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

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

I’ll be honest. I completely missed out when Ti West hit the horror scene in the face with a hammer with his debut feature, The House of the Devil (2009), and I still haven’t gotten around to checking out that little gem for myself. However, Mr. West’s reputation was enough to peak my interest when I got around to picking up his latest full feature, The Innkeepers. And boy am I glad I did!

Our very own Ash Hamilton recently dropped a review for V/H/S (2012), which featured a chilling segment written and directed by West. Now, while West showed some pretty impressive chops in the found footage anthology, The Innkeepers is where his writing and directing skills get to shine like golden, blood-splattered gods. That may have been an exaggeration…or maybe not. Let’s see!

As I often like to do with a review, I’ll start us off with a very quick round up of the film’s main plot. Claire (Sara Paxton) and Luke (Pat Healy) are two unfortunate innkeepers at the Yankee Pedlar Inn. The two are given the task of running the place during its final weekend of productivity while the owner enjoys some fun and sun in the Caribbean. Since neither of the two live near the inn, and with the owner away, they are forced to stay at the inn with one or two guests they manage to acquire over the weekend. Claire is an enthusiastic young woman with a quirky chip on her shoulder, while Luke is a more down-to-Earth internet geek. Taking advantage of the peace and quiet of the inn’s final weekend, Claire and Luke take it upon themselves to find proof of the fabled ghosts of Madeline O’Malley (Brenda Cooney)—a young woman rumored to have committed suicide in the inn during the Civil War. At first the two are unable to find any conclusive evidence, until Claire digs deep and potentially stirs things up that may have been better off remaining dormant. Did Claire really unleash the ghost of Madeline O’Malley, or is her imagination getting the better of her and those around her? The answer is just as puzzling as the question.

That was a very basic gist of the events that transpire throughout The Innkeepers. There’s so much more to discuss—such as the aged actress-turned-medium, Leanne Rease-Jones (Kelly McGillis) and the heart-wrenching story of the Old Man (George Riddle)—, but this film is truly Claire’s show. Sara Paxton’s performance is both endearing and unnerving all the way through. Paxton’s portrayal of the quirky and enthusiastic Claire is so over-the-top that she instills the viewer with this feeling of bubbly warmth. Despite all of her personality flaws, it’s just impossible to dislike Claire. This makes the sinister third act of the film all the more chilling as you are urged to root for Claire to escape the clutches of the disturbed spirits slowly closing in on her. Pat Healy’s portrayal of good-guy-geek, Luke is equally well crafted, but there still lacks a sense of innocence possessed by Claire to make him truly likeable. Now don’t get me wrong, this is exactly how it should be. Luke is a straight up asshole at the best of times, and he proves to be an increasing source of insecurity for Claire. The combination works perfectly. Luke fuels the fire in Claire that makes her so loveable for the audience. Writer/director Ti West did a phenomenal job setting up the film’s two protagonists during the first act. To say that The Innkeepers is a slow burn would not even touch the pacing of the film’s first two acts. Although it takes what seems like ages before the film’s climactic payoff, it’s a well thought out decision by West to do so. Due to the length at which the characters are set up and developed throughout the film’s duration, the final payoff is that much more powerful.

This brings us to that wonderful payoff I keep mentioning. All of you creepy ghosts fans out there, fret not, there be creepy ass ghosts in this film. I understand that creepy ass ghosts alone don’t really make for a great film. So what’s the payoff all about? Well, West’s super slow burn for the first two acts of the film’s three act presentation manages to cause a rather unexpected amount of dread and turmoil by the climax. The first two-thirds of the film are not only rather uneventful; they also don’t feel much like a horror film. While sitting back and enjoying the clumsy banter between Luke and Claire it’s quite easy to forget that you’re not watching a cooky ghost-comedy. Thankfully the third act takes it upon itself to remind you with a boot to the face. Not only is the third act of this film quickly paced, but it’s also downright dark. The imagery alone is a completely unexpected presence amidst the film’s almost comical tone. That’s where the payoff lies, though. West has managed to craft a film that manages to disarm the viewer in such a way that the bleak reality of the situation is all the more unsettling. Helping along this dark twist are Claire and Luke, who stay true to character throughout the sinister events that take place. You’ll find yourself yelling at the screen for the two loveable dorks to get the hell out of there and never look back. However, their characters are set up so well that any stupid decision they make has already been established as logical for them, which makes it all the more frustrating when they cause themselves to be stuck in some mighty precarious situations (literally).

