Panic Film Fest 2024 Rankings

Every year I try to watch as many films as I can at Panic Fest. It’s impossible to get to all of them in the brief week-and-a-half, but I get better at it every year. I managed to watch more films this year than last year, catching around 80% of the film’s offered in-person and virtually at the 2024 iteration. I haven’t done this in the past, but decided to do it this year because I don’t get the opportunity to write something on everything I see. I really don’t have the time or willpower to churn out 37 reviews. I figured the best way to encapsulate the films at Panic Fest is to write a blurb about each film and rank them compared to one another. So, without further ado, below is a ranking of this year’s films, so you can keep an eye out for them as they travel at other festivals around the country or hit theaters.

#37: Haunted Ulster: Live
-Not for me. I’m not sure how you define a film like “Haunted Ulster: Live.” It reminds me a lot of “WNUF: Halloween Special.” I appreciate the nostalgic nature of local live TV events, but “Haunted Ulster: Live” feels more like an inside joke than a found TV footage film.

#36: Young Blondes, Stalked and Murdered
-Sometimes the title is the film. It worked in the 80s with films like “Sorority Babes in the Slimeball Bowl-O-Rama,” but for “Young Blondes, Stalked and Murdered,” not so much. It’s a promising film, but by the end, you wonder if it would have been better served as a short.


#35: NOCLIP
-You’ve heard of a microbudget, right? Well, “NOCLIP” is a nanobudget. While I didn’t like it, I commend the creators for their couch cushion change budget approach to a film about two stoners wandering around a mall parking lot in search of the creepypasta “Backrooms.”

#34: The Buildout
-I heard a lot of buzz about this during Panic Fest, but unfortunately all that buzz did not resonate with me. “The Buildout” is about two friends in the desert who have to come face-to-face with their emotional and spiritual issues, but by the time it happens I quit caring.

#33: The Hyperborean
-”The Hyperborean” is a comedy. I think. I didn’t laugh, but I found some of it amusing. It’s almost like “The Royal Tenenbaums” with mummies, aliens (once again, I think) and general family chaos. The only thing it’s missing was likability.

#32: Carnage Radio
-”Carnage Radio” reminded me a lot of “Below the Fold.” Both seem to take place in a small town community, both have an unsolved mystery at the beginning, and both are competently shot and acted. There’s just no meat on the bones.

#31: Killington
-Sometimes you watch a film that makes you think about your own years of making a movie or someone else’s. Maybe it was with friends on a phone or maybe for a college class. “Killington” feels like one of those movies, which means every positive is outweighed by the negative.

#30: Hippo
-I’m not going to pretend to know what “Hippo” is about. Multiple people have asked me what it’s about and I tell every one of those individuals that the title character is an obnoxious incel version of Napoleon Dynamite. That to me either makes or breaks your viewing experience.

#29: All Alone Together
-What happens when a filmmaker’s visions turn into real nightmares? “All Alone Together” attempts to answer that question in a very entertaining 15-20 minutes, but the longer it goes, the more you question the necessity of it being a feature length film.

#28: The Activated Man
-What does a creepy pale nightmare man with a black hat have to do with the spiritual war between good and evil? I’m not sure, but “The Activated Man” will either hit you right in your feelings or will leave you wondering what exactly you’re missing out on.

#27: Worlds
-Worlds uses other people’s Ring doorbell footage, along with cops and others, to create a mystery about its title character, a man in a white shirt that says “WORLDS”. The film ends up creating a mystery longer than its runtime, leaving viewers unsatisfied.

#26: All You Need is Death
-What happens when two people recording old folk music record a song they shouldn’t? Good question, because “All You Need is Death” may have been lost in translation. While some elements of the film are universal, others may need to be explained to my American mind.

#25: Kryptic
-A woman with no knowledge of who she is goes on a journey involving cryptids, cults and unsavory characters. The journey in “Kryptic” is fascinating at first, but it becomes clear as the film goes that the filmmaker should have worked a bit longer on a point.

#24: Psychosis
-Technically speaking, I enjoyed this film a lot. It felt very much like an early-90s student film delving into insanity. However, the script just doesn’t match the overall tone. Instead of exploring its themes, it just kind of presents them and hopes that’s enough.


#23: Hostile Dimensions
-What if existence is an endless stream of realities where each individual choice and thought spurs an entire next reality? That’s what “Hostile Dimensions” posits, but only uses that theory to spin a more personal story. It runs out of ideas, despite the notion of infinite possibilities.

#22: Spookt
-In small town Pennsylvania, an abandoned haunted house serves as the source for all rumors and evil. So it’s up to two Youtubers, a skeptic and a believer in the paranormal, to find out if something is indeed in the house. You’ll eventually find out the obvious answer, but you have an incredibly confusing plot to get through first.

#21: The Ceremony is About to Begin
-I find myself being indifferent towards “The Ceremony is About to Begin.” While starting off like a PBS documentary about a drug-fueled cult, and very few aren’t it seems like, the film evolves into something else as the director goes searching for the truth. The truth is apparent, but thankfully for the audience, the director is ignorant.

#20: Purgatory Jack
-”Purgatory Jack” is about what happens to our souls after suicide. It sounds like a dark premise, but it’s actually quite fun. Named like a western, shot like a bright noir mystery and acted like the insane idea it is, “Purgatory Jack” is entertaining even if it’s not great. It’s a comfort food for some and sometimes that’s really all you need.

#19: Blind Cop 2
-I actually thought “Blind Cop 2” would be the best comedy at Panic Fest, but it’s not. A film like “Wolf Cop” (a Panic Fest alum) understands what it is and never does more. “Blind Cop 2” understands it’s a parody of 80s action films, but it attempts to parody too much. While funny, it makes you wonder if the filmmakers were confident in the core material to begin with.

#18: Don’t Die
-It’s hard to write about “Don’t Die” because I keep thinking about how it’s “Get Out” without a Hollywood budget. The stories aren’t beat-for-beat the same, but the themes are very similar. That being said, it’s not a bad thing. “Don’t Die” still has its own story on race and classism, and was a passable watch at this year’s Panic Fest.

#17: Couples to Hell
-”Couples to Hell” is an anthology movie where the four stories are written and directed by the same director. The idea in this anthology is that it’s all about couples, even though it really isn’t. Anthology films are difficult to pull off for a variety of reasons, but this one at least has four interesting tales, even if there’s no connective tissue, wraparound story or sense of purpose.

#16: Jeffrey’s Hell
-Aaron Irons, who wrote, directed, acted, and probably did everything else, highlights the evil that can be found in the Appalachian Mountains through “Jeffrey’s Hell.” It’s a found footage film that doesn’t follow the rules of found footage. We’re not upset by this rule breaking because something paranormal is telling us, there are no rules.

