Hunter – review

Director: David Tarleton

Release date: 2018

Contains spoilers

For a competent little film this one certainly released with little fanfare and then faded into obscurity, showing up as a free view on the Kings of Horror YouTube channel. It isn’t perfect but it is a fine little watch.

It starts with Hunter Vanelson (Jason Keller) – which sounds suspiciously like Van Helsing phonetically – cage fighting. As things go along, we see him fight his third opponent in a row and, despite taking a beating, turning the fight around and winning…

Jason Keller as Hunter

Hunter wakes, now obviously homeless. He sleeps on the snowy Chicago winter streets. A homeless woman, who sleeps nearby and has befriended him, tells him that he was screaming in his sleep again. She gives him a Twinkie and suggests he tries the new shelter – it has good food. Later, panhandling, he notices a kid, Luke (Ryan Heindl), chatting to a girl, saying he is new in town. When the kid notices him he runs away down the street. Through this we see Hunter having flashes of memory, blood predominates.

Rachel Cerda as Danni

He is walking past another homeless guy who asks him for money, he gives him the paltry change he has but the guy demands more. Eventually his temper snaps and he attacks the guy, beating him and taking his money. He goes to the shelter and his bloodied knuckles are noticed, nevertheless he ends up with shelter manager Danni (Rachel Cerda). The shelter is her thesis and uses therapy with those it helps but Hunter doesn’t want to talk. He gets angry and leaves.

Hunter's fighter days

Back at his sleep spot and his friend has gone but her pendant, the one thing she keeps, is on the floor. He searches for her and eventually sees two men, Peter (Beau Forbes) and Paul (Leigh Foster), dragging her. He carefully follows and sees them attacking, stabbing her and drinking her blood. He accidentally makes a noise and hides… they look but leave without unearthing him (one might have seen him but not made the effort to get him) and bundle the woman into a van. When Luke reaches his home, Peter and Paul are there with a young woman and clearly his act at the bus stop was to lure another victim.

he saw fangs...

So, Luke is a reluctant vampire – young and he hasn’t yet made a kill. Hunter’s homelessness came after a home invasion where his mother and sister were killed – he has guilt because he ran away. Hunter spots Luke as he is dumping the homeless woman’s body and Luke realises he seems to be watching him. In the meantime, Hunter is also staying at the shelter, though he is reluctant about relaying his past still. There is clearly an attraction with Danni and eventually he does admit running when his family were killed but also says he thinks he saw fangs…

tasting blood

Lore-wise the vampires are part of a hierarchical male group – there is reference to women not turning properly and so they do not attempt to. They do have fangs but some like to use knives. One prisoner vampire (because he would not kill) suggests it is a disease. They actually seem quite hardy, but a pierced heart will kill. There isn’t much more lore. The film itself had a few bits that are somewhat unbelievable. The cage fighting Hunter running at a home invasion seemed off, given his bravado in the opening scenes, but perhaps it was the fangs that broke him? His chasing after a bike for an extended period to track Luke took a suspension of disbelief, given the likely impact of his situation on his health and stamina, and the ending sequence also needed the same suspension in places as did the intimate relationship with Danny (it would have worked better platonically). Nevertheless, it was a solid flick that was worth a watch. 5.5 out of 10.

The imdb page is here.

Bloodsuckers - A Marxist Vampire Comedy – review

Director: Julian Radlmaier

Release date: 2021

Contains spoilers

One that I had heard of but only recently sourced (the German DVD has English subtitles for those interested) this film runs from the metaphorical use of vampire in Marx: “Capital is dead labour which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks” (Marx 1982 {1867}, 342). A gentle comedy, subjectively I didn’t find it uproariously funny but was pleasantly amused through the running length, this creates political satire by suggesting there was something less metaphorical about Marx’s point.

questions in the book club

It is set in 1928 – the year the first five-year plan was adopted in the USSR and a year after Stalin took power – the film is set in a German seaside town. It starts with a book club on the beach. All the participants are factory workers, and they are reading Marx’s Das Kapital. One of the participants has a question however and reads from the book, quoting the vampire passage. The leader of the club, and others, suggests it is metaphor but the question is asked, what if it is literal?

the Baron

The camera looks to the sea and we see the first of many idiosyncrasies (which I will dwell on later), which is what appears to be someone Kiteboarding – a sport thought to be invented in the 1970s and certainly not popularised until the 90s. On the beach is heiress Octavia (Lilith Stangenberg), her parasol held by her personal assistant Jakob (Alexander Herbst). She sends Jakob to a man, Ljowushka (Aleksandre Koberidze), a distance away, in formal dress, and receives a card that suggests he is Baron Kobersky. The Baron walks away from them.

