Review: Danur, a book by singer, Risa Sarasvati (former Homogenic), about her psychic experience, is actually a sympathetic friendship tale about a girl and her ghost friends. I’ve listened to her album since 2010 and watched Sarasvati’s live performance where she told ghost stories about her songs; therefore, I knew how sympathetic the story is, despite being cliché-laden and light. It is never a horror story, yet, a story about companionship through and through, with some ghosts inside.
However, Awi Suryadi’s Danur, despite adapting Sarasvati’s book, takes a completely different route in presenting the story. Under Awi’s direction, Danur becomes a straight Insidious-esque horror story with major elements from the book stay intact. In fact, it’s a PG-friendly horror, which estranges it from the essence of Risa’s story. Continue reading Danur (2017): Different route from Sarasvati’s Danur
Review: Jordan Peele’s directorial debut Get Out is truly a cinematic experience. How wouldn’t? It’s a witty satirical pitch-black comedy about racism served in horror or thriller mantle (depends on how you would perceive it). Furthermore, it feels mysteriously uncomfortable as it sneaks behind and takes you by surprise at every possible turn. To call it one of the most noteworthy films of the year isn’t exaggerating at all.
Before discussing further, I wouldn’t suggest you watching any trailers or reading careless synopsis; therefore, I am writing this spoiler-free review as careful and neatly as possible. Continue reading Get Out (2017) – Review
Review: A fatherly painter, Jesse Hellman (Ethan Embry), who happens to be a death metal aficionado, moves to a bigger, new house along with his wife, Astrid (Shiri Appleby) and his ‘daddy’s little wanna-be’ daughter, Zooey (Kiara Glasco). With beard like Jesus and skinny, tattooed body – almost always naked or wrapped with either Metallica or Slayer tees, Jesse is instantly possessed by an unseen power which makes him paint a satanic figure devours suffering children.
On the opposite end, an overweight, mentally disturbed man, Ray Smile (Pruitt Taylor Vince), who almost always wears red tracking suit, is plagued by the satanic voice. Pleasing his lord/taunting Jesus with full-amped distortion from his Gibson Flying V is one thing that the voice told him to; his main goal is: killing children because they are the devil’s candy. Continue reading The Devil’s Candy (2017) – Review
Review: The first thing Life has successfully proven is: space horror is still helluva sub-genre. While most space-themed films recently focus on breaking more grounds with cerebral sci-fi euphoria, Daniel Espinosa’s latest feature confidently takes a retro influence to remind us of that notion.
Life opens with approx. 7-minute continuous shot (that suddenly reminds me to Gravity’s opening) revolving around the space-life of 6 crew members of ISS, who at one night make the greatest breakthrough in humanity’s space voyage history: an organic evidence of extraterrestrial form in Mars. The alien being, at first, seems hazardless as a single-cell form; but, then some conditionings ‘awake’ the creature – dubbed as Calvin – to its incredible form: all cells are muscular, neural and photoreceptive – or simply, all cells are muscle, brain, and eyes at once. While the whole world is awe-struck, a noob-mistake in the space station lab triggers a butterfly effect that leads to what I’ve mentioned previously: space horror. Continue reading Life (2017) – Review
Review: Netflix drops another binge-watch-worthy Drew Barrymore-starred sitcom, Santa Clarita Diet, a while ago. The premise is kinda offbeat: mixing “zombie” story with family sitcom set in a Californian town with ‘diet’ in the title. One thing to keep in mind is: it is not your kind of diet.
If you’re thinking of zom-bombastic actioners like The Walking Dead or gory-zombie bonanzas, you’d better save your thought. You won’t find no ‘real zombie’ in this 10-episode half-hour series. What you will find is a couple of married realtors (Drew Barrymore and Timothy Olyphant), who after a gut-spilling accident in the first episode, must deal with the fact that Sheila – the wife – is undergoing her turning into an undead. Continue reading A Season with: Santa Clarita Diet (2017) – Season 1
Review: When Julia (Matilda Lutz) finds out that her boyfriend (Alex Roe) gets involved in the cycle of “killing videotape” of Samara Morgan from The Ring (2002), she willingly sacrifices herself by watching a copy of the videotape. While waiting for seven-day trial to end, she begins receiving strange metaphysical messages from the behind-the-video entity, which apparently has a hidden agenda for her.
The most obvious problem of Rings is: it attempts to reenact what the first Western Ring excels in. It questionably copies the repetitive cycle and add some superfluous backstory. Viewers of The Ring and sequel have already been too familiar – in other words, fed up – about it; and new viewers will find it worn-off in only 15 minutes in. Yet, what’s most problematic of it all is: it’s not scary at all. Continue reading Rings (2017) – Review