#15: Never Hike Alone 2
-The “Never Hike Alone” fan franchise is built off the “Friday the 13th” studio franchise, probably one of the only successful cases of this happening. Successful meaning, on-par if not better than the source material. The latest entry not only has Jason being the stocky mass killing machine he is, but builds upon Jason’s mythology and its own fan mythology in the process.

#14: What You Wish For
-What’s Nick Stahl been up to? Not sure, but his latest film, “What You Wish For,” shows he’s still a talent for whomever rolls the dice on him. “What You Wish For” is thrilling and surprising enough to recommend, however, there are moments where it feels like someone watched “The Menu,” and wanted to make their own small budget version.

#13: Heiresses
-Oddly enough, this was my final watch for Panic Fest 2024 and I almost turned it off because I felt like it was going nowhere. The dialogue-heavy film takes a dramatic exit to shocking violence and ends up becoming an interesting metaphor on grief and our inability to deal with it. I’ll be honest though, if the third act never arrived, this wouldn’t be nearly as high on the list.

#12: Sheryl
-We all got stories about our own quest to find love, only to fail. Finding love is hard enough, but imagine finding the right one while finding out you have a new passion, murder. “Sheryl” is never what you expect. Even though I knew going in that the title character would be handling a break-up with a serial killer that introduced her to murder, I didn’t expect all that came after.


#11: Mother Father Brother Sister Frank
-It seems like every year, there’s a dark comedy at Panic Fest. What kind of genre festival would be complete without one? “Mother Father Brother Sister Frank” is about family and the parts of that family that you wish you weren’t blood related to. This tight winter comedy focuses on how a family deals with Uncle Frank, who isn’t bringing tidings and good cheer. The family isn’t dysfunctional, they just need some bonding time over what to do with Uncle Frank.

#10: New Life
-For those who experienced COVID-19, the pandemic will never not be a thought during film’s like “New Life.” On paper, it’s a movie that’s about two women. Both are battling with the idea of mortality, but only one is looking to put a stop to the potential apocalypse. “New Life” shows us that dramas can have horror, tangible and fictional, sprinkled throughout. Our two leads elevate “New Life” to levels that wouldn’t be possible on the script alone.

#9: Sting
-Two spider movies? At least this one didn’t scare the hell out of me. “Sting” is the kind of spider film that people with intense arachnophobia might be able to handle, much like “Eight Legged Freaks.” The scares aren’t as serious as the peril our characters find themselves in, but “Sting” is a 21st century B-movie creature feature. It is what it is and you’re either going to have a great time, nitpick it to death or avoid it at all costs.

#8: Off-Ramp
A road-trip movie with its tongue planted firmly in its cheek, “Off-Ramp” was one of the films I was looking forward to immediately based on its premise and didn’t disappoint. Two stoner juggalos find trouble and some unexpected new family members on a journey to the “Gathering of the Juggalos.” When the film isn’t having fun or throwing us into the middle of chaos, it’s showing how the juggalo lifestyle isn’t as maligned as you might think.

#7: Ghost Game
-Combine social media challenges, a potentially haunted house, and a cast of characters more ludicrous (in a good way) than the next and you’ve got “Ghost Game.” The film handles multiple themes and threads seamlessly during its brief runtime. Panic Fest has become the premiere festival for various Kansas City voices over the years. With a breathtaking pace, fun characters and a wicked story, “Ghost Game” might just be the biggest premiere of them all.

#6: Sleep
-What would you do if your partner was a potential threat to your newborn? Intentionally or not, “Sleep” not only examines that question, but flips all your preconceived notions during the first hour on its head during a creepy second half. “Sleep” is the best foreign language film to hit Panic Fest 2024. “Sleep” is the kind of film that would have newlyweds and other couples reconsidering the prospect of bringing a new life into the world.

#5: Livescreamers
-Video games that kill you while you play aren’t the most successful of horror genres. “Livescreamers” might be the first successful film in this niche genre. While still a low-budget and small scale film, “Livescreamers” utilizes a unique camera set-up and the Unreal Engine to craft a timely film about how society hasn’t fully learned its lesson since #MeToo. It’s also an insider look and discussion about how damaging internet culture has become, even when it’s all fun and games.

#4: Azrael
-If “Azrael” never sees the light of day, I’ll consider myself fortunate for watching one of the more unique genre films of the past decade. Without uttering a single word (I lied, maybe several in an obscure language), “Azrael” winds its way through a post-Apocalyptic wasteland inspired by “Revelations” and “Left Behind.” Samara Weaving nails her performance and once again has a knack for finding diamonds in the rough scripts to exercise her acting skills. This is a film I’m hoping to watch again, if the studio doesn’t leave it on the shelf.

#3: Oddity
-Something supernatural is afoot in “Oddity,” a tense thriller about a murdered wife and her sister who is attempting to find her real killer. “Oddity” utilizes shadows, a digital camera, a wooden mannequin, and other innocuous inanimate objects to elicit terror. As the mystery unravels, the supernatural forces at work begin to reveal themselves in menacing fashion. While the premise didn’t seem all that promising, it only took a few minutes into “Oddity” for it to unsettle me and keep me on the edge of my seat for the rest of its runtime.

#2: Cannibal Mukbang
-Little did I know the first great romance film of 2024 would be “Cannibal Mukbang.” I was just expecting some fun and gore, but I got way more than that. This genre roller coaster is at times, cute and rom-comish, while at other times is brutally horny and dementedly gory. From the script to the acting to the practical effects, “Cannibal Mukbang” is unforgettable. The director, Aimee Kuge, who worked on several episodes of “The Last Drive-In” with Joe Bob Briggs, has made one of the more mainstream exploitation films I’ve ever seen.

#1: Infested
-It was very difficult to pick a favorite film at this year’s Panic Fest and I feel like I could make a case for the top four on this list, but after much consideration, it has to go to “Infested.” This isn’t only the best film at Panic Fest 2024, but may be on its way to one of the best of 2024. This is a movie that will crawl under your skin at a frightening pace. At one point during the film I felt like something was on me and freaked out. Even well after the film, I was avoiding dark corners and anywhere spiders are lurking. This film is a must-see for horror fans.

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Filed Under: Commentary, Misc Tagged With: all alone together, all you need is death, AZRAEL, blind cop 2, cannibal mukbang, carnage radio, ...

Panic Fest Film Review: “Oddity”

Starring: Carolyn Bracken, Gwilym Lee and Tadhg Murphy
Directed by: Damian Mc Carthy
Rated: NR
Running Time: 98 minutes
Shudder

Our Score: 4 out of 5 Stars

At the 2021 Panic Fest, “Caveat” was one of the many films I missed. It wasn’t until last year that I gave it a watch on Shudder and couldn’t believe I had missed this film, and waited so long to watch it. Looking not to make the same mistake again, I saw that director/writer Damian Mc Carthy’s second film, “Oddity” was coming to this year’s Panic Fest and it’s another high recommendation.

