Wildling finds a little girl named Anna (Aviva Winick) being held in a single room by a man she knows only as “Daddy” (Brad Dourif). He cares for her and tells her tales of a creature called a “Wildling” that will come for here if she steps outside. When Anna grows into a young woman (Bel Powley from Diary of a Teenage Girl) the man becomes fearful and his suicide attempt brings the police. Rescued, Anna is put in the custody of Sheriff Ellen Cooper (Liv Tyler) till they can find her real parents. The longer she stays with Ellen and her brother Ray (Collin Kelly-Sordelet), though, the more Anna starts to change. When a young boy’s body is found mutilated in the woods, it starts to appear that Anna is something far more than simply a victim of imprisonment…and there may be far more truth to the fables of The Wildling.
This is certainly not the first time that lycanthropy has been used as a euphemism for a young woman coming of age. It is, however, a far different film than the cult classic Ginger Snaps, as directed by Fritz Böhm from his script with Florian Eder. While Ginger Snaps was more about budding sexuality, here there is a large focus on the fear in men of a woman’s empowerment, as the last act centers on a group of hunters trying to track Anna down and destroy her. We also get some disrespect from some of these men towards Tyler’s female sheriff, as she tries to find Anna and figure things out. Unfortunately, it is also in the last third where the film loses a bit of it’s grip, as Anna becomes more beast-like and it turns into torch light villagers hunting the monster, when the first two thirds were about a girl trying to find her place in the world, while dealing with some kind of metaphorical transformation. That was more emotionally interesting, as we like Anna and sympathize with her trying to fit in after years in a cell. Still Böhm tells his tale in his own style and he accomplishes some atmosphere and does make some really good use of the New York State locations, including some in downtown Piermont, NY, which I personally have frequented often. The film is visually satisfying and there are some gruesome sequences to remind you there is a horror flick under all the thinly veiled metaphors.
The small cast is very good, especially Powley as Anna. She creates a young woman both frightened and fascinated by the new world she is thrust into and then having to deal with a terrifying transformation into something she was taught is very dangerous. Her petite stature and youthful features allow her to successfully portray a woman ten years younger, as she did in the sexually themed Diary of a Teenage Girl. Liv Tyler is solid as the caring Sheriff. She becomes attached to Anna and it becomes hard for her when she starts to believe the girl might be dangerous. Dourif is good, as always, as “Daddy” a man who may have actually been locking the little girl up for her own good. Rounding out is a good performance by Collin Kelly-Sordelet as Ellen’s brother Ray, who also cares for Anna and James LeGros as a hermit who lives in the woods and may know more about Anna than she does herself.
In conclusion this is not an original idea, it could be oversimplified into Room meets Ginger Snaps, but is well done enough to walk to the beat of it’s own drum. Director/co-writer Fritz Böhm creates an atmospheric allegory of a young woman coming of age and thus becoming dangerous to those who fear her empowerment. The first two-thirds are involving and it’s only in the last act, when it becomes more of a monster hunt that it loses it’s grip somewhat, thought it’s point is still made. A good cast, especially our lead, also helps tell the story well. Worth watching, though one might end up wanting to like it a bit more than one actually does. Not bad for a first full length film, Böhm could be someone to keep an eye on.
Rated 2 and 1/2 full moons.
Creepy supernatural thriller finds teen Leah (Nicole Muñoz) drawn into the occult after the death of her father. She and her mom (Laurie Holden) aren’t getting along, especially when her mother decides to sell the family house and move them out and away from Leah’s school and Goth friends. When at their new woods-set home, her mother lashes out at her during an argument and an angry Leah conducts an occult ritual evoking the dark spirit, Pyewacket, to kill her mom. Soon Leah learns the meaning of “be careful what you wish for” as something dark and evil has entered their home with malevolent intent.
