TRIGGER WARNING: The following review contains descriptions of sexual abuse, foul language, and general post-film grumpiness.
From The Village of the Damned to The Children of the Corn, cinema is crammed with creepy kids. Jonas Govaerts’s Cub, which came out on Blu-Ray a few weeks ago, follows a group of scouts on a camping trip in the woods. One of them, Sam, tries to convince the others that there’s a feral child stalking them but naturally, because it’s a horror movie and he’s a kid, no one believes him.
What is it about terrifying toddlers that gets us so worked up? Is it because children are considered innocents or because they’re unformed beings upon which we project our darkest fears?
The Sachettis have recently lost their only son Bobby to a car accident and move from the city into an old house in the middle of nowhere, hoping to be able to get past the pain. When the grieving mother Anne tries to explain to her husband Paul that the presence she feels in the house might be the ghost of their son, he scoffs at first, but agrees to let their psychic friends May and Jacob visit in an attempt to put Ann’s mind at ease. As it turns out, the presence in the house isn’t Bobby; it’s something much darker and more malevolent.
This plot seems like it would make for a fantastic movie. Unfortunately, We Are Still Here isn’t that movie. It’s painful to watch such a promising premise go so dreadfully awry.
After a year of being disappointed by movies about haunted houses, witches, and/or creepy kids, it’s refreshing to find a movie that combines all three of those things and does it the proper way: lean, mean, and well, scary. You know. Like a horror movie is supposed to be.
By Brendan Ross
Cop Car is a Colorado-set thriller about two rambunctious young boys who discover an abandoned police cruiser and, with an underdeveloped sense of right from wrong, end up taking it for a joyride. Things get sticky when it turns out sheriff Kevin Bacon was only temporarily parking his cruiser while busy disposing of a corpse in the woods. Upon returning to find that his car was highjacked, Bacon sets out to find the young boys responsible before they check the trunk. Dun dunn dunnnnnn.
Are you a discerning celebrator of Samhain, looking for some different music to terrify and delight your friends with at your next public ritual? Or perhaps, you’re just a happy Halloweener, looking for some bombtracks for the next party. No worries, Fellow Traveler… we’ve got you sussed.
Let’s face it: with few exceptions, everyone is sick of zombies. That’s not to say that zombie movies and TV shows are dead in the water (with zombie sharks), but it does mean that artists are going to have to do better than the standard ripoffs of “I’m coming to get you, Barbara.”
Enter Tony Burgess and Bruce McDonald. Based on Tony Burgess’s book, Pontypool Changes Everything, the McDonald-directed film Pontypool—which screened at TIFF in 2008—is a breath of fresh air in a cemetery full of empty, stinking graves.
If the name Gerard Johnson doesn’t ring any bells, it should. Perhaps you will recall a grubby, claustrophobic film from a few years back called Tony. (I can see you nodding at your computer as you read this blog post. But I swear I’m not creepy.)
When I stated on Facebook that I was watching the 1980 Italian horror-fi movie, Contamination, I got heat from a couple of people.
“Why?”
“How come you’re watching that?”
And I thought, I’ve built a career out of watching horrible films and writing about them. There’s no reason why this should be a surprise.
Then it struck me: maybe there are people out there who don’t intentionally seek out and watch films they know aren’t great. Wow. That floors me. It leaves me wondering how to recommend Contamination, which is a gigantic piece of shit that I adored.
This is what we psychics refer to as an “axe drop.”
Filmmaker Joe Begos brought his updated (and superior) version of 1982’s Xtro to the Toronto International Film Festival’s Midnight Madness programme in 2013 with Almost Human. Now he’s back, along with Almost Human actor Graham Skipper and horror legend Larry Fessenden with The Mind’s Eye. You can read my review on Modern Horrors, but here’s a synopsis:
On a snowy back road in New England, police harass a drifter, only to be thrown through the air by an unseen force. Clearly, they’ve picked the wrong man to hassle. Taken into custody, the loner is identified as Zack, a man with a curse/blessing that makes him of particular interest to the seemingly sympathetic Dr. Slovak. Zack finds himself in Slovak’s institute alongside others with similar telekinetic abilities, but the doctor’s intentions are quickly found to be less helpful and more diabolical.