The hook for this quirky horror is definitely Nicolas Cage and the almost comical character he plays. It’s something that is variously hidden and revealed in promotion for the film and it was one of the things that made me go to see it at a cinema.
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Okay full disclosure, I have a bias towards Nicolas Cage films. He won me over with The Unbearable Weight of Massive Talent and now I get as much enjoyment out of his films that are badly scripted and acted as I do from the good ones.
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Sequels come with expectations, perhaps of inevitable disappointment. The two predecessors to this film were solid, tense and imbued with the adorable coupledom of John Krasinski and Emily Blunt who further burrowed into our hearts during Covid with their goofy charm.
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It’s feeling like a bit of a golden age for horror films where they are more than just a vehicle for shock.
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This is one of those films that it’s better to go into not really knowing much about it, which makes it really difficult to write a review about it. So if you are planning to watch this, perhaps stop now and come back to my review after you have seen it.
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Gotta love ACMI! You come down to Melbourne on a random weekend and find that all of the cinemas are playing various combinations of the same films and that you’ve seen most of them at the Melbourne Film Festival. ACMI, in contrast, is showing a 2004 classic Thai horror film Shutter. What a gem!
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French-Algerian director Emma Benestan takes a fresh approach to some monster/revenge tropes to give us a dark fable of female power.
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Late night B grade horror is a bit of a MIFF treat but I think I knew 10 minutes in that this one was not going to be a ‘so bad, it’s good one’.
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I think what threw me about this often delightful, often gross body horror was the expectation from reading the synopsis that it was feminist. It has made me muse on what my expectations are when that term is applied to a film, and I think it is about more than putting women’s stories at the centre, It’s about stories of women’s power and autonomy.
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Director Jon Bell has expanded his award-winning short film of the same name into a feature horror that enjoyably blends horror tropes with Indigenous history.
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