Darcy (Carolyn Bracken) is home alone at her and her husband’s fixer-upper country home. The reconstruction process is so intense, the couple sleep in a tent in the living quarters while repairing it. Well, she at least sleeps alone at night because her husband, Ted (Gwilym Lee) works nights at a mental hospital. Settling in for another lonesome night, Darcy hears a frantic knock at the door to find one of her husband’s former patients warning her in the dead of night, “Someone is in there with you.”

Cut to one year into the future, Darcy is dead, believed to be murdered by that patient, but that story doesn’t sit right with Dani (Carolyn Bracken again), Darcy’s twin sister. However, Dani is blind and takes care of the family’s oddity shop. She serves as a medium for the store, seeing the power and spirits behind every object in the store. Dani, believing something is up, visits Ted’s rural home with one of the most horrifying wooden mannequins you will ever lay eyes on.

In lesser hands, a film like “Oddity” would have failed. The story would have gotten in the way of the spook house scares or the spook house scares would have overwhelmed the developing mystery. Either way, Mc Carthy is a master with this winding thriller. He has an extreme knack for effective and claustrophobic settings. Most of “Oddity” takes place at the rural renovated country home and you never feel comfortable any moment you’re there. Even when the sun is up and the lights are on, you constantly sense that something angry and vengeful is there.

Bracken turns in a fantastic performance as the twins. While we don’t get too much screen time with Darcy, we get plenty of it with Dani. Bracken is able to make Dani menacing even if she can’t see and is at times helpless. Her ferociousness is comedic, relatable and sometimes unnerving. Dani, as a character, is flawless. Complimenting Bracken’s performances is Lee, who plays a healthy skeptic, even if everything happening in the house is beyond any explanation he can think of.

All the haunted house thrills are scattered throughout “Oddity,” so you never feel comfortable, but you’re always being thrilled in some capacity. That’s why I believe the storytelling in “Oddity” shows how much Mc Carthy has grown as a writer since “Caveat.” While “Caveat” was hard to follow at times, “Oddity” is all red meat as it will make you laugh, peek between your fingers, and keep you on the edge of your seat. “Oddity” is sure to end up on some best of lists this year.

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Filed Under: Film Reviews, Movies Tagged With: Carolyn Bracken, caveat, damian mc carthy, film review, Gwilym Lee, jeremy werner, ...

Panic Fest Film Review: “Infested”

Starring: Theo Christine, Sofia Lesaffre and Jerome Niel
Directed by: Sebastien Vanicek
Rated: NR
Running Time: 106 minutes
Shudder

Our Score: 4 out of 5 Stars

It’s interesting that Panic Fest 2024 is bookended by spider movies. The first being “Sting,” a fun B-movie about an adorable spider that gets bigger and bigger, while menacing an apartment complex. The second is almost a shade similar, but first you need to take out the B-movie fun and replace it with midnight terror. As for the adorable spider, go ahead and replace that with terrifying spiders that come in all shapes and sizes. Now you have the Shudder instant classic, “Infested.”

“Infested” takes place at a rundown, urban French apartment complex. The 14-story building appears to only be maintained by a short, frail Asian woman and inhabited by impoverished young adults. Kaleb (Theo Christine) struggles financially, making very little off the high-end sneakers he sells, while living with his sister Manon (Lisa Nyarko) who is prepping their inherited home to sell. The two are constantly bickering, but their differences percolate while we watch Kaleb buy an illegal spider from one of his shoe supplies. Kaleb is a creepy crawler lover, so he doesn’t suspect much about the spider. He’s going to add it to his growing collection which features a scorpion, centipede, and other multi-legged bugs and creatures. But as soon as he turns his back, the spider escapes. He simply thinks it’s taking refuge in his apartment, but it’s about to turn the apartment complex into it’s new nest. But first it’s got a lot of breeding and growing to do.

“Infested” throws us into a fresh new arachnophobia hell, as the few spiders that are spotted in the background begin to double in number and size. Soon the spiders become emboldened and we see them in all their detailed horror. While our characters bicker amongst themselves over past issues, their current situation is rapidly deteriorating, but they don’t know it until it’s too late. Every moment someone in the apartment complex peers into the dark, sticks their hand in a hole or generally does something they shouldn’t, the jump scares come fast and heavy. It may be my own arachnophobia speak, but every scare is earned and unique. The movie implements the creepy crawling speed and ferociousness with a heart pounding soundtrack. It’s the kind of film that might even scare the biggest of spider lovers.

While the spiders pick off the tenants, a growing sense of French society begins to come into focus. While they could just leave the apartment, the government has barricaded everyone inside, most likely finding out a spider infestation of apocalyptic proportions is happening. But the police quickly reveal their hand, showing they don’t care if everyone dies inside. “Infested” is also a movie about societal failure, and how the poorest of society are forgotten and easily disposable. That theme isn’t a big factor though because most of the time our heroes are attempting to escape the grasp of thousands of eight-legged freaks.

Sebastien Vanicek, the director of “Infested,” has already been tapped for the next “Evil Dead” movie and it’s easy to see why. “Infested” is the kind of film that gets your adrenaline pumping, your heart racing, and your fears running high. It also manages to squeeze in some hearty laughs, even as you know death and terror are right around the corner. If you aren’t seeing “Infested” in a crowded dark theater, not only are you doing yourself a disservice, but you risk feeling the spiders on you as you watch one of the best horrors of the year at home.

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Filed Under: Film Reviews, Movies Tagged With: evil dead, film review, infested, jeremy werner, Jerome Niel, movie review, ...

Panic Fest Film Review: “Boy Kills World”

Starring: Bill Skarsgard, Famke Jannsen and Jessica Rothe
Directed by:
Rated: R
Running Time: 111 minutes
Roadside Attraction/Lionsgate

Our Score: 3.5 out of 5 Stars

It’s very hard to pull off an action comedy that’s been punched up with different genres like sci-fi and horror. It’s definitely possible, Simon Pegg and Nick Frost basically pulled it off three times. But there are other films that pull it off by going balls to wall with bone crunching kung-fu fighting, deranged, yet hilarious violence, and creating a world of Looney Toons absurdism. Those are films like “Boy Kills World.”

Boy (Bill Skarsgard) is being trained by a mystery hobo ninja in the woods surrounding a post-Apocalyptic “Hunger Games” matriarchy-run city. Boy, when he’s fully realized his potential and goal as the ultimate weapon, is to beat the Van Der Koy family (Famke Janssen, Michelle Dockery, Brett Gelman and Sharlto Copley) to death with his crackling fists. He thirsts for Van Der Koy blood because his family was murdered at their hands, including his best friend, his little sister, who still talks to him, and dog him like little sisters do, as a guiding spirit. Oh, and because Boy is deaf and mute, and doesn’t remember his voice, his inner voice is H. Jon Benjamin.

