The debut feature from Matthew Holness is a terrifying trip into the trauma of a wounded man.
TYREL explores how seemingly harmless behaviour, to white people, is not always so for people of colour.
Ari Aster's HEREDITARY is fantastic horror— also a journey into grief, mental illness, and the psychological terror of family.
Tom and Jill Hodgson move into a new house, where they find a strange door in the basement.
At Natalie's funeral, Camille looks for answers. She searches around town, digging up more secrets.
A fantastic found footage horror which contrasts the old v. new American Dream in a ghost town, where a group of friends gets lost.
WHEN A STRANGER CALLS BACK: an unexpected sequel that chills almost as much if not more than the original.
CARNIVAL OF SOULS is a low budget dream of an independent film, and a nightmarish slice of horror cinema.
Jeremy Renner brings to life one of the most heinous murderers of the modern era in this horrific biopic.
An impressive found footage film that strikes at the heart of the everyday family.
Sisters. 1973. Directed by Brian De Palma. Screenplay by De Palma & Louisa Rose.
Starring Margot Kidder, Jennifer Salt, Charles Durning, William Finley, Lisle Wilson, Barnard Hughes, Mary Davenport, & Dolph Sweet. Pressman-Williams/American International Pictures.
Rated R. 93 minutes.
Brian De Palma is a quality filmmaker. That quality hasn’t been kicking around much as of late. Doesn’t discount all the great work he’s done in a lifetime of film. He’s spent much of his filmography emulating Alfred Hitchcock, though not in a way that copies or borrows too liberally. No, De Palma has forged his own way through a wonderful career by using that Hitchcockian influence to dust the edges. There are some much lesser efforts out of De Palma than the masterpieces he’s known for – Sisters is not one of them.
This film has been sitting on my shelf for far too long. I bought it up as soon as I could because I’d heard of it for years, always wanting to see it. Then once I had the thing, for some unknown reason, the copy sat lonely, unwatched. When I did view Sisters, I couldn’t believe how stupid I’d been. Honestly, this is an unheralded classic of psychological horror. Early on in his career De Palma already cemented himself as a natural heir to the Hitchcock throne. The directing, the editing, the Bernard Herrmann score (when he was semi-retired no less), the central performance of Margot Kidder with all its mania and depth; every last piece is like the perfect one for the puzzle. There’s lots of influence here, De Palma clearly emulating his idol in heaps. Rather than feel at all a copy off the Master of Suspense, Sisters was a fresh drop of horror in 1973, tinted with the suspenseful, tension-filled qualities you might have felt from Rear Window or Vertigo. Either way, this is awesome cinema that shouldn’t be overlooked.
So many great shots. Simple to complex. For instance, there’s a nice shot of shadows on the wall as a door closes that is obviously telling while also chillingly subtle that, along with a bit of score, takes us right into the pure psychological terror De Palma aims for through telling this story. This is just the start.
In a film such as this I have to mention the editing, in combination with the excellent writing. Not long after the shot of the shadows there’s this eerie little moment where the cake is having the names put on it, the icing squeezing out in the names Danielle and Dominique, cut against Danielle having this fit. Just those two names and the way she’s beginning to implode already, these shots perfectly set that up.
Furthermore you’ve got a nice use of split-screen. Certain film fans may not dig that. Others may love it. Personally, I find De Palma uses it appropriately. Because ultimately this is a film that has to do with psychology, fractured identity and perspective, so on. So the split-screen helps give the look a psychological angle all of its own. There’s an overall sense of strangeness that develops, between the various techniques used to tell the story and the story itself, filled with interesting characters and events. I love when the atmosphere of a film matches up so closely with the storytelling, it makes for exciting cinema. Sometimes when a horror, particularly when leaning into the psychological, goes for the grim atmosphere it doesn’t always connect directly to the plot, so much as it’s grim for grim’s sake. Whereas De Palma uses the different techniques to induce a very personal, psychologically driven perspective. In that vein, the story and the filmmaking line up to create an effective cohesiveness. That’s why I find the movie so successful, even as such an early effort by the great director. He showed the film world quickly that his sensibilities as director were well honed already, itching to expand.