Octavia and Jakob

At a golf course we see Ljowushka walking across the greens. He gets to a tee where there are sandwiches and a bottle of champaign set out. He eats a sandwich and takes the champaign. Meeting Octavia again she assumes he is a noble who has escaped the soviets and invites him to her home, where they will have escargot (gathered by, and crawling over, Jakob). In the meal she notes that he does not know how to eat escargot but we notice something else. Jakob has a can of coke, Coca Cola did not use cans until the 1950s and the depress opening was much later still. Why would the filmmakers let this slip through?

on the beach

Idiosyncrasies continue in the film, and I believe they were absolutely deliberate. There is nothing that shouts out as a symbol of capitalism than the Coca Cola distinctive packaging. The can is deliberately placed, in a way that resembles product placement. As the film progresses we get establishing shots (both of Germany and Leningrad) that feature modern vehicles, a very modern looking factory, a modern ship), we get the use of obviously cheap plastic fangs and Octavia rides a very modern motorbike. Radlmaier adds these as part of his satire and, in doing so, makes the capitalist vampirism timeless.

Aleksandre Koberidze as Ljowushka

Ljowushka is caught, after taking money from Octavia’s purse, trying to open her safe. The truth comes out that he was from a Russian peasant village and ended up working in a factory (out of lust rather than economy) when he was “discovered” for a film (the actual film October (Ten Days that Shook the World)) by director Sergei Eisenstein (Anton Gonopolski), cast to play Trotsky. Unfortunately the political winds are harsh and all his performance ended on the editing room floor as Trotsky was erased. This left him both embarrassed and politically damned due to the association with Trotsky and he escaped the USSR and, whilst posing as a Baron, is trying to get passage to America and Hollywood.

biting Jakob

The film then follows Ljowushka (still posing as a Baron, with only Octavia and Jakob knowing the truth) as he and Octavia try to make a short film – a vampire film – for him to use as a portfolio piece in America. However, there is rumours of an actual vampire (or maybe it’s fleas) feeding on the factory workers. When Ljowushka is caught by Octavia and Jakob, Jakob checks if the Russian has a reflection and we see her feeding on Jakob (though he has no memory of it). The film casts the bourgeoisie and shareholders as actual vampires. It also poses the proletariat as stupid and people like Jakob, a servant given the title personal assistant and asked not to call Octavia “miss” as an attempt to give the illusion of class elevation, as carrying a self-loathing of their class and a delusion that they are higher than other proletariat – the delusion going as far as his unrequited love for Octavia (Ljowushka, equally, has romantic delusions about Octavia, though she is physically attracted to him).

a film within a film

Another thing the film introduces is racial Othering. In the film there is a Chinese character, Algensammler (Kyung-Taek Lie), a hard working, self-starting immigrant who is openly disliked for making a skin tincture that undercuts the factory’s product and who is the recipient of racist language. He is cast as the vampire in Ljowushka’s film and footage is shown of him biting Octavia (who plays the heroine) when the locals decide she is the real life vampire. This proves enough to convince the mob that she is innocent and Algensammler is the actual vampire and so also serves as an exercise in media manipulation of the populace.

checking reflections

As you can tell there is much going on here, a film of layers that has, be aware, no real horror aspect. Rather it is a comedy drama, which is particularly quirky and offbeat in places. As I said at the head of the review, this was not an uproarious experience, but it was certainly enjoyable, humorous and the layers makes one think. The performances fit perfectly into the film, giving weight to the satire. Definitely worth your time, if you like a more intriguing use of the vampire figure. 7 out of 10.

The imdb page is here.

On DVD @ Amazon US

On DVD @ Amazon UK

#DRCL midnight children, vol 3 – review

Art and story: Shin'ichi Sakamoto

First published: 2024 (UK)

Contains spoilers

The Blurb: Dracula meets manga in this surreally beautiful and chilling retelling of Bram Stoker’s quintessential horror classic.

In this beautiful, evocative, and often surreal retelling of Bram Stoker’s Dracula, a fearsome enemy comes from the east, bringing with it horrors the likes of which have never been seen in the British Empire. Standing opposed are Wilhelmina “Mina” Murray and her stalwart companions, united in a cabal that eclipses gender, nationality, and station until the day that they can achieve victory.

