Tags: Chiller TV, Netflix, Remains, Steve Niles, Zombie

Horror shorts are a wonderful thing. No, I’m not talking about those awesome under-roos with Freddy Krueger’s face on the crotch (although using the front hole to give him a weird “tongue” is massive fun); I’m talking about the often beautiful and terrifying short films that are floating around in our beloved genre. What makes these films so special is that a filmmaker is hard pressed to fit in the logic, emotional depth, and (most importantly) chill inducing terror known so well from feature length films into a tiny package of around twenty minutes or less. The time limit alone can either make or break the entire effectiveness of a horror short, which is why they’re so delightful when they manage their time well and so disappointing when they don’t. Making a horror short is by no means an easy task and by far a very unforgiving one if the effect isn’t delivered properly.

Writer/director Randal Plunkett’s (Lord Dunsany) latest short film, Out There, comes in at only 15 minutes and 22 seconds. The film’s story weaves an intricate web of confusion and discovery surrounding its protagonist, Robert (Conor Marren). Robert wakes up in a lonely forest with a flowing wound on his forehead and no recollection of how he got there. To make matters worse, the village he eventually wanders into seems to be completely deserted and left in shambles...I think you know where this is headed. It’s a premise we all know and love from many full length films; but with the duration of little more than a commercial break, does it manage to deliver?

There’s a lot to like about this horror short. Plunkett has crafted a script that fleshes out just enough to provide heapings of intrigue, dashes of clarity, and a wonderfully horrifying ending. There are many horror tropes present in the film that may come across as somewhat cliché initially, but actually serve the film well. When you have a limited time to inject fear and mystery into your audience it’s best to stick with familiar tropes and get those red flags waving. And wave, they do. The moment Robert enters the dilapidated Irish village with seemingly no signs of activity other than an increasingly loud power generator, tiny warning bells will be going off in the viewer’s head. We’ve seen this before and it didn’t end well…certainly it won’t now either. The film is full of these moments. However, some are more effective than others. For instance, the previously mentioned generator left a nice bitter taste in my mouth. I immediately expected doom to show up around every corner for as long as that sound kept ransacking the scene. It was a really nice touch to open the madness with. Unfortunately, there’s a similar moment that in general is fairly creepy but ultimately left me more bewildered than tense. Somewhere nearing the midpoint of the film, Robert happens upon a small cottage of sorts. The rooms are scrawled with bloody messages and what appears to be some Satanic imagery. Spooky stuff to be sure (at least Robert thinks so), but in the context of the rest of the 15 minute film this bit is left rather unexplained and comes across more as a creepy device than a terrifying accent to the rest of the piece. That moment aside, the rest of the playful visual cues and tropes used throughout the film had me smiling and waiting for the next bit in anticipation.

As I said before, in order to deliver a really good horror story in a short amount of time, you have to jam pack it a bit. Which is exactly what Plunkett did with Out There. This is by no means a complaint, either. Somehow Plunkett drafted a script that manages to not only lead you with Robert’s shambling confusion throughout the small Irish town, but also toss you clues about how he got there and what he was doing. How did he do this? With another beloved trope, the ever useful flashback. It’s through these well timed flashbacks that we get a glimpse into the events prior to Robert waking up in the empty forest. These segments are where we get to know Robert’s troubled girlfriend, Jane, who is played by rising Irish starlet, Emma Eliza Regan. Without spoiling the details of these flashbacks, I will say that I found myself a slight bit confused regarding Jane. It seemed to me that Regan’s performance was on the subdued side and it was unclear if this was strictly due to her performance or if the character of Jane was meant to be that way. Both interpretations are plausible, but neither is clearly the answer (without asking, of course). On the one hand Regan’s performance possessed a sort of haunting quality to it as if the character of Jane was deeply troubled by something she did not wish to speak of. On the other hand, there isn’t much mentioned or shown in the film to explain this personality. There’s no mention of depression, secrets, etc. Perhaps this is due to the time limitation, or perhaps it’s due to something else. In any case, I didn’t find myself dwelling too much on the issue and could still enjoy the flashback segments for the purpose they served. The segments provided a clear outline of the events leading up to Robert waking in the forest, and when you have all the pieces to the puzzle you are left with an appropriately disturbing image.