While starting a little slow, like a warm-up jog, the film goes full slugfest, shootout bonkers when Boy realizes it’s time to fulfill his goal. While it could be visually taxing to wrap yourself around the the sweat, blood-covered Skarsgard dispensing bad guys with horrific weapons like a cheese grater, with Bob Belcher’s voice, the movie cleverly uses them separately and together throughout the film to let the action remain thrilling and the comedy to remain uproarious. As a viewer, we do end up admiring Boy because his emotional layers are peeled back through Skarsgard’s commanding eyes and his spirit ghost sister that pops up at inopportune times.

As for the action scenes, the majority hit the sweet spot between brutal believability and video game logic where you can kill people with a singular upper cut or have to spend 10 minutes bludgeoning your opponent to death. The film creates several traditional and bizarre set pieces for the Boy to play in, such as a weapons manufacturing warehouse and a candy winter wonderland of death populated by murderous sugary cereal mascots. While never worrying about how goofy the premise is, the film is serious about it’s fighting and choreography. In fact, the final fight scene is mapped out so well and pulled off with such high stakes fun, it’s worthy of “John Wick.”

The film does have some pacing issues here and there, and the plot sometimes gets in the way of the action. That wouldn’t be a problem if the plot was a little bit more straightforward because the twists and turns it makes don’t feel as satisfying. However, if you’re uncertain about what kind of film “Boy Kills World” might be, it’s important to note that Sam Raimi produced it. So even if “Boy Kills World” isn’t on par with a crazy action comedy orgy like “Kung Fu Hustle,” it is the kind of film you could fall in love with and watch over and over again.

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Filed Under: Film Reviews, Movies Tagged With: bill skarsgard, boys kills world, Brett Gelman, Famke Janssen, film review, jeremy werner, ...

Panic Fest Film Review: “Sting”

Starring: Ryan Corr, Alyla Browne and Penelope Mitchell
Directed by: Kiah Roche-Turner
Rated: R
Running Time: 91 minutes
Well Go USA Entertainment

Our Score: 3.5 out of 5 Stars

Very few times can I describe a film with these words: heart-warming, funny and skin crawling. “Sting” is the story of a peculiar preteen girl, Charlotte (Alyla Browne) who makes friends with a spider, at least what we think is a spider. You see, on a snowy, icy night in New York City, a tiny meteorite smashes through a window at an apartment complex. The rock cracks open, revealing the dime sized spider that quickly makes friends with Charlotte. Since we know up front that it’s from space, we know that this isn’t an ordinary spider, but of course no one else knows this. Charlotte doesn’t even seem to mind too much that the spider doubles in size in hours, and suddenly requires more than just apartment lurking bugs to devour.

I’d say the majority of “Sting” hinges on the likability of Charlotte as a character and Browne’s acting abilities. It’s a difficult character to tackle because Charlotte is dealing with the loss of her father and isn’t as emotionally connected as she once was with her mom. It doesn’t help that her stepdad is a little bit aloof when it comes to Charlotte, talking to her but not actually listening to her. So when Browne interacts with her new pet spider, we truly understand why and actually believe it. I actually believed it, especially since I feel like people who own spiders are pets are sociopaths. As for everyone else who encounters the spider, it’s like midnight at the drive-in.

Part of the inherent cheesy fun of “Sting” is watching all the characters come into focus, while figuring out who’s going to be eaten first. There’s a baby, some elderly ladies, an exterminator who hates coming out to the apartment, a yappy dog and plenty of other tenants that could potentially become spider food. It’s the same formula as the a lot of 80s slashers, but instead of a knife wielding maniac, it’s an eight legged monster.

There is a sense that “Sting” is lacking something. It’s lacking a cast of characters we should all care about, but there’s inherently nothing wrong with watching the spider pick them one-by-one. “Sting” is more of a comedy than a horror first, but it’s not consistently fun. What I’m trying to say in so many words is that “Sting” isn’t perfect, nor is it great, but I admire that it seems like everyone knows they’re making a modern creature feature with chuckles and a cast that will put a smile on your face.

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Filed Under: Film Reviews, Movies Tagged With: Alyla Browne, film review, horror, jeremy werner, kiah roche-turner, movie review, ...

Panic Fest Film Review: “Azrael”

Starring: Samara Weaving, Vic Carmen Sonne and Nathan Stewart-Jarrett
Directed by: E.L. Katz
Rated: NR
Running Time: 85 minutes

Our Score: 4 out of 5 stars

Movies being shelved is nothing new. However, the legend and infame of those films remains. Depending on the genre, that movie can spend years being whispered about before it ever sees the light of day or is shown beyond secret Hollywood home screenings. The latest potentially shelved and never to be seen again (I’ll get to this later) film is “Azrael,” a post-apocalyptic film that uses Biblical theology to tell a wordless story splattered in blood and shockingly delivers unexpected supernatural thrills without a single syllable of discernable dialogue.

Samara Weaving plays the titular Azrael, who roams the woods dodging mud covered looking creatures with disfigured twitching torsos and milky zombie eyes, and other humans looking to sacrifice her to those previously described creatures. All the humans we encounter, except for one, have removed their vocal cords, leaving a cross as a scar over their throat. You see, this film takes place after the Christian rapture, the supposedly end-of-times day where all of God’s believers are taken to Heaven before good and evil lay waste to the Earth in battle. So, as the movie goes, you automatically know nothing is off the table in terms of supernatural shenanigans, morality, and what happens to the pregnant villain of the story. That being said, nothing is officially known.

You will learn nothing as the film goes along and at times it’s almost like watching someone choose their own adventure based on knowledge they’re not telling you. Besides onscreen text, the magnificent facial acting of the entire cast (especially Weaving) the privileged few who attended a director screening of the cut (Me!), you will not ever 100% (maybe even 50-90%) know what is actually going on. It’s entirely possible that multiple people with different theories as to what is happening aren’t wrong. Even at the Panic Fest screening, the film’s writer, Simon Barrett, was mum on the more specific plot details and ideas.

“Azrael” deserves a proper autopsy if it is never released, but right now, it’s an unseen circus act I’m guaranteeing is worth the price of admission. It’s difficult to glow about a film that may never see the light of day because, as Barrett also stated at Panic Fest’s “Azrael” screening, the movie is currently in limbo. Just a little after it’s SXSW premiere, the distributing company for “Azrael” seems ready to do what other distributors have done recently, just like with “Batgirl.” Whether it’s because shelving the film will save “save money,” “trim fat,” or whatever potential lie the millionaire powers to be are claiming, it’s frustrating. Even if someone disagreed with me about “Azrael,” they deserve the opportunity to watch it. “Azrael” is more than a silent gimmick, it’s an experience you’ll never forget. Buoyed by Weaving’s face, the film is relentless, even as it blows past questions it’s never going to answer.

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Filed Under: Film Reviews, Movies Tagged With: AZRAEL, e.l. katz, film review, jeremy werner, movie review, panic fest, ...