With Lucy’s life hanging in the balance, tempers flare and tensions rise as Arthur, Quincey, Joe, and Mina struggle to decide who is best suited to offer aid to their precious friend. However, the sudden appearance of Count Dracula may render all their efforts for naught. Will centuries of humanity’s collected knowledge be enough to hold back the count’s advance, or will wisdom and logic falter in the face of the undead king’s maddening presence?

The review: As regular readers will know, the manga #DRCL (and the reason for the title is given in this volume, by the way) has fast become a favourite. Glorious art with a fantastic queer retelling of the story, it takes its broad brushstrokes from Stoker but has created something different but marvellous. You can read my over reviews for vol 1 and Vol 2.

This volume starts with the report in the press of Dracula at the zoo but rather than a story where he frees one particular wolf, Bersicker, he takes all the wolves held there and this leads to a magnificent image (I found the Japanese rendition of it to post below) of Dracula, flying through the London skyline on a wolf drawn sleigh.

The volume is essentially the fall of Lucy/Luke – Lucy is given a gender fluid identity, Luke during the day and Lucy at night. When Dracula tries to take her, Mina spots the deceit as the heroes believe day has broken but Luke ignores Mina (as she is a girl) whereas Lucy and Mina are friends and so her speaking to Mina makes her realise that Dracula has manipulated their senses.

I enjoyed some of Van Helsing’s supposition being broken – such as garlic, with Dracula actually eating the garlic flowers, and him being nonplussed when the students sing a Protestant hymn and hold Dracula and his wolves off with it (something not contained within his books, with a view implied that Catholicism is needed). There is a shockingly gory death and Lucy, once a vampire, taking on an insect-like form. Notable is the fact that although Luke/Lucy was non-binary, the vampirism has forced a binary existence on Lucy due to her new nocturnal life.

The series remains a firm favourite. 9 out of 10.

In Hardback @ Amazon US

In Hardback @ Amazon UK

Honourable Mention: Acid Babylon

I previously looked at Cosmotropia de Xam’s earlier film Phantasmagoria 2: Labyrinths of blood, yet despite that being earlier than this 2020 release, that film is shown as a ‘coming soon’ at the beginning of this. The trailer to P2 actually worked better for me than the actual film did, being genuinely off kilter without highlighting the performances that would kill that vehicle.

This film is even more arthouse than the previous, with less of a narrative (a degree of narrative is offered in some scant, French language narration). Early euro-horror has again inspired the filmmaking but, rather than the very Franco-centric inspiration of P2, this has a range of inspiration (and used a range of their filming locations). These are listed as Rollin, Argento, Anger, Kumel and Herzog. The lack of narrative and, though the central character is described as half vampire and half human, the lack of vampire imagery/activity, has led me to give this an honourable mention.

the woman

The film consists of images, actors in movement, psychedelic overlays, filters and negatives with a soundtrack that had elements of drone and almost an ambient industrial quality. Together with the visual effects this makes for a darkly meditative piece that is arthouse with no discernible mainstream hook. This means, of course, that you will likely find yourself liking or disliking it.

another dimension

As I mentioned, there is no real narrative thread. The narration tells us that when the rivers ran red the vampires left Babylon, leaving one woman who was immortal – being half vampire (the daughter of Nosferatu, it is suggested). The second half of the film sees the world filtered heavily with negative photography and I got a feel of passing into the other dimension that occasionally is referenced in Rollin’s films.

blood on fingers

We get quotes from the book of Revelations on screen – specifically from Chapter 17 pursuant to Babylon. But, at this point there is little else to say – from a filmic sense there is little to put into synopsis, from a vampire sense there is little lore communicated and no vampiric activity/tropes to relay (bar some blood on fingers dripped into a mouth). As mentioned, you will either like or dislike this.

The imdb page is here.

Dracula: the Count’s Kin – review

Director: Eric Pascarelli

Release date: 2024

Contains spoilers

An indie low budget flick, it does show as it shies away from gore sequences and even attacks to a degree. The film works towards crime drama but the supernatural element overwhelms the detective story they wanted to tell, I felt.

