Zip Wire - FrightFest

 

Having seen her mum die from lung cancer when she was 13 years old, Amy has been determined to find a cure. While working as a highly skilled researcher at a pharmaceutical company, she finally has a breakthrough. But no sooner has she made this discovery, her research is stolen, her partner murdered and she is left alone. Wanting to scatter his ashes in the Dolomite Mountains, she braves the trip only to be pursued by those who want her life’s work. With no escape, she finds herself on the dangerous aerial runway, in a desperate attempt to out run this mysterious enemy.

Full review over at Filmhounds. 

Buddy - FrightFest UK

 

We all know there is a sinister side to kids’ TV shows. It doesn’t matter what animal, creature, thing that leads the show, there’s always something new to learn in the episode, with a song and basic lesson learned. Buddy introduces us to the loveable orange unicorn and his group of friends who like to play, dance and sing all day. Though the intro seems normal enough, the minute the episode starts, something is not right. Just think Barney, Wizardora and the likes of Lazy Town with more blood and sharp objects.

A group of kids realise they are trapped inside a 90-style children’s television show, where their host, Buddy, an orange fluffy unicorn who slowly becomes more unhinged and violent.

Full review over at Filmhounds.

Teenage Sex and Death at Camp Miasma

Courtesy of Mubi

 

Its been an interesting year for horror so far with two unknowns crashing onto the scene with stories that haunt us in familiar and terrifying ways. Exploring liminal spaces and the dangers that one selfish wish can bring. The other two big horror films, yet to grace the UK screens but have been talked about extensively, that explore dark entities that take the form of those you desire the most and the film about horror remakes that step way beyond the realms of reality. Teenage Sex and Death at Camp Miasma, the third feature from Jane Schoenbrun is, much like their previous films, is a film that defies the one genre of horror. And they certainly have a way with coming up with fantastic titles. Camp Miasma has horror elements, but there is more of a mystery and magic to the storytelling throughout.

Queer filmmaker Kris is hired to shoot another reboot of the cult slasher, Camp Miasma. She becomes hyper focused on casting Billy Presley, the star of the original film. As the two women becomes closer and work together, they descends into a frenzied world where their reality melds with the film series itself.

There is an urgency, an explosion of queer love and passion all while looking at this through a slasher lens. Camp Miasma is a film that needs to be experienced rather than just watched casually. Miss and details, as layered as they become and you may just lose your way. Our guide through this maze of memories is Kris, who feels like she was created a little too close to the heart of Schoenbrun, played by Hannah Einbinder, who anchors the film and therefore a safe pair of hands to be in. Gillian Anderson is mesmerising as the mysterious movie star and final girl of the original film, Billy. Playing it off as a much more fun Norma Desmond, residing in the original film set of the original film, oozing sexuality with every word.

Having a new voice direct another reboot in an age-old franchise, as pointed out in the film, is a trick studios pull all the time. But Kris is not going to just make any old film, this franchise, these characters are special to her and she wants to honour them. The layers of homage within the film for a series of films we haven’t seen, doesn’t matter, we already feel like we lived through and say through all the iterations and sequels of Camp Miasma that have come before. Schoenbrun makes us yearn for films and a place that doesn’t exist. But seeing Kris frolic with Billy through the snow, covered in blood is strangely magical rather than terrifying. We welcome the famous icon we’ve never seen, Little Death with open arms. We want more Camp MIasma and we want to see Kris create her vision.

Bill & Ted's Bogus Journey

Courtesy of Arrow Video

 

They always say, the second album is the hardest to make, but when it comes to sequels, they can sometimes outshine the original. Bill & Ted’s Excellent Adventure was a hit, with a modest box office result and ended up with a cult following to boot. The story that followed this one really had to be something special. Following 3 years later, Bill & Ted’s Bogus Journey arrived but with a slightly different vibe. With Peter Hewitt at the helm, this being his directorial debut feature and though time travel was involved, this time our unlikely heroes were going to hell and back again, with much more than a school project at stake. Getting the Arrow Video treatment in 4K, alongside the extras including EPK footage from the year of release, documentaries exploring the making of, an indepth look at the production design and the usual Arrow extras that make these release stand out, its great to see the sequel in this series get a bit more attention.

Full review over at Filmhounds. 

Home Bodies - Fantasia International Film Festival

 

Courtesy of Fantasia

Red (Emma Ho) and Blue (Ian Ho), teenages, who live alone in an automated house where they have everything provided for them. They live a naive existence, spending their days watch the video tapes of a children’s show that appear each day, colouring in pictures and playing catch ball together. They adhere to rules laid out to them by the mysterious voice behind a locked door, known as ‘Pappa’. But when one day their receive a gift, a humanoid known as PAL, the balance between Red and Blue shifts. While Red is curious of their new friend, Blue only wishes for it to disappear. However there is something more sinister underneath the arrival of PAL, one will only be discovered when one of the teens makes a drastic decision.

Full review over at Filmhounds.

Holy Days

Courtesy of Lightbulb Film Distribution

 

It's strange how a story featuring nuns trying to save their convent and a young boy still grieving the death of his mother should in some way involve prayer and a closeness to God, but there is barely a religious bearing in the entire film, and oh my it is refreshing! Nat Boltt’s script, loosely based on the novel of the same name by Dame Joy Cowley, and directorial debut feature is a film that fit very well in the genre of surprisingly uplifting New Zealand based, incredibly wholesome and funny to boot films that have been released in recent years. Through all the action packed, crime ridden, violent angry films out there, its actually a pleasant diversion to go on a journey with three elderly nuns in a nearly broken down car in search of very important paperwork.

Full review over at Filmhounds.