All in all I rather enjoyed Out There. You can sense the filmmaker’s passion for the genre throughout and the film’s narrative has a rather sympathetic protagonist to keep things going. This is always refreshing in the current sea of unsympathetic leading roles in the horror genre. Having a confused and sympathetic guy leading you through a maze of confusion and terror helps you put yourself in the poor guy’s shoes…which eventually becomes a nightmarish thought. However, due to some of the issues mentioned (unexplained bloody symbols, unexplained depression in Jane) perhaps giving this film the full length treatment would be a good thing. It seems as if Plunkett’s ideas somewhat transcend the time limit allotted. The main plot of the film serves well for such a short, but the tiny details could benefit from some further explanation. That said, Plunkett still managed to fill up a relatively short amount of time with a fairly rich story that didn’t feel rushed or heavy-handed. Likewise, the familiar tropes sprinkled with an Irish twinge made for a surprisingly fresh experience in an otherwise known tale.

I’m a sucker for a good horror short, and I honestly thought that Out There was exactly that: a good horror short. There could still be a bit of refinement here and there concerning particular plot elements and performance delivery, but the film’s story is A-grade. I’d also like to quickly point out the rather pleasant camera work in this film. For a short film this one had some rather impressive camera angles and lighting choices. With the feel of a feature-length indie film, Out There serves its purpose well and is certainly a little film for horror fans out there to really sink their teeth into.

Tags: Blood , British horror, Drama , gore , haunting horror films, Horror , horror genre, independent films, indie horror, short horror films, zombie films, zombie movies, 15mins, Chandler Bullock, Conor Marren, Emma Eliza Regan, Horror shorts, Horror-Fix Review, Irish Horror, Lord Dunsany, Randal Plunkett

I sit down in the theater. A couple ads for other films roll on the screen. Some good. Some bad. Then, a hypnotic image flashes across the screen: A beautiful, foggy autumn morning. We see four people with bags over their heads and nooses around their necks - a father, mother, and two children. The nooses are draped over one branch and tied to another branch that is being sawed through from above by an unseen figure. The branch eventually snaps and as it falls the family is raised into the air, where they hang and die. It was then that I thought... “Damn... this Hotel Transylvania movie is harsh!”. All kidding aside (since there isn't much kidding in this film), Sinister is certainly one of those films that will either completely suck you in with it's opening shots, or you will walk out 45 seconds in.

After we are treated to the Super 8 snuff film, we are introduced to Ellison Oswalt (Ethan Hawke), and his family. Ellison is a true crime writer, which of course makes him really popular with the local law enforcement. Problem is he hasn't had a good book in a decade. His wife (Juliet Rylance) fears he is a one-hit wonder and the two bicker from time to time about his declining fame, to say nothing of finances. But he convinces her that his next book will put him back on the map and that the story will be huge. And he's right... then he is wrong for the rest of the film.

She asks if they have just moved a couple houses away from where some horrible crime took place. He says no. He isn't lying. They are living IN the house where a horrible crime took place. Before you can say poltergiest, Ellison comes across a box with a projector and some assorted super 8 film reels. They are marked innocently enough: Hanging Out, Sleepy Time, BBQ, Pool Party, and Lawn Work. He waits till everyone is asleep and starts what has to be the sickest movie marathon put on film. Turns out the titles are sadistic but comic descriptions of ritual murders. For example, Pool Party features a family being tied to lawn chairs and pulled one by one into the pool where they drown, BBQ shows another family being chained up inside their car and set on fire, etc. It is the scenes where Hawke subjects himself and the audience to these murders that the film really shines.

Ellison's kids start acting weird. His son develops night terrors. His daughter starts painting morbid illustrations on the walls. And his wife begs and pleads him to move the family back home. He refuses to until he can crack the mystery of who the satanic videographer is. Especially when he catches a glimpse of the yellow faced figure in one of the videos. This figure is eventually revealed to be some kind of Babylonian Boogeyman but his origins are not important. The fact is that what makes the character so scary is the lack of info we are given on him... That and he looks like a f*cked up Willie Wonka (The screenwriter's words. Not mine.)

"...the film becomes wildly scary"

From here on in, the film becomes wildly scary. Even the jumps scenes leave you disturbed. The images on the tapes (combined with Christopher Young's Reznor-ish score) will not leave your mind after the film ends and nothing is certain or safe. Hawke is certainly the key performer in the picture. His facial expressions while watching the footage of the murders mirrors those of the audience so perfectly that we can forgive him when he constantly makes bad choices. The supporting actors fare well also, particularly Jason Ransone as a Barney Fife type deputy and the always stellar Vincent D'Onofrio as a professor who eventually is able to enlighten Ellison on who the mysterious figure in the tapes could be.