Panic Fest 2024 Review

Panic Fest, like any great idea, has gone from being that great weekend of horror in Kansas City to a national audience wanting to learn more because they saw it on social media or on someone’s T-shirt at the airport the Monday after the main events. Last year I noted that Panic Fest was beginning to become a recognizable gem in the Midwest, but this year felt like it’s now a recognizable gem from coast to coast, and amongst the right group of friends overseas. To quote what I said last year, and other years prior, if 2024 was any indication, Panic Fest continues to boldly grow without losing its indie charm.

Thursday could have been a harbinger of things to come. For nearly a month, Panic Fest had hyped up the return of Joe Bob Briggs and Darcy the Mail Girl with a presentation of “Night of the Comet.” On April Fool’s Day, just days before the start, word came down that Joe Bob Briggs was sick. As to not soil night one, Joe Lynch, Director/Panic Fest Ambassador/Honorary Kansas Citian, stepped up to take Joe Bob Briggs role introducing the movie. Joe Bob Briggs was kind enough to send a snarky, yet comedic slapdown of Joe Lynch for the crowd and even gave his iconic drive-in totals over the course of 14 glorious, digital minutes. After the 80s pajama party movie, it was time for the 21st century B-horror, “Sting.” Night one is something I’ve never felt in bigger cities on bigger stages, a feeling of “Panic Fest” and Screenland Armour doing things on their own terms despite the immense pressure for perfection.

On Friday, I started off my day with the Nick Stahl culinary thriller “What You Wish For,” followed by “Hippo,” a film where the title character can only be described as an obnoxious incel version of Napoleon Dynamite. “Livescreamers,” which was attended by the director, who also wrote, produced, and did damn near everything outside of acting in the film, was a blast, made even better by the creative ways in which it was filmed. Even a filmmaking newbie could see how much time and effort went into creating “Livescreamers” world. The finale of Friday was a film I hope you get to see even though you may never, according to the writer. The post-apocalyptic Christian, but not really Christian, muddy demon horror film “Azrael” is easy to describe, but impossible to fully explain.

Per usual, Saturday serves as a big night for special guests. First up was the premiere of “Ghost Game,” a social media challenge mixed with a haunted house that will have you guessing about what’s going on until the final few minutes. Next was the 4K restoration, and 40th anniversary of “A Nightmare on Elm Street,” with horror royalty Heather Langenkamp in attendance. It was clear in the following Q&A how much she still adores the movie and the journey that it started her on. But the Q&A of the weekend, and maybe for all of Panic Fest’s history, was not Langenkamp. Instead, it followed the 25th anniversary screening of “The Blair Witch Project.” Having not seen the film since renting it at Blockbuster in 2000, I watched the film with a fresh pair of eyes and ears, appreciating the do-it-yourself with nothing to lose tactics this revolutionary film implemented. I could probably listen to co-director Eduardo Sanchez and Mike “I kicked that fucker into the creek!” Williams talk about the filmmaking process for “Blair Witch” for hours. The night ended with “Mother Father Sister Brother Frank” about an adorable family who hilariously deal with their shithead uncle Frank through deadly means.

The hangover cure for many on Sunday was “New Life,” a film that feels all too real even as we get farther and farther away from the COVID-19 pandemic. For newcomers, the hefty drama is a reminder that Panic Fest is more than blood and guts. “New Life” was followed up with the spiritual horror about good versus evil, and dealing with the loss of a four-legged companion, “The Activated Man.” It was hard to keep a dry eye during the film, much less during the director Q&A. The evening ended with the Irish folk horror, “All You Need is Death” and the juggalo road trip to the promised land (the Gathering of Juggalos) film “Off Ramp.” I can fully and happily report that Faygos and laughs were had as Sunday came to a close.

Like every year, the weekend feels like a blur. For me, it was the films. There’s nothing like experiencing cinema with like minded strangers. While everyone felt that it wasn’t the ultimate experience, like mine. For others, it was the connections in the lobby over mixed drinks and beers. For some, it was the mutual love of a local podcast and meeting a fresh face, or new fan. So, while my experience feels like the highlight of 2024, for some, it’s the highlight of a lifetime. That’s the beauty of Panic Fest, it’s great no matter which way you enjoy it.

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Filed Under: Commentary, Misc Tagged With: AZRAEL, DARCY THE MAIL GIRL, GHOST GAME, jeremy werner, JOE BOB BRIGGS, JUGGALOS, ...

Film Review: “Laced”

Starring: Dana Mackin, Hermione Lynch and Zach Tinker
Directed by: Kyle Butenhoff
Rated: NR
Running Time: 98 minutes
Dark Sky Films

Our Score: 3 out of 5 Stars

Molly (Dana Mackin) and Charlie (Kyle Butenhoff) appear to be having an intimate evening together. They share dinner in a remote cabin, surrounded by a record-breaking blizzard, and appear to have planned the whole thing. However, there’s no time for small talk, deep talk, cozying up by a roaring fire or even finishing the meal. That’s because Molly has poisoned Charlie.

I don’t want to say much more because “Laced” works purely on its performances and reveals. Sure, it doesn’t take us long to realize something is amiss and that Molly has intentionally poisoned Charlie. And sure, the initial exposition comes hot and heavy, or in the case of watching the trailer, almost too spoilery. We know things will continue to be complex and complicated, that’s why Molly has unexpected dinner guests that make “Laced” a rather effective winter thriller.

It’s an indie film so I can forgive the lack of style that could have made it more claustrophobic and made effective use of the blizzard. Seriously, I sometimes forgot a raging snowstorm was outside because of how much time is spent indoors in this singular setting without a peep. The howling wind seems like an afterthought as characters stab each other with icy dialogue. All of that being said, Mackin, Hermoine Lynch and Zach Tinker provide enough fireworks in their performances. Butenhoof, not so much, but I can’t fault an actor who dies about five minutes in.

However, Butenhoff serves as writer and director, showing a Hitchcockian knack for making the most of a simplistic story. In other hands, “Laced” would have just been another predictable murder film, but Butenhoff is creative with making us second guess the narrative, whether it’s from Molly’s perspective or the explanations of her unexpected dinner guests. While I certainly felt the film lacked that winter bite, “Laced” has enough creativity to entertain you for 90 minutes and has the potential to chill you to the bone.

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Filed Under: Film Reviews, Movies Tagged With: dark sky films, film review, hitchock, jeremy werner, laced, movie review, ...

Film Review: “Mother, May I?”

Starring: Holland Roden, Kyle Gallner and Chris Mulkey
Directed by: Laurence Vannicelli
Rated: NR
Running Time: 99 minutes
Dark Sky Films

Our Score: 3.5 out of 5 stars

When death occurs, it leaves a scar. Not only the loss of a loved one, but the words that will never be said. The emotions that will now never be conveyed or felt. The questions that will now go on unanswered. I won’t bother looking up who said it because it’s a universal truth, but the only sure thing in life is death. In “Mother, May I?,” death is really the only sure thing.

