Writer/Director Rose Glass’ modestly budgeted horror film Saint Maud is an impressive display of skillful filmmaking and doubly as Glass’ feature film debut.

Morfydd Clark plays Maud a former hospital nurse now turned to in-home hospice care for the dying. Maud is deeply religious and often prays in a conversational manner with God which the audience experiences as well-crafted voiceover. Haunted by a traumatic event seen only the glimpses through flashback Maud is clearly a lonely young woman of with a devout and possibly fanatical mindset. Her newest hospice charge is Amanda, played by Jennifer Ehle, a free-spirited professional dancer now confined to a wheelchair as a cancer in her spine marches her towards her death. Rather than being repelled by Amanda’s alcohol indulgences and same-sex assignations Maud becomes obsessed not only with easing Amanda’s final days but saving her soul. Throughout the film’s brief 84-minute runtime Maud experiences events that may be supernatural in origin or psychotic breaks from reality with Glass’ directorial hand deftly charting a course between the two possibilities until the film’s final few frames.

Saint Maud is a well crafter piece of mood cinema. The cinematography perfectly captures the atmosphere of Maud’s isolated life and with reveling in filth conveys the sense of a fallen and broken world that we inhabit. Clark’s soft and often understated performance as Maud couple with a script that leans towards ambiguity creates a film that invites the viewers to build their own interpretation rather than holding your hand and explaining everything. Jennifer Ehle is perfectly cast as the chaotic Amanda a woman of considerable talent now dealing with life’s cruel and chaotic misfortune. At time understanding of Maud’s faith and at other times mocking it Amanda and Maud are the dynamic that drives this feature. A fascinating and thoughtful film Saint Maud is well worth the time to watch intently and not casually while you do other chores.

Saint Maud is currently streaming on Epix and Paramount+.

Click here to accept Marketing cookies and load this content

This weekend I decided to give Shudder’s original series The Last Drive In a test spin. Hosted by Joe Bob Briggs the series is a throwback to local television stations hosting horror themed fare. Briggs dismisses using an overtly horror inspired host gimmick instead going for a ‘regular’ country guy on his porch approach while provide production details and commentary during breaks in the presentation. Overall, I am not sold on this approach except for possibly campy and over-the-top titles which Ginger Snaps is not.

Ginger Snaps is a Canadian werewolf movie from 2000 starring Emily Perkins and Katherine Isabelle as sisters Brigitte and Ginger respectfully. Ginger is the older sister at sixteen while Brigette is just a year younger. Both are outcast, fascinated by the dark and morbid and thoroughly devoted to each other. When the film opens the suburban development where they live Bailey Downs is already in turmoil as some unknown beast has been killing the dogs of the area. While out on a nocturnal mission of revenge for Brigette’s abuse at the hand of a local bully the girls are attacked by the beast and Ginger bitten starting a chain of events that drives a wedge between the sister as Ginger embraces her new condition.

This film, while a very entertaining horror movie with a fresh take on the werewolf myth, blatantly discarding most of the tropes introduced in 1941’s The Wolf-Man is at its heart a coming-of-age story and deals with the tragic and traumatizing transformation from adolescence to adulthood by way of blood, gore, and horror. Written by Karen Walton the film has a distinctive female perspective and never losses focus on the sisters and their relationship. While modestly budgets at just 4.5 million dollars Ginger Snaps retains a high level of production value with lovely cinematography that provides an atmospheric mood of dread in a dull suburban setting.

The film found its following on home video and repeat broadcasts on HBO mainly because it never got distribution in the United States. It had an offer, but the distributer wanted a PG-13 rating and the direct was unwilling to censor the films prodigious use of ‘fuck’ in the script. (Good for him.) Still, it found enough success to develop a cult following and spawn a few sequels of questionable quality.

Ginger Snaps is a fun, thrilling, and thoughtful film that uses the lycanthrope trope to talk about identity and growing up. It is well worth watching.

Due to water damage reasons our weekly board and card games we’re canceled pitting movies front and center for me and my sweetie-wife’s entertainment. Surfing through Amazon Prime available films we discovered this Peter Cushing/Christer Lee movie from 1973 that I had never seen and she couldn’t recall watching, The Creeping Flesh.

Professor Hildern (Cushing) returns from New Guinea with a skeleton of an advanced man much older than the current fossil record for human evolution. His household is run by his sheltered adult daughter Penelope as his wife ‘died’ many years earlier. Hildern plans to used his discovery to win the ‘Richter’ prize returning his household to solvency but his half-brother James (Lee) also plans to wins the prize for his work with the insane, Both become fixated on the skeleton when it is discovered that is exposed to water it instantly regrows flesh that is the course of all evil in the world because evil is cause by a bacteria. Betrayal and theft result in the creature being reborn in a rainstorm, losing evil upon the Victorian Age.

Believe it or not that brief synopsis makes much more sense than the actual film. The Creeping Flesh, though mercifully short at 94 minutes attempts to stuff its scrip with an absurd number of sub-plots.

• Hildern’s wife was not killed but committed to James’ asylum for apparently enjoying her sexual life too much.
• James is also dealing with an escaped mad murderer that serves no story purpose.
• Penelope is infected by the evil bacteria which makes her drink and dance and attack rapists. She is judged to be mad.

It turns out my sweetie-wife has seen this film before but had managed to repress it from her memory. Nothing saves this film, not Cushing, not Lee, not even the barest hints of sex and violence. It is a slog to view and should be avoided.

Okay, I’ll give everyone a break from the political posts and do another film review. This past weekend a friend and I watched the 2017 action/horror/comedy Mayhem starring Steven Yeun and Samara Weaving.