A huge part of what makes the suspenseful moments and the tension work is that juicy, creepy score by none other than Bernard Herrmann; again adding to the Hitchcock influence, the composer having worked on some of his best films. There are absolutely bizarre moments, such as the brutal death of Philip Woode (Lisle Wilson) where xylophones and the Moog synthesizer take you to some other plane of existence. Rightfully so. The greatest aspect of Herrmann’s work, as usual, is that it adds a totally whole other character to the film. It is another character. It shapes the atmosphere. These bizarre pieces of music allow De Palma to put us in the headspace of the main character, as she all but literally falls down the rabbit hole of psychological dread.
There’s also a couple genuinely shocking moments. When Philip is stabbed I actually couldn’t believe it. I knew something was coming, and something bad. But this was a really good scene. I’ve seen worse, there’s just something shocking about the moment that strikes so well. Later, the more quiet shock comes in the black-and-white flashback to a time when the Siamese twins are conjoined – or more so it’s a dream on the part of Grace (Jennifer Salt) imagining herself as the twin joined to Danielle (Margot Kidder). A very terrifying moment that doesn’t need to be outright horror to scare. It’s pitch perfect leading into the finale.
I have to say, Sisters is my personal favourite De Palma film. Hands down. He’s done some other fascinating work. I can’t shake this one. There’s an undeniably unsettling effect to the whole thing. Each moment that pulls you into the psychological viewpoint makes the end of the main plot feel that much more intense. As you draw closer to the finish there’s a sense of impending doom. The suspense De Palma employs, the tension he uses to work his audience over with is brutish at times, in the best sort of sense. In terms of talent you really can’t say that De Palma wasn’t shining nearly right from the get go in his career. Margot Kidder provides an emotional, manic performance as a woman torn apart by the bursting identities instilled in her through the loss of her conjoined twin. She is a great actor and I’ve enjoyed so many movies because of her alone. Not to say she’s the only one, just that her role and performance are the highlight in that arena. You can’t say you love De Palma and not see this one. Seek it out if it hasn’t hit your eyeballs yet. Not sure, after finally watching it awhile back, why I waited so long. This needs to be watched and watched and watched again. There is much to enjoy, much to fear. What an underrated psychological horror is Sisters! Let’s not forget it. Ever.
Berberian Sound Studio. 2013. Directed & Written by Peter Strickland.
Starring Toby Jones, Antonio Mancino, Guido Adorni, Cosimo Fusco, Tonia Sotiropoulou, Eugenia Caruso, Susanna Cappellaro, Lara Parmiani, Chiara D’Anna, Jozef Cseres, & Pal Toth. UK Film Council/Film4/Warp X/ITV Yorkshire.
Rated 14A. 92 minutes.
Peter Strickland is a director and writer filled with ingenuity. His films are odd, striking, intense. Only recently did I get the chance to view Katalin Varga, his first feature debut. I’d heard of it for a couple years, then was finally able to get hold of a copy. It is a tensely written ride into the darkness of grief; a low budget examination of what the past can do to mangle the present of a wounded person. Recently he directed and wrote an all-female film titled The Duke of Burgundy; I’ve put it to the Bechdel Test, it passed with flying colours.
Although before that Strickland moved on to this film, Berberian Sound Studio, a spectacular little movie that’s equal parts creepy and mesmerising. Each one of his directorial efforts looks different. Yet they’re all visually eye-catching, marked by a certain flair. This film calls to mind, obviously and deliberately, the giallo films of Dario Argento, Mario Bava, Antonio Margheriti, Umberto Lenzi, Sergio Martino, even some of the works of Lucio Fulci, among others. The film within a film itself is also a giallo. Therefore, the imagery and the sound design of Strickland’s work mimics those which came before, and creates a hypnotic sort of atmosphere. The perspective of the main characters becomes our perspective, as is the case in all good psychological pieces. Whereas the plot is slow burning, Strickland keeps the pace up by making things feel thrilling. Such a psychologically based piece of work can either go hard for drama, or turn itself towards being an outright thriller. Berberian Sound Studio finds a way to straddle the line, dosing us with lots of head-tripping atmosphere from imagery to sound, and further making the latter part of the plot just as exciting as it is strange. This could have become a mess. At times it feels incredibly energetic in a way that doesn’t help, but it does. Give it time. Once the finale rolls around all that madness comes to serve as an overall metaphor for the way we make and engage in horror movies, all through the perspective of a man actually working on one. The metafiction of Strickland’s writing increases the surreal feeling of the story, as well as allows us a look inside ourselves as purveyors and fans of the genre alike.