Emmett’s (Kyle Gallner) mother, who abandoned him, has recently passed. Understandably, he wants to go to her house, get in, get out and move on with his life. Emmett’s fiance, Anya (Holland Roden), is in tow as emotional support, but that support seems a little flawed. At least from my vantage point. In an effort to help alleviate the pain of the experience of being in her house, Anya recommends they take psilocybin mushrooms. I have yet to try this method, but seeing people on mushrooms without having to deal with trauma tells me…I won’t. While tripping, Emmett and Anya decide to play a little roleplaying game where Anya is Emmett’s mother. It’s weird, oddly sexual and freaks Emmett out a bit. However, the troubles continue when he wakes up the next day and Anya is still pretending to be his mother. Or is she?

“Mother, May I?” is the definition of unsettling. As the film progresses, we begin to wonder if something supernatural is happening. Anya, who professes to not know how to swim, begins to swim whilst continuing to “be” Emmett’s mother. She also begins to exhibit ticks that Emmett knows his mother had, but has never told Anya. The emptiness of the house they’re in, compounded by the callousness of Emmett’s mom in flashbacks, allows the film to creep slowly under your skin, wriggling around when tensions come to a boil. When things explode between the two, it’s like a therapy session in hell.

Since most of “Mother, May I?” is filled with our two leads, so much of the film’s emotional weight is carried by Gallner and Roden who do spot-on jobs when their characters are hurt, vengeful, remorseful and horny. Rarely does the film relent, seemingly putting its foot down on the emotional accelerator. At some points you have to wonder who’s attempting to inflict emotional damage and who’s using brutal honesty to progress their own self-reflected feelings forward.

So what exactly is going on with Anya? Is she possessed or is she creating a cruel new form of psychotherapy? Or better yet, what’s going on with Emmett? Is he truly disturbed and upset or is he a unique byproduct of a broken mother-son relationship that would have Sigmund Freud licking his lips? Since the film leaves every question unanswered, the film in of itself is like death. As the credits roll, we’re left wondering what if and why.

 

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Filed Under: Film Reviews, Movies Tagged With: dark sky films, film review, holland roden, jeremy werner, kyle gallner, laurence vannicelli, ...

Panic Fest Film Review: “Birth/Rebirth”

Starring: Marin Ireland, Judy Reyes and Breeda Wool
Directed by: Laura Moss
Rated: NR
Running Time: 98 minutes
IFC Films

Our Score: 4 out of 5 Stars

You know you’re in for a good movie when a director is able to summarize their film without giving away too much. Before “Birth/Rebirth” began, Director Laura Moss discussed how the film was her own unique take on “Frankenstein” and how the idea has been simmering in her mind since she was a teenager. Even with that kind of spoiler in mind, one where I could expect the reanimation of a dead person, I couldn’t foresee what kind of horrors could be and would be mined in “Birth/Rebirth.”

Celie (Judy Reyes) is a natural as a prenatal nurse at the hospital she works at. She brings her motherly warmth to work to help patients and others, but that warmth will disappear in a flash. Celie’s daughter, Lila (A.J. Lister) abruptly dies, leaving Celie with so much to ponder. On the flip side, we meet a morgue tech by the name of Rose (Marin Ireland) who goes about her work with about as much warmth as the corpses she digs around in. Celie and Rose are strangers, but Lila’s death is going to bring them together in horrific ways.

The mantle of Dr. Frankenstein could be divided up between Celie and Rose, who work together after Rose reanimates Lila. Celie, despite being unable to communicate with the daughter she used to know, tries in earnest to recover what she had by focusing on nearly every aspect of Lila’s life. Rose on the other hand takes a more rudimentary, yet scientific approach to Lia as she makes notes, runs experiments and monitors the overall situation. Sometimes the roles flip as time goes on where one character assumes the role of scientist and the other as parental figure. Because the reanimated Lila remains mostly quiet throughout the duration of the film, it’s difficult to tell what’s actually going on in her head as opposed to the emotional projections by Rose and Celie.

I can’t think of a “Frankenstein” reimaging or story that heavily shifts the narrative to a female centric one. The original story could be viewed as man’s attempt to control what humanity cannot control, life and death. In some ways you could argue the original doctor was also driven by a need to create. The ability to create a human life is not possible for someone born as a man, so Dr. Frankenstein had to create human life in another form. “Birth/Rebirth” seems to explain the passion and need to control life and death as that of a woman/parent. We see how Celie and Rose work with Lila to ensure she survives, the sacrifices both of them make, but is it more about science or more about basic maternal instincts? Rose is the calculating, numbers driven and scientific to all her approaches, but the longer she spends with Celie and Lila, the more something else is taking shape beneath her expressionless face. On the flip side, Celie also realizes the lengths she’ll go to obtain what she used to have, but must also reckon with what it takes to reach that goal.

The film’s ending, which will certainly be annoying to some, leaves more questions than answers. The audience is supposed to reflect on the idea of motherhood and what parenthood in general does to us. The morals of the film are constantly being debated by the characters and by their inevitable actions. Just like the Mary Shelley classic, “Birth/Rebirth” asks us to examine creation, life and death, through our own selfishness, our own sacrifices and ultimately what we are willing to do to secure and fulfill what we see as our obligations to our creations. “Birth/Rebirth” is a monster that you’ll be thinking about long after the credits and lights go up.

 

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Filed Under: Film Reviews, Movies Tagged With: birth, film review, frankenstein, ifc, jeremy werner, judy reyes, ...

Panic Fest Film Review: “Black Mold”

Starring: Agnes Albright, Andrew Bailes and Jeremy Holm
Directed by: John Pata
Rated: NR
Running Time: 92 minutes

Our Score: 3.5 out of 5 stars

I’m asked anytime by people who find out that I do urban exploring (the art of exploring abandoned buildings, tunnels and everything in between) about whether or not I get scared. Of course. That’d be like asking a trapeze artist if they’re ever worried about plummeting. The thought will always be there. When it comes to my side hobby, I’ve almost been attacked by humans and animals, nearly broken bones, and, worst of all, almost been caught by authorities. So when I recommend “Black Mold,” a film about two urban exploring photographers taking on a deadly task, it’s not because it taps into that fear.

Brooke (Anges Albright) is going through the motions as her and her budding photographer, Tanner (Andrew Bailes) are adding more photos to their portfolio. The abandoned countryside homes they photograph aren’t enough for Brooke today though. She’s got her eyes on the duo’s white whale, a rundown government facility that is the center of several area rumors. Ignoring the fencing, warning signs, and obvious threats, the two are dropped off by their driver, whom they tell to come back in three hours. The two then  set foot inside a building they may never leave.

“Black Mold” never does what you’d expect, which is a treat because it uses a lot of horror tropes. While the story is familiar, the path isn’t. Brooke, we learn, has never come to grips with a traumatic part of her childhood, the death of her father and the ensuing blame being directed at her. While the movie solely focuses on her, Tanner is also dealing with his own personal demons even though they’re never discussed or shown. We just see him react to what he thinks he’s seeing or actually seeing, just like Brooke begins to wonder if a homeless person they encounter in the building is her father.

