Taking its cues – and one of its stars – from meta-slasher comedies such as the Scream films and Cabin in the Woods, this is a clever and entertaining indie-flick perfectly suited to the geekier end of the horror-comedy spectrum. Offering a sideways take on the summer camp style of horror film – a mini-genre all of its own – the film scores highly for sardonic laughs and horror fan reference points.
Fran Kranz (Cabin in the Woods) stars as camp councillor Sam, a guy with a serious blackout and memory loss problem. He wakes up in the great outdoors, which soon become not so great as he discovers corpse after corpse. Luckily for him, he has a phone to connect with best friend and horror movie expert Chuck (Alyson Hannigan). Chuck runs through the various possibilities with Sam, including the fact that, yep, he might be the killer…
With lots of entertainingly envisaged death scenes and a few jump scares, this movie certainly has the requisite nods to the glory (and gory) days of summer camp slashers. But more than that, it has plenty of witty lines examining the state of play of that particular type of film. The tropes of cursed masks, lost loves and of course the ‘final girl’ are all closely looked at by Chuck – who just happens to be working at a comic book and video store – and calmly delivered to a bloody and near-psychotic Sam.
What initially sounds like an uninspiring premise scores highly for laughs and sheer entertainment. Simmons gets the tone just right, with a succinct and always funny script offering lots of scope for the performers to get the best out of it. Good support to the main duo comes from Brittany S. Hall as Sam’s romantic interest Imani and Jenna Harvey’s sweet natured Jamie. A repeated joke involving Steve ‘the Kayak King’ (Bryan Price) is also far funnier than it probably has any right to be.
On the surface, You Might Be the Killer takes simple ideas, jokes and scares and builds on them to create a highly accomplished horror-comedy. A top treat for any horror fan, the film is sharp, snappy and executed with a killer touch.
The zombie comedy sub genre has become almost as stale and overused as the very zombie genre it seeks to parody/pay homage to. The high-watermark remains Edgar Wright’s wonderful Shaun of the Dead but other flicks like Zombieland and Dead Snow have their slight charms as well. The problem is it’s all been done before. Over and over and over again. To be a memorable zombie comedy in this most crowded of markets a film really needs to add something new. Anna and the Apocalypse from director John McPhail asks ‘what if it was a musical?’ to mixed, but mostly engaging results.
Anna (Ella Hunt) is a teenage student in her last year of high school. She wants to travel and see the world, much to the chagrin of her sensible dad, and has a close group of fellow misfit friends all obsessed with their own minor problems and triumphs. Everything goes tits up when a zombie apocalypse breaks out on Christmas and Anna and her mates must reach their nearest and dearest before it’s too late. And, of course, they’ll belt out a few songs along the way.
Anna and the Apocalypse is at its best when it plays to the angst and self involved myopia of being a teenager. One particularly striking number features Anna and her best friend (who would like to be more) John (Malcolm Cumming) singing about a brand new day, blithely oblivious to the fact that they’re prancing through a neighbourhood beset by zombies. A lot of the early moments ring true, authentically portraying the real concerns of adolescence without becoming cloying and twee. Unfortunately, the movie doesn’t quite sustain this and in the second half becomes a much more familiar zombie romp, replete with gore gags and undead humour you’ve seen before, done better.
Still, charm goes a long way and Ella Hunt is an extremely watchable screen presence, managing to convey genuine pathos even while singing and dancing. The songs, overall, are a bit hit and miss – and there’s possibly one tune too many – but if you’re sitting within the venn diagram of “millenial”, “loves zombies comedies” and “lives for musicals” you’re likely to have a spectacularly good time with Anna and the Apocalypse. And the rest of us can, at the very least, admire a zom com that attempts to gnaw on something a little different.
Movies that mash different genres together are increasingly rare at the cinema these days, which is a pity. Some fantastic films have pulled off this trick, like John Carpenter’s The Thing (sci-fi and horror), Robert Rodriguez’s From Dusk till Dawn (crime and horror) and Pan’s Labyrinth (fantasy and war) to name but three. It’s a trick that looks deceptively simple, but in reality is a complicated balancing act. It’s also one of the best aspects of Overlord, a cracking yarn that meshes the war and horror genres and comes up with an absolute belter of a flick.
Overlord tells the tale of a squad of paratroopers tasked with destroying a German radio tower on the eve of D-Day in WWII. Naturally, the jump goes badly – shot in a stunningly effective sequence – and the handful of survivors must work out how to complete their mission, with the D-Day deadline looming ever closer. This plot alone would have made for a taut, effective war movie but when it’s clear that the Nazis are working on some nefarious shit nearby, the movie moves into horrific territory and before you can say “Nazi zombie super soldier”, Overlord kicks right the hell off.