It starts with Simon (Jamie Nolan) looking to go on a date from a dating app. He arrives at the house where Anna Marie (a false profile) lives. In fact, she is Elizabeth (Leanne Johnson) and way prettier than her profile pic, he says. He isn’t too phased at her red eyes as she mojos him and before you can say “vampire” he is a snack.

Simon as the creepy house

Monika (Daisy Paroczy Hickey) has met up with her friend Devin (Holly Anspaugh) and is explaining that the man she has been in communication with has been using false pictures and is definitely married – she essentially did a deep dive investigation of the guy. She also meets up with her adopted sister (Amanda Winston) who mentions a job going at a detective agency. Monika had been a caregiver to an Aunt for some time.

James Tackett as Walter

Private eye Walter (James Tackett) has been visited by Simon’s overprotective mother (Kim Lea Mays) who believes that something has happened to her son but the police have refused to get involved (due to the short timescales). He takes the case as Monika arrives, armed with her criminology degree but no experience. He takes her on, however, as he has had no other applications for the post. She visits Simon’s home and quickly manages to ping his phone to give the location of his rendezvous. Meanwhile Walter meets his cop contact and there are similar disappearances and at least one body drained of blood.

Monika investigates

Monika and Walter go to the house where Simon had his date, the door is open and so they enter, but the place seems deserted. Monika has a UV light and uses it to find a message in blood on the floor, which says, “Follow your blood Monika”. She wipes her name away before showing Walter. The owner (Dashawn Kelley) who rents the place out approaches with a knife, demanding to know who they are, but the situation is diffused and Monika and Walter wait outside for the cops. It is later that they discover the “owner” made himself scarce as, in reality, he is the daylight servant of Elizabeth. Elizabeth has designs on Monika, with her Romanian heritage, to resurrect her lost brother Vlad.

Leanne Johnson as Elizabeth

So, there were elements of this that were just a little off. The message in blood seemed odd as, when it would have been written (and then wiped away so that it was only visible under UV), Monika will not likely have been working for Walter. It presupposes that she will apply for the job, get it, find the location and bring a UV light (and then manage to wipe her name away where cleaning did not spoil the message). As Elizabeth clearly knew who she was it would have been far easier to just find her and mojo her. Equally, there is a hair at a crime scene and Monika persuades the cops to carbon date it. Firstly I doubt the police would agree, especially as carbon dating something from after 1950 is pointless. When they discover it is 600 years old they just decide it is from a wig anyway.

a rare blood moment

Nevertheless, the Monika character was earnest enough (though her keep leaving her home, which is under protective observation when they decide she has been targeted as a victim, seemed more than a little off). Elizabeth was played well also. However the supernatural side overwhelmed any detective aspect, the police/PI relationship was awfully chummy and kills were mostly non-gore and very often off screen. All-in-all a little lacklustre but anything less than 4 out of 10 seems unfair.

The imdb page is here.

On Demand @ Amazon US

Death Streamer – review

Director: Charles Band

Release date: 2024

Contains spoilers

Full Moon Pictures return to the vampire genre, this time with Charles Band himself at the helm and we get a fairly short feature with a limited number of main cast and sets, which manages to be interesting as a concept and starts to explore the world of the influencer but falls short of providing a social commentary (not that it needs to) and limits itself in the process.

streaming

It starts in, what seems at first glance, a sparsely attended masquerade party where some of the female guests may be hiding their faces but not their breasts, but is latter described as an S&M club. A person, later revealed as Arturo Valenor (Sean Ohlman), puts on some glasses and we see, POV, that they are a camera live streaming and shows the views and subs. He walks to a blond woman (Piper Parks) and pulls her hair, then beckons to follow him – which she does.

ready to attack

He takes her to a bar area and the bartender takes a drink and doses it with something red (and blood like). Arturo takes the glasses off and offers her the drink but she is reluctant – perhaps it is drugged? He admits it is and demands she drinks it, which she eventually does and, afterwards, he states it was his blood. She is inebriated and half carried, half dragged by a man wearing a gimp mask into a room with a bed, her dress pulled down. Arturo, wearing the glasses again, bites her…

broadcasting the Church of Chills

The film then flips to an intro for a web show called Church of Chills – a paranormal show hosted by the acerbic Alex (Aaron McDaniel), who is assisted by Edwina (Emma Massalone) and Juniper (Kaitlin Moore). It is internet schlock, broadcast from a disused church. As they prep for the next episode Juniper finds the stream from Arturo but it is dismissed by Alex as fake. When they find further footage they change his mind and they put the feed into one of their episodes.