That is one of the more befuddling parts of this film, what’s real and what isn’t. It’s intentional, but also confusing. For about half of the film, we’re left wondering what experiences are real and which ones aren’t. Eventually day turns to night and we even have to question if time is changing along with perception. I’m not sure why Tanner is in the film, but over time, I wondered if the film could have been better without Tanner because we have no emotional attachment to him. That, and I imagine the isolation would be more impactful for Brooke and the audience.

“Black Mold” is kind of a play on the idea that mold in a dilapidated building could impact your mind. I also believe it’s how the trauma that Brooke experienced not only effects her creatively and in her hobby, but also emotionally because it’s obvious she’s never dealt with her father’s death in any meaningful way or talked with anyone about it. Psychologically and visually speaking, “Black Mold” is a fascinating watch, but the horror itself isn’t as scary as it could be, and the ending feels like a little bit of a letdown.  Overall, the film is an enjoyable journey into the psyche of regret, loss and broken relationships.

 

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Filed Under: Film Reviews, Movies Tagged With: agnes albright, black mold, film review, jeremy holm, jeremy werner, john peta, ...

Panic Fest Film Review: “Satan Wants You”

Directed by: Steve J. Adams and Sean Horlor
Rated: NR
Running Time: 88 minutes

Our Score: 4 out of 5 stars

Children are the greatest non-violent weapon humans have ever had. In 2020-21, my social media was being spammed with #savethechildren. Sounds noble. Besides, who hates children and wishes them ill will? Unfortunately, the #savethechildren people on social media were ignorant to the reasoning behind the hashtag. All these #savethechildren people were suckers for Q’Anon, a conspiracy theory about how the world’s elites are eating, raping, beating, sodomizing, and killing children. Not only children, but newborn infants. While it sounds too crazy to believe, “Satan Wants You,” is a reminder that we’re constantly doomed to repeat an inherent part of our history, believe stupid crap.

If you haven’t heard about the Satanic Panic of the 80s and early 90s, it’s kind of like Pizzagate for the pre-Internet age. They even had their own hashtag before hashtags, having people say “Believe the Children.” The insanity kicked off in 1980 with the book, “Michelle Remembers,” where Canadian Michelle Smith, with the help of her then-psychiatrist at the time, remembered buried memories. Those memories were of being kidnapped, caged, beaten, sexually assaulted, raped repeatedly and forced to eat babies along with other Satanists in a ritual meant to summon the Lord of Darkness himself. Makes for an interesting fiction novel, but “Michelle Remembers” was touted as a real life encapsulation of a secret cabal right under society’s nose.

“Satan Wants You” doesn’t dig around in every nook and cranny, but it’s an incredibly entertaining and serviceable documentary on the Satanic Panic, for those who know nothing about and those like me who could stand to learn a little bit more, including the interesting tidbit later in the documentary about how insurance companies may have saved the day. The documentary’s focus is on how such a perverse lie was able to spread around the U.S. like a new strain of COVID-19, while examining the possibilities of why Michelle would remember…a lie.

Michelle’s psychiatrist, Lawrence Pazder, eventually became her lover and husband. It doesn’t take an HR consultant for most people to recognize a doctor and patient hooking up is the biggest ethical red flag you could potentially spot. The documentary seems to imply more wrong with Pazder than it does Michelle, as it talks with his family members about how he abandoned them for one of his patients. It details how Pazder had a fascination with the perceived weirdness of other cultures and traditions, and how that kind of got channeled through his sessions with Michelle. In my personal belief, I think he was a sexual deviant and Michelle’s recollections were simply part of his fetish.

But what about Michelle? It’s easy to pin the blame on the person spinning these lies, but the documentary treats everyone fairly, including Michelle. If anything, she is a victim to Pazder’s delusions of grandeur, because he envisioned himself becoming famous with her recounting of the alleged demonic occurrences. She also was seeking psychiatric help because she had endured a miscarriage. So in a vulnerable position, she was most likely persuaded by Pazder. A lot of this is my own musings based on the film because “Satan Wants You” is so balanced and thoughtful in its approach. The film doesn’t look to demonize or point the finger of blame at anyone particularly. Unfortunately we can only blame ourselves, especially since history shows that anytime there’s a crisis of faith or a newfound religion, one side attempts to demonize and disparage that group with lascivious lies involving children. For a harmful conspiracy theory to flourish, it takes a village of idiots.

For those who are interested in the Satanic Panic, “Satan Wants You” is a must-watch, even for those who may not know anything about it. At times it feels like it doesn’t say enough while at the same time giving us enough information to completely understand and digest the whole damn mess. You may find yourself wondering aloud during the film, “How the hell do people believe this?” Well, just wait until 2060 when we release a film about all the morons who thought a billionaire narcissist was going to save all the babies from demonic Jews in positions of power eating babies or how Lil Nas X is the Anti-Christ or how social media campaigns never helped children.

 

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Filed Under: Film Reviews, Movies Tagged With: film review, jeremy werner, panic fest, satan, satan wants you, satanic panic, ...

Panic Fest Film Review: “Abruptio”

Starring: James Marsters, Christopher McDonald and Hana Mae Lee
Directed by: Evan Marlowe
Rated: NR
Running Time: 94 minutes

Our Score: 2.5 out of 5 Stars

Anytime I see human puppets, I immediately think of “Team America: World Police” or “Being John Malkovich.” I’m not sure if that’s because I discredit the art form of puppets altogether and can only tolerate self-mocking portrayals or if that’s because the films are top tier puppet films. While it’s still too early to say, I think I might start adding “Abruptio” to that mental list anytime I see someone with a marionette.

When we meet Les Hackel (James Marsters), he’s working a dead-end job, living at home with his parents still, and getting dumped by his valley girl sounding girlfriend. Then, without any warning, he notices an incision at the base of his neck. One of his buddies has one too, and his buddy knows what it is; a bomb. Then Les begins receiving mysterious messages on his phone stating that everything will be fine as long as Les does what they say. If not, boom goes the neck bomb.

“Abruptio” is a unique take on human puppets because they’re a mix of actual puppets and life-sized puppets; I think. I’m not sure about the actual puppets, but it is very clear from the get-go that actors on screen are wearing puppet looking masks, attire, hands, etc. The mix of real world and puppets is, at most times, visually unsettling. The puppets stick out like a sore thumb, but because of that very intent, it makes us question the reality that the life-size puppets are in. The preposterous plot and visuals only amplify the unease as Les has to do more and more sinister things from the mystery entity or entities.

Adding to the bizarre plot devices are the vocals. We have the late Sid Haig, THE Freddy Kreuger (Robert England), and Christopher McDonald giving us that Shooter McGavin tone. For a film that took seven years, I’m impressed at the range of people who inevitably signed on to such a unique, puzzling, puppet film. Outside of the technical aspects and voice acting talent, “Abruptio” sometimes feels and looks hollow.