What’s most pleasing about Overlord is how effectively it manages both genres. The war stuff is genuinely tense and effective, but the horror is well-handled too, never descending into empty schlock or becoming a splattery dirge. The skillful direction by Aussie Julius Avery (Son of a Gun) is further buoyed by excellent performances, including Jovan Adepo as wide-eyed protagonist Ed Boyce, Wyatt Russell (Kurt Russell’s son!) as grizzled bad arse Corporal Ford, and Pilou Asbæk as villainous Nazi scumbag Hauptsturmführer Wafner. Add to this gloriously grotesque creature effects, genuinely shocking acts of violence and a rip roaring never-say-die third act and you’ve got a joyously entertaining, rollicking adventure on your hands.
Overlord is an old-fashioned movie in a way. It’s not based on a comic, or a reboot of an existing franchise; it’s a fun, self-contained, well written, acted and directed cross genre movie and a hell of a good time.
That’s right, producer Vincent Newman reckons that his thriller is not of that sub-genre, though director Stefan Ruzowitzky isn’t so adamant, when we spoke to them both on the set more than two years ago.
Every culture has their own thoughts about what it would be like to see ghosts. In American blockbuster, The Sixth Sense, it’s a heavy burden borne by a child. In Russian film, The Soul Conductor, it’s an enormous pain in the arse that can only be helped by vodka.
Katya (Aleksandra Bortich) is a moody, gloomy 22-year-old woman who can communicate with the spirits of the departed. The problem is, ghosts are bloody needy! They’re always demanding she help them with their unfinished business and strong spirits are the only way to deal with these, well, strong spirits. Just when you begin to suspect The Soul Conductor will become a Russian riff on Peter Jackson’s The Frighteners, Katya’s twin sister vanishes mysteriously and Katya begins to experience terrifying, nightmarish visions. A dark occurrence is taking place and Katya must try to solve the mystery before it kills her, however it’s hard for her to trust her own fractured, drunken mind much less anyone else…
The Soul Conductor is a strange, appealing, mishmash of genres and tropes with an unmistakably sharp Russian edge. Aleksandra absolutely steals the show as the troubled Katya, and watching her work through a compelling supernatural yarn never stops being engaging. Director Ilya S. Maksimov directs with confidence, imbuing some of the more rote ghost attacks with a genuine sense of tension and otherworldly horror. The film occasionally tries to overplay its hand, with the twists in the third act coming so fast they do tend to strain credulity. However, the strength of the lead and the unravelling of what’s real and what’s imagined gives The Soul Conductor enough narrative propulsion to be consistently intriguing. And while you may or may not be afraid of ghosts, either way it seems like a decent excuse to neck some vodka.
Hyun Bin and director Kim Sung-hoon teamed up last year for the South Korean buddy cop actioner Confidential Assignment, which showcased Kim Sung-hoon’s keen eye for action filmmaking. Rampant sees them teaming up again, though this time it’s for a zombie extravaganza set in feudal Korea, in the kingdom of Joseon.
The setup is convoluted but in a nutshell: Crown Prince Lee Young (Kim Tae-woo) summons his carousing, roguish brother Lee Chung (Hyun Bin) back to the kingdom after years spent away (for reasons unknown). The cause for the Crown Prince’s invitation is that his kingdom is besieged by a zombie infestation that he hopes his estranged brother (who’s also a renowned sword fighter) can assist in quelling.
Sumptuously photographed and with lavish production design, this fusion of historical epic and zombie gore-fest largely works on the level of spectacle and for the most part, it chugs along with percussive momentum, setting up and executing terrifically enjoyable set-pieces.
The performances are curiously unengaging in terms of characterisation, which is not to say they’re unenjoyable, it’s only that they lack any semblance of irreverent humour or a knowing wink at the audience but Oldboy writer Hwang Jo-yoon and director Kim Sung-hoon are playing this for its drama, the only issue being that the drama is deeply ordinary and devoid of emotional heft.
There is enjoyably gruesome zombie imagery and when it does kick into high gear during the many set-pieces, it never seems to fall headlong into being a satisfying all-out zombie actioner, which would sate the horror crowd; it instead prefers to maintain a statelier period tone and try to play to a wider audience.
For fans of the undead genre and the frenzied spilling of arcing jets of claret, this is an entertaining ride through a juxtaposition of genre tropes; for the horror uninitiated, it may be too much of a gory punch to the face that lacks the ‘feels’ to pull you through the story.