Ok, so the The Innkeepers is intense and well written, but how does it look? Surprisingly nice, actually. The visual clarity throughout the film is rather pristine, yet a bit “off” at the same time. This creates a rather unique visual tone for the film that compliments the world and characters that have been established in the film’s world. Claire can be overbearingly silly at times, but it’s ok due to the camera’s insistence that such behavior just belongs in the world presented to the viewer. Now, as I said before, I have no idea how The House of the Devil played out or looked, but I can only hope that the visuals, writing, and performances complimented one another as well as West managed to accomplish with The Innkeepers. Part of the film’s misleading tone is directly linked to the visual presentation of the world surrounding the Yankee Pedlar Inn. When things take a turn for the dark, the camera provides accordingly. The black levels of this film are as thick as oil and suffocate the image at times. And I mean that in the best way possible. You only see what West wants you to see, and trust me…you see exactly everything you want to see. That said, the makeup and effects work in this film are just as well crafted as the camera work. I am thoroughly convinced that if it weren’t for the superb ghost make up and design present here, the film’s payoff would not have been near as unsettling as it was. The Innkeepers has some of the best ghost make up I’ve seen in a long long time.

That leaves with the last remaining element of what makes The Innkeepers pack such a punch: the sound design. Sound is an easily overlooked aspect of a good horror film. If done well, the sound design and score of a film can meld so seamlessly with the visual presentation that it’s often forgotten. If done badly you’re left with an overbearing and dramatic music score that seems to have a life of its own. Thankfully, The Innkeepers falls into the former category. The sound design in this film is a rare gem as it acts as the “burn” of the slow burn. Every time Claire picks up a pair of headphones and a microphone, the viewer is bombarded with a deeply droning bass that represents her expectations and fear perfectly. There were moments I had to actually turn the volume down just to double check that the bass I was hearing was really coming from my speakers. The deep rumbling of the bass complimented the bright and vibrant visuals so well. Furthermore, the film plays with subtlety very well. During the first two acts the sound design maintains a sort of subdued, yet bubbling sense of “the possible”. Whereas the high octane third act unleashes a slew of blasts and whipping music score that confirms all of your worst fears. When things get dark, the film’s score tags right along and blasts you away where appropriate while staying silent where it’s most uncomfortable. Without spoiling anything, perhaps the film’s most intense scare develops through the use of well-timed silences. This is A+ sound design on display.

So with all of that in mind, what’s the general consensus? To put it simply, if you haven’t checked out The Innkeepers, you’ve done yourself a great disservice. Emerging in a sea of reboots, rehashes, and Horror-101 formulaic cash-cow films, Ti West has crafted a truly original take on the haunted house genre. Not only has he managed to write an original story in a vast amount of adaptations, West has also managed to present a truly original take on an already beloved genre in the world of horror. Do yourself a favor and get a breath of fresh and bloody air. Go check out The Innkeepers as soon as you can!

Tags: 2011 , haunted house movies, haunting horror films, indie horror, Thriller, 2011 , Chandler Bullock, Horror-Fix Review, Kelly McGillis, Pat Healy, R, Review, Sara Paxton, The Innkeepers, Thriller, Ti West

Orphan Killer creator Matt Farnsworth was kind enough to hop on the horn and discuss all things TOK. Matt gave us 40 min out of his tireless marketing campaign of the film to discuss the creative process, his thoughts on horror and upcoming Orphan Killer news. Listen to the audio here!

Tags: David Backus, Diane Foster, indie horror, Matt Farnsworth, orphan killer interview, The Orphan Killer