Les is more of a villain than a hero, so following him throughout the film can be a moral drag. While this film sits neatly into the horror genre, there’s still some basic ethics in horror. For instance, the puppet nudity never felt necessary or earned. I know, you probably had to do a double take at the puppet nudity. While it didn’t bug me at first, it was utilized at certain points to an unpleasant degree. Some moments felt hateful while others were more masturbatory in their presentation. It also doesn’t help that Les’ character looks like a 55-year-old loser on the verge of shooting up a gas station and he’s having several woman issues throughout the movie.

I can’t completely disregard something like “Abruptio,” because the ending reveal may make everything prior seem like a big misunderstanding. For the horror community, “Abruptio” is a fine addition to the “so weird it’s oddly good” category, but for everyone else, the film will be too dark and miserable to enjoy.

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Panic Fest Film Review: “Trader”

Starring: Kimberly-Sue Murray, Shaun Benson and Stephen Bogaert
Directed by: Corey Stanton
Rated: NR
Running Time: 84 minutes

Our Score: 4 out of 5 stars

Sometimes the strangest things in life end up becoming the best fodder for films. Since the first image flickered with life on-screen, movies have commented on politics, government squabbles, war, famine, Hollywood itself, etc. All of it has been caught by the watchful eye of directors looking to make a statement, whether it’s subtle or blunt. As I’ve mentioned in other reviews, the pandemic was a breeding ground for ideas, but I can honestly say I never expected a director to watch the GameStop squeeze in later 2021 and go, “That gives me an idea…”

Does the lead of “Trader” have a name? No. Kimberly-Sue Murray leads the way in “Trader,” a film shot in the apartment basement of a building with Murray as the only person we’ll see for the next 84 minutes. She lets us know what kind of person she is in the opening minutes as she scams an elderly person over the phone out of their credit card and personal information so she can dump some funds into her bank account. What does she want to do with that money? Stonking some tendies to the moon and back (Sorry, r/WallStreetBets lingo). I’m sure that sounds like a boring premise to some, but I assure you it is not. Murray, who delivers a tour de force performance, carries this film on her back as she learns about stock trading, learns about options trading, and attempts to hedge her way into a cutthroat world that may just end up eating her alive, unless she bites first.

Murray may just be the sole reason we watch “Trader.” It’s not a character study, but what we get out of her character is personal financial determination mixed with sociopathic tendencies. She’s a smart cookie, and will possibly break your arm for doubting it. She eventually makes her way through the message boards and connects with a broker named Bob who plays the stock market for social media clout and, of course, the millions of dollars. Murray’s character aches for that life and that luxury, but as one person in a basement on her lonesome, she has to make due with what she’s given. She’s been given Bob the Broker and will lie her way to a seat at the broker table.

Throughout the film, we’re told through discussions with Bob that Murray used to be a victim of sex trafficking, but can we believe that? Most of the time we see her lying, even to Bob, so when she does cry and seemingly stares off into the distance with all the seriousness of the world in her eyes, we have to believe her. But it’s that same kind of personality that she uses to fool others, whether it’s the geriatric at the beginning with his credit card in hand or Bob teasing a better life. One of the more fun aspects of the film is attempting to piece together who Murray’s character is and isn’t.

Even if you know nothing about GameStop or stock trading, “Trader” is a low-budget techno-thriller with plenty on its mind and plenty more to say. Murray gives the best performance of the year, so far, with equal amounts of pain and pleasure during the entire process. Murray’s character is physically, mentally and emotionally working through a past that’s never revealed, but watching her kick and crawl through the boy’s game at Wall Street is an absolute delight. If you’re lucky enough to see this on a streaming service or anywhere in the future, give it a watch and prepare to be blown away by its mesmerizing simplicities. 

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Filed Under: Film Reviews, Movies, Streaming Tagged With: 2021, corey stenton, film review, gamestop, jeremy werner, kimberly-sue murray, ...

Panic Fest Film Review: “Bury the Bride”

Starring: Krsy Fox, Scout Taylor-Compton and Dylan Rourke
Directed by: Spider One
Running Time: 90 minutes
Rated: Unrated
Tubi

Our Score: 3 out of 5 stars

If you had told me that within a half year time span that Rob Zombie would release his worst movie of all time, followed by his brother releasing his best film, I’d probably believe you. But that’s horror for ya. Sometimes directors and writers release something that might be incomplete or a fully unfulfilled idea. That’s what I thought about Spider One’s release at 2022’s Panic Fest, “Allegoria.” While I didn’t write a review for it, I kind of enjoyed it, but wouldn’t recommend it to anyone. That being said, I’m recommending the hell out of “Bury the Bride.”

How does a bachelorette weekend in a cabin in the desert sound? Terrible, right? Well, that’s what June (Scout Taylor-Compton) wants for her party, which automatically raises red flags amongst all her friends. Not only does she want a low-key bachelorette party, despite years of telling her friends about a really kickass one that she’s planning in her dream, but she’s marrying a redneck. To put this in perspective, June and her friends don’t look like they’ve ever spent time in the South or Midwest. And what I mean by that, is that they’ve never visited the true parts of the South and Midwest. I’m not saying they’ve never been to Nashville or Chicago, but they sure as hell haven’t been to Skidmore, Missouri or Jefferson, Texas. The really weird part? When June’s fiance does crash the party, the two seem blissfully happy. So what’s the deal?

“Bury the Bride” takes a lot of turns before arriving at its big twist, which quite honestly gave me a momentary sense of panic because I legitimately wasn’t expecting it. Even before the film, the audience was told of a fantastic twist so the whole time I sat there wondering what it could be and out of the 100 things I was thinking, I was still wrong. Props to Spider One and Krsy Fox, who wrote the story together and shot it after “Allegoria” had its world premiere at Panic Fest 2022. Even the twist has its twists in the third act, giving the film an overall unique spin on a rather worn out story we’ve seen dozens of times before.

Because the characters are written to be so genuine and real, the acting feels inherently natural even when things go completely off the rails. The performances are actually the strongest part of the film, which to me is equally impressive since most, if not all of the actors, were in “Allegoria.” It’s clear that Spider One and crew learned a lot from their debut pandemic-era film, not only how to keep a budget low, but also creating a cohesive story throughout. “Allegoria” was more of a hit-or-miss anthology without a connective tissue whereas “Bury the Bride” is a bloody killing spree in a desolate square of white trash. There are still some issues, like sound and visual goofs, as Spider stretches his eight creative legs, but with the leaps and bounds made from “Allegoria” to “Bury the Bride,” I’m hoping Spider makes another stop at Panic Fest next year for his third film.

 

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Filed Under: Film Reviews, Movies Tagged With: bury the bride, film review, jeremy werner, krys fox, panic fest, scout taylor-compton, ...
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