a genuine moment between Loren and Price, as if they were bonding like two real police officers over the job, its duties, the daunting tasks it requires often. Yet it took a whole other turn, which was well done.
After this the horror imagery continues in large doses. This is probably the ultimate turning point in the film, where the screenplay takes things down the rabbit hole, so to speak. Officer Loren basically descends into a hellish place after her meeting with Officer Price. A sound of voices leads her down the hall to where a group of women sing together, sitting in a half circle wearing strange bloody masks made of white sheet. But a second later… they’ve disappeared. From there things get progressively more horrific for Loren.
What’s so fun, to me, about this movie as a whole is that it takes the beginning of Assault on Precinct 13, subtracts a blood oath from a relentless street gang and adds in a Charles Manson rip-off cult, a dash of Satanism, and makes it into a haunted house styled horror movie; set, of course, in a police station. So the station is like our everyday haunted house, Officer Loren the unfortunate soul who has to “spend a night inside”. This is obvious to everyone, but it’s still one of the major aspects of Last Shift which appeals to me.
The screenplay could have been better, as well as the acting overall. Still, I think Last Shift deserves 3.5 out of 5 stars. It has definite claws, and I found myself unsettled at times. If only the acting and the characterization were a little better, I think this could’ve been an amazing horror movie. There’s no doubt either way, but I wish Anthony DiBlasi worked out some of the dialogue better, as well as added a bit more character to Officer Loren; she wasn’t a helpless female archetype, however, I thought with her being a police officer and all she might have been a bit more tough of a character than she ended up being. Not saying you can’t have a weak police officer, I just think at times it would’ve been more interesting to have her be tough, hard headed, and not falling so much prey to the ghosts and the horrifying images haunting her.
Ton of nasty, excellent horror here! Despite any reservations about the script and the acting, and they’re only slight, Last Shift proves to be a solid horror film with savagely effective makeup effects, nice atmospheric mood and tone throughout, and some disturbing psychological thrills set inside a claustrophobic location used to the director’s advantage.