A meteorite causes hallucinations and mutations to spread across a New England farm. Well-made adaptation of the HP Lovecraft short story. A slow burn that earns its weirdness well, accumulating details carefully, and playing properly with madness. Played commendably straight, though with many subtle genre nods for horror fans.
Category: Insane
Monos (2019, dir. Alejandro Landes)
A group of Central American teenagers guard a kidnapped doctor. Part every jungle action flick ever, part Absurdist fable. Lord of the Flies meets The Emerald Forest with a seasoning of Predator, and more than a hint of Beckett. Hugely recommended, but not for everyone.
Suspiria (2018, dir. Luca Guadagnino)
A dancer joins a troupe that’s a front for a coven. Startling remake of the Argento original that while not having the bravura dream logic of the original is nevertheless an unsettling and well-sustained piece of work. Respectful enough to pay homage, but different enough to be its own beast.
Mandy (2018, dir. Panos Cosmatos)
A rural couple is kidnapped by cultists, triggering a revenge spree. Dazzling and trippy horror/road movie hybrid, set in a stylised 1983. A movie with its own rules that fully rewards going with it and its excesses, in both narrative and visuals. Recommended.
Terrifier (2017, dir. Damien Leone)
A psychotic murderer dressed as a clown stalks two students on Halloween. Gleefully gory and grimy 80s throwback slasher/torture porn hybrid. Ultimately wearying, there are some genuinely funny / jarring / startling moments nevertheless.
Apostle (2018, dir. Gareth Evans)
A kidnapped daughter leads her brother to infiltrate the cult responsible. That sets the scene for an escalating series of events that has more in common with Evans’ VHS2 segment and the game Resident Evil 4. Recommended, but be prepared for madness.
Brawl in Cell Block 99 (2017, dir. S. Craig Zahler)
A mechanic turned drug mule has to battle the prison system to save his pregnant wife from the dealers he owes. Slow-paced but inexorable, this crime drama/horror mash-up isn’t for everyone, but is both brilliant and brutal if you can go with it.
The Long Kiss Goodnight (1996. dir. Renny Harlin)
Further proof of Black’s obsession with mismatched buddies and Christmas, this 90s actioner piles on the cliches and feels at times like a parody of what he started in Lethal Weapon. Fun nonetheless, Davis and Jackson clearly enjoyed every moment.
The Hollow One [AKA The Darker Path] (2015, dir. Nathan Hendrickson)
![The Hollow One [AKA The Darker Path] (2015, dir. Nathan Hendrickson)](https://255review.files.wordpress.com/2017/11/mv5bmtcznti4mti5mf5bml5banbnxkftztgwotc4ntuwnze-_v1_uy1200_cr8006301200_al_.jpg?w=630)
A mother’s secret identity may be mixed up with an ancient artefact. Oddball SF/horror that tries to do zombie movie, family secret flick, and an existentialist SF movie all in one. The whole thing collapses under its awkwardness, tho it gains a point for daft ambition.
Mayhem (2017, dir. Joe Lynch)
When a viral outbreak locks down a high rise office full of angry lawyers and heightens there inherent mania, blood, violence and madness ensues. Full of vim and vigour, and reminiscent of early Raimi, this is a thoroughly enjoyable pleasure.