It has been four days since I saw the film and I still can't get the eerie murder tapes out of my mind. One terrific jolt involving a lawn mower is worth the price of admission alone. The film also ends with a “Ringu” type twist that will disturb audiences to their core. As far as horror films go, there is usually only one or two really good ones each year. After watching Sinister, I can safely say there won't be a better ghost story on film for a while. And that includes the God-Awful Paranormal Activity films. Please let this film and Insidious be the beginning of the return to kick-ass ghost stories! HIGHLY RECOMMENDED

Tags: , Ethan Hawke, Scot Derrickson, Sinister

Tags: Behind the Mask, Creature, Fred Andrews, Hatchet, Mehcad Brooks, Monster, Serinda Swan, Sid Haig, Tracy Morse

Choose

Year: 2011

Genre: Crime/Drama/Horror

Runtime: 100mins

Rating: R

IMDB Score: 4.4/10 (1,000+ Votes)

Director(s): Marcus Graves

Writer(s): Brandon Camp and Mike Thompson

Plot/Synopsis:

A journalism student tracks a killer with the help of her detective father and a therapist.

Forethought(s):

I'm thinking is going to be more crime than horror but I'm hoping it's a nice blend of both.

Fun Fact/Trivia:

Katheryn Winnick who stars as Fiona in this movie is a licensed bodyguard.

Stars of the movie: Katheryn Winnick,Kevin Pollak and Nicholas Tucci

The Breakdown:

The movie starts off with a teen girl talking to one of her teen girl friends when he parents walk in and tell her it's past her bed time. This sets up that these folks are loving caring people. A few moments later and the teen girl has to pick which parent dies. That sets the tone of the movie and I like the tone but the tone isn't strong the rest of the movie. The reason why the opening kill was good was that they made you like the parents but they don't do that with any of other the kills. They tried to make you hate one of the people that die but they didn't write that character well enough, hell, that can be said for all the characters. Damn near all of them just aren't likable or hate-able. And if there was any character development,I didn't see any so I couldn't get invested and the same can be said for all the other people that die. When they explained to us why the people chosen were killed it had no effect because we do not have any attachment to the killer, so it was just “yeah OK I can see why the killer would be pissed” but beyond that I didn't feel sorry for the killer or any of his vics.

This kills were nicely done in this movie. We never actually see any of the killing and that normally bugs me but since they weren't your cookie cutter cutting,bashing and burnings, I was OK with it. Don't go thinking that they'll make you sick because they won't but they will make you say “damn that looks painful” and honestly how often can we horror heads say that about new horror flicks?

The acting was stiff on everybody but Kevin Pollaks part and I find that odd. Kevin Pollak tends to be stiff in a lot of stuff he does but not because he's that type of actor but because the story calls for it and in this flick he's a bit more lively. He was by far and away the best actor in the movie. I was a bit surprised by Katheryn Winnicks performance. True, I only know her in the TV show Bones but she seemed a good enough actress and in this it seems like she just doesn't have the chops to do shit. I'm glad I find her really good looking and find her voice sexy,otherwise,I very well may have turned the flick off.

The movie is 1hr40mins long but it feels like a 1hr20min movie due to the rushing of the story. I really feel this movie would have been much better if it was 2 hours long so we could have gotten more into the mind of the killer. The movie is a Seven lite with a twist of Saw and with those ingredients it should have been a hell of a movie but it moves to fast and as stated above we just don't form any attachments to anyone.

The Verdict:

This movie was trying so hard to be Seven and the Saw series in one movie and for that it isn't what it could've been. The movie even though has issues isn't bad but it's not good either. I can't recommend buying it but if you want a mindless horror movie that won't scare you but will leave you waiting more (for the wrong reasons) then watch on Netflicks of something of the like.

I give this film 3 choices out of 5.

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Tags: 2011 , Brandon Camp , Crime , Drama , Horror , Katheryn Winnick , Kevin Pollak , Light Blood , Marcus Graves , Mike Thompson , Nicholas Tucci , Profanity , R , Slight Gore , 100mins

Tags: 75mins , Blood , Booze , gore , Gray J. Tunnicliffe , Horror , Low Budget , Pinhead , Profanity , R , Tits , Victor Garcia, 2011 , Sexuality

Jerry Blake is a successful real estate man who values his job, his clients, and above all else, his family. Jerry Blake is also a homicidal maniac who drifts from town to town leaving slaughtered families in his wake. Hey, it's cheaper than divorce and at least in this scenario one party gets to walk away happy.