This is a subtle and spooky as hell flick and certainly one of the best horrors of the year. Written and directed by Adam MacDonald (Backcountry) this is a chilling tale that shows that you don’t need jump scares or over-the-top gore to make an effective horror film. MacDonald bathes his film in atmosphere and uses his camera to evoke a pervading sense of dread, even in broad daylight. He creates an already tense situation as both Leah and her mom, are each handling the death of Leah’s dad in different ways and not very well. There is friction and while Leah turns to dark music and an interest in the occult, her mom wants to have a ‘fresh start’ away from anything connected to him. This leads to some harsh words in their remote new home and Leah to dabble in something she isn’t prepared to deal with. Soon there are dark shadows lurking about the house and a visit from Leah’s tough, Goth girlfriend, Janice (Hellion’s Chloe Rose) has the girl leaving the house a terrified mess. As creepy as it is thus far, MacDonald saves the best for last with a truly unnerving final act as Leah attempts to send back what she’s conjured and let’s just say the malevolent spirit has other plans. MacDonald doesn’t resort to hokey FX or overused tropes, he simply serves up some nerve wracking moments with simple skilled camera work and some wonderful emoting from leading lady Muñoz. MacDonald, as with Backcountry , also knows how to make woods look ominous which adds to the atmosphere. And while ultimately we know where this story is headed, it’s still a shocking and unsettling finale that perfectly punctuates a very creepy film.
The small cast is very effective. As stated, Nicole Muñoz is very good as the emotionally wounded Leah. She creates a likable yet, troubled young woman who tries to sate her grief with death related interests. The only person she should be able to turn to for support is the one she is having the most problems with. Once she performs the ritual and awakens something, she gives us a very scared young girl with nowhere to run. Laurie Holden (The Walking Dead) is excellent as her equally troubled mom. She lashes out at Leah one minute, for simply reminding her of her husband and tries to be there for her daughter the next. The two actresses work well together creating a very dysfunctional dynamic between the two that makes this flick work. Rounding out the small cast is Chloe Rose as her friend Janice who has a traumatic sleepover at Leah’s new home and Eric Osbourne as Aaron, a boy interested in Leah.
Adam MacDonald has gone back to basics and made a very spooky, unnerving, yet down to earth horror movie. He wisely makes his scares very grounded and the fact that they are not presented in a theatrical and over-the-top manner makes them more realistic and thus more frightening. His leading ladies work well together in creating a fractured and troubled relationship between the mother and daughter, based on two completely different methods of mourning. Add to that a young girl delving into dark forces she doesn’t completely understand and certainly can’t control and you have a supernatural bone chiller that is refreshingly driven on what really makes a true horror film work…fear. This one will be on my best of the year list for sure.
Rated 3 and 1/2 balls of red yarn.
Creepy looking flick from IFC Midnight and writer/director Adam MacDonald (Backcountry) finds a teen (Nicole Muñoz) messing with the occult to get back at her mother (Laurie Holden). Pyewacket will see a release on 3/23/18!
source: Youtube/IFC Midnight
(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)
Desolation is a small but sometimes intense little movie about three people being pursued by a mysterious figure while camping in the woods. Pretty, young widow Abby (Jaimi Paige) hikes deep into the mountains with her son Sam (Toby Nichols) and her friend Jen (Alyshia Ochse). They are there to lay to rest the ashes of Abby’s late husband and soon find themselves being followed by a creepy hiker (Claude Duhamel) who may have ill intent for the three.
Disturbing thriller is directed by Sam Patton from a script by Matt Anderson and Michael Larson-Kangas. It gives us a little time to get to know Abby, Sam and Jen and what emotional state they are in, before they start to realize there is someone trailing them as they hike into the mountains and camp. The chills from director Patton start off slowly as the hiker sits quietly staring from a distance, before turning the screws when he brutally let’s us know, what we suspected all along, that this hiker is up to no good. Then it’s a last act struggle to survive with a savage killer in pursuit. Granted this isn’t something new story-wise, with innocents in the middle of nowhere under siege by a deadly attacker. It’s in the telling that the story picks up it’s intensity as Patton has introduced us to three likable characters, two of which who are emotionally vulnerable at the moment. All the more reason to fear for them as their pursuer moves in and reveals his violent and cruel intentions. We may have an idea as to how this will all play out, but it is effective none the less…brutally effective at times. And at only 78 minutes, it is a tight little movie that certainly doesn’t overstay it’s welcome.
The minimal cast all perform well. Jaimi Paige presents a sweet but wounded woman in widowed mom Abby. She’s trying to remain strong and be supportive of her son and we sympathize with her. Paige gives her a down to earth quality that really makes her endearing. Same could be said for Alyshia Ochse as her best friend, Jen. Jen is also a sweet and playful girl-next-door type and she and Paige have a good on-screen chemistry. They are very convincing as friends and their concern for each other, both before and after the hitchhiker makes his presence known, seems sincere. Toby Nichols does a solid job portraying a young boy coping with the death of a parent and then trying to be strong for his mother when they come under attack. A good performance from the young man where he has to convey a wealth of different emotions. Finally, Claude Duhamel imbues his silent hitchhiker with some nice malevolence, using just his body language and facial expressions to convey this guy is not right. Even before he gets violent, we are uncomfortable for our trio when he is around. The film also leaves the aspects of his motivations ambiguous, with enough gruesome clues to form our own conclusions.