following the stream to its source

This gets Arturo’s attention and he manages to track them down psychically – a cool idea that he can follow the source of their stream that way, a tad blown by depicting it as a pair of giant floating eyes (a pov camera would have been more effective). He is less than pleased but daylight breaks the link… Juniper decides to run, Alex preps to broadcast more (by putting garlic powder round the church entrances and making bodged together crosses) and Edwina researches – discovering that Arturo had tried to bring about the vampire apocalypse a century before but now has the means to gather followers to succeed.

bloodied

With essentially two primary internal locations (the club and the church interior) with a couple of external establishing views, this doesn’t have a lot of room to grow and the characters – especially the vampires – are really 2-D. There are some nice blood moments but the wider story is kinda hobbled on with no real depth and no explanation as to any universe mechanics. Despite this the concept remains intriguing. The protagonists are played really well, with limited material to work with. We get a moment of vampiric possession (I think) and an awful cgi flock of bats. This isn’t the worst film out of the stable but an effort with the script and some more locations could have lifted it, for sure. 4 out of 10.

The imdb page is here.

On Demand @ Amazon US

On Demand @ Amazon UK (with a Full Moon subscription)

Sangue Misto – review

Director: Chiara Natalini (segment)

Release date: 2016

Contains spoilers

This is a film that Leila mentioned to me. It is a horror anthology set in Italy, each story being around a different city/region and each film focusing on a migrant person/community. It is a call for integration by absolutely othering the different cultures and a need for understanding – as per IMDb – but it might also be read in a more nationalistic sense given that it is the immigrant cultures/persons that are othered.

messaging

Possibly my favourite was very short and the first segment, Grandma's Remedy, which involved voudon and Baron Samedi. The vampire segment, Veneranda, was the very last segment and was, itself, rather short. So short in fact that the whole thing will be spoilt or there will be little to say.

getting ready

The opening shows a woman, from behind, getting ready at a dresser in a loft or warehouse type space, cut with various roadways in the city. We are then with three men, two in a car and one puking nearby. It is a stag party, the man puking is the groom and one of his friends videos and takes photos of him on their phone. Eventually there is a call for them to go on a “slut tour”.

streetwalker

This consists of driving through a red-light area. They pass many streetwalkers, who seem to be from the transexual community, before the groom tells them to stop by one particular prostitute. She seems momentarily reluctant, then agrees and gets in the car. They pull up at a building and this is clearly her space, containing the dresser from the beginning.

facing a vamp

She dances for the man and soon goes down on him as the friend films. However, he is soon screaming, and blood is everywhere. She comes up to reveal fangs and slaughters the men. She is revealed to be from Brazil. There isn’t much to say about this segment. It works, it has good atmosphere through the photography a fair amount of blood (though it fails to meet the levels in the section Rigorosamente dissanguati da vivi, which has a torture porn vibe). There isn’t really a massive narrative, however; the men may have been loud, drunk and obnoxious but they did not do anything that would make this seem anything more than slaughter and feeding. 5 out of 10 for the segment in and of itself but the film as a whole deserves more.

The imdb page is here.

On Blu-Ray @ Amazon US

On Blu-Ray @ Amazon UK

Handbook of the Vampire: Carl Dreyer’s Vampyr and the World of Dreams

Written for Handbook of the Vampire by Gillian McIver the Chapter Page can be found here.

Dedicated to the wonderful film Vampyr the author takes us on a study of the film touching on its financing, Dreyer’s vision and some of the themes and imagery in the film itself.

One aspect that I particularly liked, as it is not something I picked up personally, was the observation that the predation of Chopin (the vampire) on Leone is actually age preying on youth. A marvellous observation. The book within the film, The Curious History of the Vampire, by Paul Bonnat, O.P. Published by Gottfried Faust’s Estate – 1770 AD, which we read much of during the running time on intertitles, was so central to the film that (in my original review of the film I quote it extensively). The author quotes Dreyer himself as seeing the book as a character itself. I liked the reading of the film as being a series of dreams belonging to Allan Grey.

The one thing I did find odd was that the author didn’t touch on the over-exposure of the film, which offers its distinctive look. Though this may be because that has been touched on many times before.