Really dig the look at sound engineering for film, as well as a nice view into the world of the Foley artist, the ones who create that vivid world of sound behind the visuals of a film. All of this is unusual, simply due to the fact this is a view into the world of movies that we’ve rarely gotten over the years. Other than documentaries or featurettes on the Special Features of DVDs and Blu ray discs, you won’t see the Foley work of these sound wizards explored much through fictional stories. Outside of Blow Out, there are barely any movies I can think of that even touch the world of the sound effects artists and engineers. Giving us insight into the film industry is a fun way to make things even more metafictional than just the film-within-a-film aspect; we actually watch the Foley artists ripping, stabbing, smashing, punching fruits and vegetables and all kinds of objects in order to get the right sounds for the scenes. So right off the bat Strickland gives us something unique, a world that’s rarely ever understood by the general viewers who go to see movies (those of us who love film to death are already lovingly aware of the work that goes on behind-the-scenes to make cinema into what it is). Whether this succeeds in doing anything interesting for the movie as a whole, that is up to the viewer. Personally, there’s enough to at least be intriguing in that way that it’s a foreign job to most, and something that’s fun to watch. I’m still not sure if the pay off to the entire story is worth the journey. I do know the plot can sustain an audience’s interest with the story and its characters alone.
The psychological angle of the screenplay is what gives us something different than the thriller elements of a movie like Blow Out, for instance. That was much more a full-blooded thriller. Strickland’s film is further in the realm of the psychological, the psychedelic, the full-on weird. And that’s just fine. The character of Gilderoy (Toby Jones) finds himself falling through the cracks of reality and fiction, which is precipitated by the headlong dive into sound work – creating these fake sounds for real actions onscreen, his own reality begins to slip away. Moreover, Gilderoy is squeamish, he didn’t expect to be doing a violent horror film, one calling for so many nasty sound effects. So his morality is tested, questioning our own as the viewer and whether watching this type of stuff is also doing some sort of damage, even at the most basic level. Or perhaps it’s a question of whether these types of films, the down and dirty horror, are truly only meant for some people. Regardless of what the main theme or question at hand is, Gilderoy’s psychological state is affected by this division in reality he faces whilst working on the gruesome sounds of the giallo film for which he’s been hired. And the further he gets into the film’s production the worse off his sanity becomes.
That brings me to Toby Jones. He is a fine, talented actor whose star has only begun to shine really bright in the past so many years. He’s been in all kinds of movies, though so many moviegoers probably wouldn’t recognise him in some of those roles. This is a performance of his that I love dearly. Jones has the typical sheepishness of some other characters he’s played. But he is more tortured than ever, gradually tumbling into another level of reality while trying to do his job, while the job only makes things worse. It’s a solid character and one that Jones latches onto. He makes us feel that this is a real man going through a genuine psychological break, away from home and feeling lonely, wanting to do the job he loves but finding it increasingly difficult with the psychological strain bearing down on him.
Originally, I’d put this down as mediocre. Upon watching it the first time the whole thing didn’t catch me. Now, seeing Berberian Sound Studio for a second time, I feel this is much better than what I’d remembered. What I once found sloppy and a weak attempt at homage for the giallo films of the 1960s and 1970s. It’s actually a wonderful examination of the exploitation inherent in those movies, writer-director Peter Strickland opts to examine our relationship with horror and its often nasty imagery (and in this case, sound) and he tries to make us confront what sort of people we are when engaging in the act of viewing (or making) horror. Does it affect us? Is it really as innocent as we like to assume? I don’t believe horror affects us the way conservative minds might like to think. However, I do like exploring these types of ideas, and fictional stories are a way for us as a society to indulge those thoughts. Like good literature, film helps us understand and comprehend life, ourselves. This movie takes a sincere and eerie look at the effect movies can have on those making them, and in turn the audience that later watches them. Berberian Sound Studio is ripe with all kinds of beauty, darkness, excitement, and will bring you back to all those old giallo movies of the masters from decades prior. Love this movie and can’t believe I once thought this wasn’t any good. Just goes to show you, time is the measure of all things.