An original movie?…No. A well done telling of a familiar tale…quite! Sam Patton keeps the film small and intimate, gives his audience time to get to know and endear to his main characters and then slowly allows his creepy stalker to get closer and closer to our vulnerable trio. He waits sometime for things to get really vicious and then it becomes a brutal struggle to survive against an enigmatic and highly disturbed individual. A good cast and some nice New York State locations help make this a solid survival thriller and a good start to Sam Patton’s feature film resume.
3 extremely concerned hikers.
KILLING GROUND (2017)
Killing Ground is an Australian thriller that finds couple Ian (Ian Meadows) and Sam (Harriet Dyer) going on a camping trip in a rural part of the country. They find another vehicle and tent at the campground, yet no occupants seem to be around. Soon Ian and Sam encounter two local “hunters” (Aaron Pedersen and Aaron Glennane) who, unknown to the couple, know exactly what happened to the abandoned tent’s former occupants.
Written and directed by Damien Power, this is an effective but familiar survival thriller. His story is basically in the Wolf Creek ballpark with innocent travelers happening upon deranged locals in a rural setting. What we see is brutal and effective and while certain cruel acts are off-camera, just knowing what is going on induces chills. Power tells his story in a split narrative where we inter-cut scenes of Sam and Ian in the present with scenes from earlier on with the ill-fated family that resided in the now empty tent. It works well enough and once the stories meet it continues to it’s finish within the present timeline. It makes for a grim yet fairly involving 90 minutes, though there are some questions. What drove these two to get homicidal with this family, as it seems they are too sloppy to have done it before and not gotten caught. Also, they are well known to local police, so they would logically be prime suspects if something went askew in that jurisdiction…though the police portrayed here are done so as stereo-typically daft local cops. Still, the film does work well enough and the cast are effective in their roles.
Harriet Dyer is a fine heroine in Sam. She isn’t a damsel and is a fighter when she has something worth protecting. Ian Meadows’ Ian starts out as a likable character, though as the story progresses and it becomes a battle for survival, he shows some unfortunate true colors. As for our bad guys, Pedersen and Glennane make fine deranged locals and even if the characters are well-worn stereotypes, they play them effectively. Again, the problem with them aside from familiarity, is they seem too sloppy in their activities and if this isn’t the first time they’ve done this…previous jail time is mentioned but not why…it’s hard to believe they haven’t already been caught. If this is their first crime of this magnitude, what was it about this family that triggered the violence and cruelty? We never get to know them enough to gives us a clue.
In conclusion, this is an effective but familiar survival thriller. Damien Power directs well enough to make it work better than it should and we are chilled by some of what we see. The film is overall, though, nothing new and there are some questions we are asking once it’s over. Also stars Maya Stange, Julian Garner, Tiarnie Coupland and Liam and Riley Parkes as the ill-fated family whose grim tale unfolds during the film.
THE DEVIL’S DOLLS (2016)
Silly but amusing flick has a cop, Matt (Christopher Wiehl) gunning down a serial killer and taking the killer’s Guatemalan Worry Dolls into evidence. Upon visiting his ex-wife’s (Samantha Smith) house, his little girl (Kennedy Brice) sees the dolls in his car and takes them. The dolls are possessed by the killer’s evil essence and now anyone who comes into possession of one gets possessed themselves and kills…still with me? Now Matt must recover the dolls before more people meet gruesome ends and free his daughter of the killer’s spirit.
Directed by Padraig Reynolds from a script by Danny Kolker and star Christopher Wiehl, it feels like someone read about Guatemalan Worry Dolls and cobbled together a story to use them. The result is a hodgepodge of a horror mixing possessed dolls, possessed people and a Guatemalan witch doctor (Tina Lifford) living in the middle of the woods (for exposition, of course) in a shack bigger than most people’s condos. If the film has a strong point, it is that there is plenty of gore and it is well rendered and quite abundant and somehow director Reynolds seems to keep the silliness somewhat amusing for the flick’s 85 minute run. It’s never scary, though never boring either. An unintentionally goofy flick and on that level it does entertain despite how bad it all really is.