Honourable Mention: Deadpool & Wolverine

Some may call this 2024 Marvel film, directed by Shawn Levy, the film that saved the MCU – that remains to be seen. Drawing the ultra-popular Deadpool (Ryan Reynolds, Blade Trinity) into the MCU along with the equally popular Wolverine (Hugh Jackman, Van Helsing) was always going to be a slam dunk, especially with the on and off-screen chemistry the two actors display. That is, so long as they managed to pitch the film right, and that they did with plenty of fan service, gags out the wazoo, fourth wall breaks and plenty of violent action.

Wesley Snipes as Blade

It was great seeing some of the old characters reappear from the Marvel stable and from outside the MCU sequence. For us, it was the re-emergence of Blade (Wesley Snipes) and let us not forget that it has been argued that the original Blade movie saved Marvel. Stuck in the Void, a multiverse trash heap where the Time Variance Authority stick multiverse problems (and old Marvel heroes from films not in the MCU are sent to die), Deadpool and Wolverine are found by a resistance group that includes Blade and they then help them fight the evil Cassandra Nova (Emma Corrin) to get the duo passage out of the Void.

the Void resistance

It was great to see Wesley Snipes reprise the role and even better to see him enjoying it – rather than phoning the performance in as he did in Blade Trinity. There is one thing that struck me, however. There was fan chatter when, in context of multiple character variants, he says “There's only been one Blade...and there's only ever gonna be one Blade.” Many took this as a hint that perhaps Snipes, rather than Mahershala Ali, may be Blade in the touted (but troubled) MCU Blade film. We shall see; though I doubt it at this point, I could be on board with that, though I am very excited to see Ali in the role. However, I do think Sticky Fingaz might have something to say about that and Blade the Series deserved far more love than it got.

The imdb page is here.

On Demand @ Amazon US

On Demand @ Amazon UK

First Impression: Salem’s Lot {2024}

Whilst the 2024 reimagining of Salem’s Lot came out across most territories on streaming, for some reason in the UK it was released a week after the States into cinema. Dutifully I attended. The Gary Dauberman helmed film had a lot to live up to, given the earlier versions and, I understand, it had around an hour shaved off to hit it’s just shy of 2-hour running time.

Before I look at the film, however, I want to quickly take stock of my thoughts on the earlier versions. The Stephen King novel is, of course, an absolute classic and the two miniseries are both excellent. However I do, controversially, prefer the 2004 version; the 1979 version is still a much loved classic but it has not aged with grace and feels like a product of its time. Both try their darndest to add in some of the vast characterisation King uses in his novel, a vain hope given the limitations of time they faced but a brave attempt in each case.

giving instructions re the crate

This version returns to the novel’s time-period and, whilst this is done well in both the photography and costuming/cars etc, it doesn’t feel dated like the 1979 one. Not that this is better than that version, it has to be said, this for me is the weakest adaptation – though it was still worth a watch. Starting at the point where the crate containing master vampire Barlow (Alexander Ward, American Horror Story: Hotel) is collected, one feels that much of the early story to introduce the town characters has vanished. And that is the issue with the film.

Susan and Ben

King’s book tracks a town, the miniseries both try their best to round out characters in different ways. In this we obviously still get some of the central protagonists and some of their backgrounds are changed – Susan (Makenzie Leigh), for instance, is working for Larry Crockett (Michael Steven Costello) the realtor and meets returning son of the Lot and author Ben Mears (Lewis Pullman) that way. Crockett himself becomes a footnote, met for a scene and then forgotten. Worse fates lie in store for characters such as Weasel – a voice, a top of his head and less than a couple of seconds, he hasn’t even a credit on IMDb. As for Ben and Susan, their romance is so shorthand you have to take it for granted rather than see the characters fall for each other, and bruised former suitor Floyd Tibbets (Kellan Rhude) may as well have been cut altogether he was so pointless. I get it though; with such a tight timescale they couldn’t possibly include everything.

Marjorie returns

Therefore, they play for scares. Jump scares are the order of the day, along with some well-done atmosphere supplemented by plenty of mist. Some of the situations seemed a tad out though. When waiting to see if Majorie Glick (Danielle Perry, Castle Rock) will rise we have Ben, Susan and Doctor Cody (Alfre Woodard) there. However, Ben, in an earlier scene, was clutching a cross, which the camera (and the Doctor) focused directly on. There is no reason he wouldn’t take one with him and thus the whole tongue depressor built cross moment (and the peril that it leads to) feels forced. A comment on crosses – they glow near the undead. A comment on the doctor being bitten and treating with a rabies shot… that all seemed silly, this is supernatural not a virus and in the time frame it would have been in the stomach… even today it is a muscle shot rather than into the vein.