Derek (Yeun) is a rising corporate lawyer in the mega-firm of TS Consulting whose career is ruined when he is selected to take the fall for legal fumbles he had nothing to do with. Melanie (Weaving) is a woman desperate to save her family home from foreclosure by the faceless sociopathic firm. When a virus that fully inhibits inhibition and impulse controls permeates the towering building that houses TS Consulting the facility is quarantined for 8 hours to allow a neutralizing element to eradicate the infection. Due to legal precedent already established by TS Consulting itself no person is legally responsible for any of their action while infected giving Derek and Melanie, now improbably teamed up, a ticking clock to fight their way to the boardroom when the nine partners can change their doomed fates.

Directed by Joe Lynch and written by Matias Caruso Mayhem is a *fun* movie. Notwithstanding the copious amounts of blood, sex, and brutal violence, the tone of the film is light and satirical. Yeun and Weaving give us personable characters to empathize with and to root for while the corporate baddies sitting in their corporate offices doing corporate-y things are perfectly serviceable stand-ins for the faceless, joyless, and scruple-less bureaucracy that destroys lives in a mindless pursuit of profit and power.

Filmed in Serbia with a limited budget Mayhem through the excellent craft of director Lynch, cinematographer Steve Gainer, and production designer Mina Buric it has the appearance of a film with a much more substantial budget. Particularly impressive are the invisible visual effects. The virus causes infected people to have one terribly bloodshot eye and throughout the film everyone’sbloodshot eye is a CGI effect.

Unlike the previous Joe Lynch movie I have watched Knights of Badassdom Mayhem finds and nails the right ending for its tone making the experience of watching it quite enjoyable.

Mayhem, including a version with a commentary track featuring Lynch and Yeun, is currently streaming on Shudder,

With the coming of May it is time for me to re-watch one of my favorite horror films 1973’s The Wicker Man. Starring Edward Woodward and Christopher Lee The Wicker Man in so many ways of quintessentially an early 70s film, low budget, stuffed with ideas and deeply cynical. Because I was already comfortably nestled in my overstuffed chair instead of using my Blu-ray edition of the film with the most recent edits and restorations, I watched the version currently available for streaming. This is the abbreviated edit compressing the events into just two days from three and with several scenes deleted.

Scottish West Highland police, and deeply devote Christian, Sergeant Neil Howie (Woodward) arrives by seaplane to the isolated island of Summerisle following am anonymous letter that a young girl has gone missing. The residents lie, misled, and confuse Howie with shifting narrative from there is no such girl to the girl had died. The islanders are also fervently pagan worshipping the old god of pre-Christian Europe offending the pious policeman. Lord Summerisle (Lee), the island’s leader, is convinced that Howie’s suspicions of murder are misplaced as they are a deeply religious people. Convinced the girl’s disappearance is tied to the pagan practices and with his seaplane sabotaged Howie is forced confronts the conspiracy alone in a desperate race again time and the coming May Day celebrations.

The Wicker Man is a unique film, simultaneously inhabiting the genres of folk horror, art house film, and musical while maintaining a consistent tone of dread. The production was troubled and the sale of the studio before completion led the final product being hacked down to 88 minutes without any real regard to story or quality. Over the decades various versions of the film have surfaced and been restored but the original edit has never been found and the original negative are believed destroyed, making The Wicker Man an enduring cinematic myth. Lee long maintained that he loved the script so much he appeared for free and that it was his favorite screen performance. Director Robin Hardy returned to Summerisle decades later for the sequel The Wicker Tree but failed to recapture the glorious magic of early seventies film. 2006 witnessed a remake of the film starring Nicholas Cage as the investigating officer but the sly and subtle conflict of culture theme was replaced with what many consider to be blatant misogyny.

No matter what version you watch The Wicker Man remains one of the most interesting, unique, and enigmatic movies.

The Wicker Man is currently streaming on Shudder and Amazon Prime.

I recently watched about a third of a horror movie, Game of Death, currently streaming on Shudder and it is a perfect example of how not to construct a story.

This movie has the very brief running time of a meager 73 minutes. Given such a short length this is the sort of movie that needs to hit the ground already sprinting at full speed perhaps in mid-action with flashback to fill in the audience on how the set-up was established.

But that is not how Game of Death (2017) starts. No, the movie wastes 8 full minutes more than 10 percent of the entire film watching the seven ‘characters’ party at rural home. This extended sequence does very little to reveal character, I honestly couldn’t tell you any of the defining elements of any of their personalities, present no dramatic tension or conflict, and carries no foreshadowing of doom. It is fully wasted time.

Eventually the characters take a break from drugs, swimming, the least erotic sexual scenes I have witnessed in a long time to play the titular board game and get the plot moving. Naturally they do not understand the ‘rules’ of the game and when they fail to make their first kill before the timer expires, a timer I might add that display no countdown so neither the characters nor the audience can judge how dire the situation is, the first of the seven has his head explode. The cast misinterpret this as someone shooting at time and when a neighbor appears concerning about the vast amount of screaming coming from the home. They take him hostage assuming that he was the shooter. To do this one of the guys produces a pistol and I asked the same question the rest of the cast voiced, ‘where did you get that?’ Yup, a gun that proves to be vital as that character, and his terrible trigger discipline, force the others to kill random people to sate the game’s appetite, appears wholly unestablished not even in those wasted 8 minutes from the start.

People do not do this in your films, short stories, or novels. Vital and critical elements of your story must be established before they are employed.

I switched off the movie and removed it from my Shudder queue. There are far too many decent and great films to waste my time watching something this spectacularly bad.