On the surface The Stepfather is typical 80s pseudo-slasher fare wrapped in the guise of a suburban thriller. Deeper though, it is a study in modern serial killers.  We aren't talking about the "he was always the quiet type" serial killer, but instead the " Jesus Jumping Christ!, he used to walk me to my car after work serial killer”... and that is what makes the film a successful entry into the genre… successful enough to spawn multiple sequels and a remake.

Terry O Quinn, who most of the audience will recognize as the sage-like philosopher and survivalist John Locke from tv's Lost, plays Jerry, a husband that any divorcee would count herself lucky to meet… and all Jerry wants is for his family to exist in harmony, living the American dream. Enter his new wife's teen daughter, who's all like " whatever, whatever, you don't know me... You ain't my daddy.. I do what I want!" and suddenly Jerry's dreams start to shatter...oh and remember that bit about him being a serial murderer.. Yeah, that too... Cuz it looks like Jerry's old brother -in-law is also on a mission of vengeance to track down Jerry in his new personna and finally put and end to his driftin and mass murderin ways.

It's O'Quinn who sells this film and we are reminded of his acting chops every time Blake's veneer starts to break and we see the monster underneath. He is also the reason the film, which might have easily fallen through the cracks with similar films of the same period in the late 80s went on tto make such an impression with the video rental audience.

Despite some rather typical and paint-by-numbers direction from Joseph Rubin and a score that falls somewhere between an aerobics video and a cheap porno, The Stepfather is a worthwhile watch and at the risk of looking too deep into the film's core a worthwhile examination of the death of the nuclear family unit and it's flawed ideals, and maybe just a little superfluously how maniacs often masquerade as Ward Cleaver in suburban America.

Tags: 80s horror, Joseph Rubin, The Stepfather

I am a huge fan of "what if" films. What if the alien from Alien went up against a rough and tumble group of Space Marines? What if Freddy actual fought Jason? What if a zombie was cognizant and if that zombie were you, what would you do? The Revenant, starring David Anders and Chris Wylde not only answers that question but does so in such a gleeful fashion that you might wonder why we have had to sit through so many uninventive zombie movies when offerings such as this are on the table. I'm not going to say that it reinvents the zombie film but it manages to be so much fun that you could care less what it reinvents as long as it keeps doing what it does and it pretty much manages to do that for the bulk of its running time.

"...it manages to be so much fun that you could care less what it reinvents as long as it keeps doing what it does"

Its the middle of the night in war ravaged Iraq and Bart and the rest of his platoon are driving their humvee to an undisclosed location when Bart hits, what he believes to be a child, standing in the middle of the road. Much to the displeasure of his men Bart leaves the safety of the vehicle to check on the child only to get gunned down, shot in the head, and subsequently shipped back to the states for burial, leaving his man-child best friend and pining girlriend mourning his untimely death.

We all have friends like Bart's best, Joey. Friends that while we were building our careers or fostering relationships or creating families were still spending their late nights playing Xbox, eating cold pizza and borrowing their rent money from their parents. Friends that allowed us to forget our stresses at work, the complications of our marriage or the doldrums of PTA meetings and slip back into those years where responsibilities took a back seat to having fun and plain old fucking off. These friends, while they may encourage us to call in sick to work or lie to our spouses about where we went drinking sometimes represent the last bastion of hope that our youth is still accessible, just within reach for us to pick up and try on for size when the pressures of the adult world become too much. sometimes, however, they are the proverbial bag of bricks that tumble across the ocean floor, pulling us down and slowing our progress now matter how hard we try to swim against their weight. Bart, for all of his good intentions and ambitions, just couldn't pull free of the gravity of Joey's lethargy, even in death, and that, is exactly where he winds up after clawing his way to thhe top of the fresh dirt covering his coffin.

Enter the smart divergence where The Revenant decides to play it loose and instead of Joey grappling with the horror of finding out that his dead best friend is back from the grave with a taste for fresh blood, he revels in it, seeing his new friend's apparent invulnerabilities as an opportunity to elevate his own status. Wylde tears the role open as the two do what any self respecting team of zombie and human would do: they take arms and become fly-by-night vigilantes.. Robbing the dreggs of society...of their blood. It is this portion of the film that will immediately win most detractors over as the duo hop from convenience store to urban locale, easily putting themselves in the middle of heist, robbery and drug deal, soon enjoying the monetary fringe benfits as they lift more than plasma from their victims. This horror send up of Robin Hood works so well that, in fact, the movie could have relied on this one device alone to propel it to cult status.