Jordan Preston Carter as Mark

The vampires are fast, fly, have glowing eyes, require invitation (which can be rescinded), are killed by sunlight or staking, have major eye mojo and the town falls pretty darn quickly. Mark Petrie (Jordan Preston Carter) is played younger than the other versions and new to the Lot, but is cool as a cucumber and well-acted – he was a highlight character along with Matt Burke (Bill Camp). John Benjamin Hickey made a great Father Callahan, but the character was almost as stifled as the 1979 version. As for the antagonists, Straker (Pilou Asbæk), is the weakest version of Straker out of the three films, his presence is low – both in screen time and actual presence in a scene. Barlow is done as a Nosferatu type of vampire but does speak and the look is not as effective as it was in 1979. The Marsten House failed to be the character it became in both miniseries and Mears connection to it was not communicated.

Barlow in action

If it sounds like I’m negative, I’m not – I enjoyed the cinema experience and this is a horror flick first and foremost rather than the more involved miniseries. There is a place for that, and these are my thoughts as I mull the next day. Go in expecting a vampire horror that happens to have names from King and you will have a good enough time, expect anywhere near the characterisation of either miniseries, not to mention the novel itself, and you’ll be disappointed. I will review this properly and delve more into certain aspects (like the finale) when the physical media comes out. I am hoping that a Blu-ray release will retore the rumoured hour and then, perhaps, we will have more rounded characters.

The imdb page is here.

Unnatural – review

Director: Whit Whitman

Release date: 2024

Contains spoilers

I was given access to Unnatural as a screener and my first thought was one of trepidation. The film is clearly on a budget and, though vampire themed, does contain a werewolf (Matt Headley) and werewolves and low budget can struggle to mix. In fact, the werewolf is at the head of the film and seems to have been done well. This turns out to be a solid budget western/horror and whilst it isn’t the greatest film (or even the greatest budget film) it is certainly a decent watch and a cut above many other budget films.

the werewolf

It starts with a POV camera heading towards a homestead. In there are Pa (Keith Migra) and Ma (Megan Reneau) and their kids Jessie (Charlee Carmicle) and Junior (Samuel Wilson). It is bible reading time but there is howling outside. Despite Jessie’s warning that something is wrong as ghosts are gathering (something her Ma does not accept and seen, for us, in the form of subtle motes or orbs), Pa goes outside and is immediately got by the werewolf. Ma goes out and is got as well.

the kids

The kids hide and we have seen a rider, Dan (Al Snow), heading towards the homestead. The werewolf is about to get them when Dan saves them. He is, it transpires, their estranged grandfather. His wife had been possessed and he had to exorcise her but, despite ridding her of the demon, her weakened state caused her to die. This meant his son ran away, becoming estranged from Dan. The disaster is Dan’s fault – the werewolf is a survivor of a pack he wiped out and had followed the scent of his bloodline.

vamping out

Dan does not want the responsibility of his grandkids but one of the ghosts (his wife) speaks to him and reprimands him for the attitude. He can hear ghosts but not see them, and Jessie can see them but not hear them. (Junior can fix just about anything.) Dan ends up taking the kids with him as God sends him to the town of Possum Trot. Before he gets there we see a trio of vampire hunters. They ignore the town rule of handing in their weapons, and do not get suspicious when they hear that the Sheriff, Hawken (John Wells), 'works his farm' during the day and comes to town at night (and has done so since the previous Sheriff was killed by a foreign visitor and he survived). They end up being quickly slaughtered as night falls. When Dan gets there he ignores the gun rule and also the rule of no children (though it does say that they should not be there at nightfall).

burning cross

So, vampires must be burnt or staked and are held back by garlic. Drinking holy water will make that person's blood undrinkable. They are fast and strong and there is a cool bit of surrounding a building with a burning cross of oil to trap a vampire. The night shots can be a tad too dark – most notably whilst we are trying to see the werewolf. The dialogue can be very on the nose with regards exposition. Al Snow as Dan is wonderfully surly and his delivery is natural – of course Snow is an old wrestling pro, but the character does not fall back on wrestling in the film. All in all this was a solid 5 out of 10 and it is better than many a low budget horror flick.

The imdb page is here.

On Demand @ Amazon US