The Conspiracy (2012, 84 minutes)
½✰✰✰✰✰ Smart found footage framework capitalizing on familiar conspiracy theories. I appreciated it's unique approach using a documentary style and conspiracy tropes which seemed socially conscious about economic angst and tech upheaval. There were some slow spots but it has a subtle plot that feels relatable beyond the film even if it's all in fun. The bull mask scene on the poster was a great moment. The tone shifts about half way from observation to participation and keeps it from lulling too much. It was weird but also maybe not envelope pushing and in today's conspiracy minded culture (post COVID alone) probably dulled than it might have been in 2012.
Dashcam (2021, 80 minutes)
½✰✰✰✰✰✰ Dashcam takes found footage to another level of obnoxious shaky cam by downgrading the camera with no pretense of film quality. Injecting 'humor' that seems intentionally obnoxious about people sticking vegetables into butts or subtle and not so subtle political humor - I think it's a commentary but at what cost. The chatty rhetoric does make some of the twists more glaring. Annie Hardy makes a good effort but lacks the millennial conspiracy minded social media maven vibe her character is written with so it's a bit off, yelling 's-it on my balls' when something weird happens dulls the impact. It gets credit for being more animated and lively for a covid era film. The horror is gnarly with car crash level action but the whole thing smells of 'jump the shark' level gimmick. Ultimately it works at an unrelenting degree of blurred fast motion unrelenting bloodletting and jump scares ambitious to the point of tiresome. With a more solid character and a bit more steady cam it would have been much better. There were times it seemed suspiciously similar to Rec or VHS, both of which did it better. Nevermind the horrible near 10 minute pointless credit sequence.
Thale (2012, 76 minutes)
✰✰✰ Nicely paced with a cool hook, strange buildup, and a magical eeriness. Melancholy and scenic horror with an measured ethereal vibe that carries the film. There are some dated effects but Thale is a curious creature - relatable, horrifying, and otherworldly. The plot there is feels unnecessary for a film carried mostly by careful visuals that play on our conventions of innocence and the unexpected vibe.
American Psycho [Uncut] (2000, 103 minutes)
½✰ I'm curious about the book this is based on - It seems brilliant for a female writer/director team to tackle what seems like a portrait of male aggression and they really nailed it. "I simply am not there." The skin care introduction is a perfect set up thematic, menacing, and trivial. Some of the 80s references are maybe too on the nose but they are so plentiful it hits. Christian Bales gives one of surprisingly many career defining performances in his filmography; exaggerated, sardonic, and aggressive. "Pumpkin you're dating an a-shole." The dark aggressive humor is great engaging but still a slow burn towards increasingly more chaotic stuff. The commentary on empty banter is just one of the many great contrasts like blood splattered Huey Lewis. The beginning is strong and iconic it lull a bit in the middle but the veiled neediness and unraveling of Bateman is a great slow burn filled with the 80s scene/sound candy; but this is probably good because it keeps it from being a brainless gore fest (no that I'm against schlock) and more an evil existential question of identity. I wish the Evelyn subplot had been meatier, it feels too played as a joke and while Bateman's lack of human connection is a point this feels puzzlingly shallow in an intelligent comedy like this. The Texas Chainsaw Massacre homage is brilliant tying together themes from the cosmetic mask, imitation from tv, and fitting the murder vibe.
The Demon Murder Case (1983, 97 minutes)
½✰✰✰✰✰✰ Andy Griffith and a young Kevin Bacon (just before his breakout in Footloose) versus the devil or one hammy kid in a made for tv movie. "All we did is arm them against the devil in a very small way..." Demonologist Andy Griffith, a national treasure, is in pre-Matlock investigator mode as one of 'The Warrens' and it's interesting compared to the Conjuringverse films (based on The Lorrans); here less scary more dramatic aiming. "We'll have no more nonsense about it!" Now this film seems antiquated but I doubt it was ever fresh calling on every cliche it can; take me instead, the power of Christ commands you, etc. Cliche becomes its strength, retelling tired stuff by way of an accessible tv sensibility - toned down on the schlock (still seems edgy for tv) and up on the melodrama. To it's credit it doesnt waste time on pretense or ambiguity where premonitions on Halloween are plot until is becomes less interested in the supernatural. The plot structure is interesting with a demon heavy first third then some meandering when usually there is a buildup.
The Evil [aka House of Evil] (1978, 89 minutes)
✰✰✰✰ The spooky abandoned house well lit for the camera, milking the location for all it's worth. An old man walks through the empty mansion with axe shoulder high and cheesy dated music is a vibe more setup than fire. Eventually some of the effects work surprisngly week breathing (after)life into the place and it gets really nice with some ripe scares that surprised me (going in expecting cheese). Yuppies versus a rich house,. "I've seen flashes of this figure, it's just a shape really..." I enjoyed the mix of prototypical haunting, dated effects, and a weird end twist.
Ma Da: The Drowned Spirit (2024, 90 minutes)
✰✰✰✰✰✰ Inconsistent stuff from the school of less is more. Swampscape with murky waters and symphony of frogs is nightmares but the ghouls here take some time to separate from the swamp itself. The rustic straw building have a folk horror element and timeless feel - only sometimes the water is too clear or staging obvious. The camera eventually finds some gnarly swamp horrors we can hear around us before the jump scare. The slow moving pan ripe with moments before a revel, an out of sort echo in the swamp is the best part of Ma Da but sometimes it doesnt dispense the payout. Lost in paranoia and psychology at times it struggles to establish what we should be afraid of beyond a shadow, a doll, or in a tangent of clarity walking dead. The centerpiece of the film is an ambitious twist Im not sure they pulled off but what an attempt.
Rejuvenatrix [aka The Rejuvenator] (1988, 90 minutes)
✰✰✰✰✰ Fake science and vanity overload the morality tale. "You mean by rearranging that one carbon molecule you can retard the regressive effect?" Rejuvenator is more monologue happy embracing the example of the brain with its laborious explanation to go with the superficial cosmetic beauty. The exaggerated aging effects are gruesome highlights with the sort of body melting that we could all use more of until they get a little fake but still glorious in b movie charm. Complete with a hair metal concert the 80s is strong here. Unremarkable plot done with ooze and glam to be more fun than I expected.
The Wasp Woman (1959, 72 minutes)
½✰✰✰✰✰ The bee origin here is a keen point allowing for the cheesy scifi stuff without overdoing a science explanation. Michael Mark seems like an earnest scientist and sells the gag with a charisma preaching old guy charm. After watching a remake of this in Rejuvenatrix this original has less vanity and feels more humble; or more business minded and misses some of the more relatable angst of aging for it. There are ageless cliches like elaborate test tubes everywhere but WW's plot feels unique. The seriousness of WW makes it feel more like a parable of addiction, and well written for it (other versions a little more lost in sensationalism; but this one catches up in the end with a standout scene).
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cracking up throughout and a welcomed addition to the horror comedy world for my collection
Taste the Blood of Dracula 
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