Early on however we get the inkling that nothing good lasts forever. Bart, although dead, is still trying to carry on as thou death is just a temporary setback. When not robbing petty crooks of the red stuff, Bart is, albeit reluctantly at first, still seeing his girlfriend and as his situation brings himself closer to the limits of just what his supernatural affliction is capable of, that relationship strains the bond between he and Joey.

I'm not going to highlight The Revenant as the viewer really needs to see the film with a fresh pair of eyes that allows them to experience the surprises firsthand. Luckily, that is the word that most will walk way with after seeing the film: SURPRISES. The Revenant manages to pull them off with a competence rarely seen and at no point does the film seem to struggle with its ambitions. If the film will have any fault with its audience, it will be its gradual change of tone in its third act. Remember when I hinted at the subtext that "the party can't go on forever"? Well when the lights go up and it's last call on The Revenant the morose turn is noticeable and might throw people a little off the rails of the preceding roller coaster of comedy and action. this is not to say that the third act is ungrounded, unnecessary, or even unfitting of the film. It's logical and sadly a little tragic, but it is framed in such an explosion of violence and weirdness that the climax takes this horror comedy and gives it a very real and disturbing resonance.In other words, even if you've come for the comedy, stay for the horror. The Revenant has already cemented it's place in my top 5 of 2012 and I expect that upon further viewings it will secure a place among my all time favorites. HIGHLY RECOMMENDED.

The Revenant hits dvd tomorrow September 18th, 2012.

Tags: Chris Wylde, David Anders, horror-comedy, Kerry Prior, Lionsgate Entertainment, zombie movies, The Revenant

Recently I had the pleasure to check out this little beauty from 2009. I’ve sadly been lagging behind in catching most of the brutal and masterfully crafted horror flicks that have graced the silver screen in the last few years. This is one of the largest disadvantages of no longer living in the US. I’m no longer in touch (or range for that matter) with the happening film festivals that seem to hit regularly state-side, and the annual festival we have here in the Netherlands always seem to come up at a time when money is short but films are in bloom. Thus, I find myself reviewing films from 2009 during late 2012. Shame on me, right? Well they say longing makes the heart grow fonder, and this is exactly the situation I found myself in with The Loved Ones.

Where to begin with The Loved Ones? Well, let’s begin with the beginning, I guess. Here’s a quick plot synopsis to keep you up to speed on what you can expect: Brent Mitchell (Xavier Samuel) is a deeply troubled teenager after having to cope with being responsible for his father’s death in a car accident. With the help of his goofy friend Jamie (Richard Wilson) and stunning girlfriend Holly (Victoria Thaine), Brent is able to live his life in relative happiness. He’s young, attractive, and darkly mysterious. In a sense, he’s everything Lola (Robin McLeavy) wants. And what Lola wants…Lola gets. Things heat up as Lola asks Brent to the prom, but he unfortunately has to gently let her down by reminding her of his girlfriend. The rest of the film splits into a vile tale of torture as Lola does everything in her power to get her dance with Brent, and an endearing teenage dramady as Jamie lands a date with the hot goth chick at school, Mia (Jessica McNamee).

Sounds like fun, right? Well it is! It’s a heaping of fun, but with just enough unbearable cruelty to keep you glued to your seat. Perhaps what makes The Loved Ones so effective is the film’s emotional drive. This isn’t just another torture porn flick. This one has heart. From Brent’s inner and outer torture, to Lola’s initial dejection, there is at least one moment where every character in the film comes across as sympathetic and human. However, this is very short lived for some characters, which establishes their position in the film’s narrative really well. You really root for Brent to get the hell out of his unfortunate situation, and for Jamie to get to third base with Mia at the prom. This effect can be attributed to great acting across the board. Samuel’s depiction of Brent’s deep-seeded troubles is well versed and just emo enough to empathize with the character rather than chastise him. Similarly, you really feel Holly’s desperation to find her boyfriend due to Thaine’s riveting and realistic performance. She’s both sweet and smart. What isn’t there to love about that in a girl? But, as seems to be a trend as of late, the real powerhouse performance here comes from McLeavy’s portrayal of the sugary sweet and vile Lola. This is Lola’s show, and she eats up the screen much like she eats up her chicken…without mercy. As I said before, there are moments where you truly feel sympathy for young Lola. These moments, though, are only very early into the picture. After Lola gets Brent into her grasp there isn’t an iota of empathy left for her. By the film’s amazing finale, you’ll only want one thing: to see Lola’s head on a pike. This is a testament to McLeavy’s wide ranging performance. She can make you feel for her in one second and feel nothing but disgust in the next. I’d say McLeavy is definitely a young actress to keep an eye on. If she keeps it up like this, we may have a newly unexpected cinematic flower blossoming from Down Under. Now let’s just hope she keeps her sights on films in the horror genre (we could use some legit scream queens).

Now that I’ve got the story and performances out of the way, let’s dive into how the film looks. The short answer is: it looks good. I mean, it looks REALLY good. The Loved Ones has some of the best clarity I’ve seen in a while. Where there be shadows, there truly be creeping and sprawling blacks. Where there be color, there truly be a vibrant color pallet for the eye to feast upon. Every detail is left for you to inspect and cringe from. Not only does the camera quality impress, so does the choice in cinematography and special effects. There are some truly unsettling moments in this film which owe their impact strictly to the great special effects. When the blood comes gushing out, it pours. When flesh is sliced, it’s torn. Don’t get me wrong, this isn’t anything like Saw films of yore. This, I dare say, is even more graphic in some ways, and yet more subtle in others. Just know that the gore doesn’t disappoint, but neither does it distract. It does exactly what it was intended to do, it elicits a direct response from the audience. Whether the intended response is repulsion, empathy, or plain out pain, you feel it. Likewise, the camera angles and shots are superb. Director/writer, Sean Byrne has done a marvelous job bringing his screenplay to life. All of the characters really feel real and complex, as does the world in which the film is set. There are beautiful shots of Australia’s open landscape coupled with claustrophobic scenes in complete darkness. You also feel Brent’s torture (both physical and mental) through the crafty camerawork. For being Byrne’s first feature film, The Loved Ones sets a pretty high bar to be met later in his career. Let’s hope that he, like Ti West, is up to the challenge and helps shape our beloved genre further.

Now we find ourselves at an important, but often overlooked aspect of filmmaking…sound. I’m a pretty big sound enthusiast where film is concerned. Sure, I don’t really know the difference between one technical tweak than the other, but I know what I like to hear in a film. The Loved Ones is one of those films that has exactly the type of sound I want pumping out of my surround sound system. Just as deep blacks are preferred in image clarity, so too is a deep bass in a film’s soundscape (in my opinion). Part of the atmosphere of a film is it’s sweeping sound design, and with horror I like to hear a nice rumble when the bass kicks in. Well, luckily for me, this film does just that. The music played by Brent when feeling particularly rebellious screeches at you in a swirl of teenage angst, while the film’s score plays with your senses and gets you on edge. One particular moment, when Brent finds himself in a very unexpected location, possesses such great rumbling bass that it makes you wish the scene would end…and soon. This isn’t to say that it’s overwhelming or a bad seen. On the contrary, the sound is so well placed and so menacing that it enhances an already foreboding scene. So make no mistake, The Loved Ones packs a punch in literally all departments.

So, final thoughts? Overall opinion? The Loved Ones> is great! I know that the whole torture angle has been played out to death (pun intended) in the horror genre, but this one’s different than your standard affair. Yes there’s torture, and yes there’s an excessive amount of cringe-worthy moments, but the film maintains a sense of heart that keeps it going like an energizer battery. Also, the film’s pace is pretty perfect. This is far from a slow burn, but also nowhere near fast paced. It’s like a good bath: just right. Now, if you’re really not into the whole torture thing, this may not be the ideal film for you. Just know that there is actually a method to this madness, and by the end of the film you’ll be treated with a very satisfying result. And for you lovers of twists and turns, there are still some of those slipped into this otherwise straightforward tale. Yet, the twists are so subtle that they aren’t overplayed or irritating for those who like their horror as is. In any case The Loved Ones feels like a true win-win for horror fans of all types…well except the types who only like bad films because of how “ironic” it is. Sorry, there is nothing here for you folks to enjoy, because this a genuinely good film. My only complaint is that I hadn’t seen it sooner. And for you naysayers who may disagree with me, in the disturbing words of Lola herself, “We can’t hear you!”

Tags: independent films, indie horror, 2009, Australian Horror, Chandler Bullock, Gore, R, Robin McLeavy, Sean Byrne, Survival horror, The Loved Ones, Thriller, Torture, Xavier Samuel

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