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LeftSideCut (3778 KP) rated Hellraiser: Inferno (2000) in Movies
Mar 29, 2022
The 5th entry in the Hellraiser series is certainly a mixed bag. It's has a script and narrative that clearly threw in Hellraiser elements as an afterthought, really scales back on the cenobite stuff, and has some truly dodgy effects work.
With all that being said, everything about Inferno that's surrounds those points is pretty positive. The corrupt cop who cheats on his wife/snorts coke/is a general asshole whilst trying to solve a huge case trope has been done a million times, but it lends itself well to the conditions of the lament configuration. The films whole vibe screams David Lynch, and there's some genuinely creepy imagery delivered with ambition by a feature-debuting Scott Derrickson, clearly showing off some stylistic choices that he would go on to hone in his future successful career.
Throw in some decent gore and a pretty solid cast, and we're left with a Hellraiser film that would 100% be seen in a more favourable light if it had been afforded a bigger budget.
With all that being said, everything about Inferno that's surrounds those points is pretty positive. The corrupt cop who cheats on his wife/snorts coke/is a general asshole whilst trying to solve a huge case trope has been done a million times, but it lends itself well to the conditions of the lament configuration. The films whole vibe screams David Lynch, and there's some genuinely creepy imagery delivered with ambition by a feature-debuting Scott Derrickson, clearly showing off some stylistic choices that he would go on to hone in his future successful career.
Throw in some decent gore and a pretty solid cast, and we're left with a Hellraiser film that would 100% be seen in a more favourable light if it had been afforded a bigger budget.
LeftSideCut (3778 KP) rated The Black Phone (2022) in Movies
Aug 8, 2022
After a swift MCU detour, Scott Derrickson is back in the horror business, and it's a welcome return. The Black Phone is unpleasant and tense, well crafted in its execution and pacing, and possesses quite a bit of heart, portrayed by a great cast, the stand-outs of course being Mason Thames and Madeleine McGraw. The two child actors provide some outstanding performances and ensure that their character moments pack a punch. Opposite to them, Ethan Hawke gives us a genuinely creepy horror villain, a villain who is unhinged, and acts in a manner that is grounded in reality, reiterating what makes The Black Phone scary in the first place. This film plays on the very real fear that ones child could be taken. It's bleak, and hardly enjoyable, but it's effective. There are some moments of more supernatural horror, as well as a couple of well earned jump scares, and whilst this makes proceedings a little more unsettling, it doesn't take away from how utterly terrifying real life can be.
The Black Phone isn't perfect by any means, but it's a tight horror/thriller that looks great, and will worm its way under your skin.
The Black Phone isn't perfect by any means, but it's a tight horror/thriller that looks great, and will worm its way under your skin.
Ryan Hill (152 KP) rated Doctor Strange (2016) in Movies
May 11, 2019
"Try me Beyoncé"
The 14th instalment in the Marvel Cinematic Universe marks the arrival of yet another avenger into the already crowded Marvel family while also bringing mystic arts & alternate dimensions into its ever-expanding universe. But even though it offers a kaleidoscopic journey through astral realms, infinite realities & spacetime contortions, it isn't entirely different from the norm.
Doctor Strange tells the story of Stephen Strange, a brilliant but arrogant neurosurgeon who loses the use of his hands after a car accident, spends all his money on experimental surgeries to regain his abilities, and travels east for a last resort treatment where he meets a powerful sorcerer who teaches him ways to harness energy & shape realities through the mystic arts.
Co-written & directed by Scott Derrickson (best known for The Exorcism of Emily Rose & Sinister), Doctor Strange marks his first stint with comic book movies and while he succeeds in delivering a sufficiently entertaining blockbuster, his latest suffers from the same issues that marred his earlier works as Derrickson begins this story on a promising note but once again loses his grip in the middle.
The screenplay features a universe that's full of imaginations & possibilities yet beneath its parallel universes, time manipulation & astral projections lies the same generic storyline following the same predictable route that we all have seen many times before. What's interesting, however, is how the arc of the eponymous character is handled, for Stephen Strange remains an intriguing character at all times.
Production Design team chips in with set pieces that brim with mystical qualities while props such as ancient artefacts & antiquated relics provide added details to the desired spiritual environment. Camerawork is fine, Editing gets carried away by letting numerous CGI-infested moments overstay their welcome due to which it feels longer than it should. And Michael Giacchino contributes with a score that's fitting yet not enthralling.
Coming to the acting department, the film features a talented ensemble in Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Mads Mikkelsen & Tilda Swinton. Cumberbatch as Strange is pitch-perfect casting and does total justice to his role by depicting his stubbornness, arrogance & ambition with precision while Swinton steals nearly every scene she's in. But the main highlight of this film is its shape-shifting & eye-popping visual effects.
On an overall scale, Doctor Strange does serve its purpose by delivering an entertaining, amusing & serviceable origin story but it isn't impressive enough to garner a spot amongst Marvel's finest features. Travelling a safe, risk-free route & sugarcoated with trippy, hallucinatory visuals, it is a typical fun-filled extravaganza that we've come to expect from Marvel Studios and is another enjoyable addition to their ever-inflating repertoire. Definitely worth a shot.
Doctor Strange tells the story of Stephen Strange, a brilliant but arrogant neurosurgeon who loses the use of his hands after a car accident, spends all his money on experimental surgeries to regain his abilities, and travels east for a last resort treatment where he meets a powerful sorcerer who teaches him ways to harness energy & shape realities through the mystic arts.
Co-written & directed by Scott Derrickson (best known for The Exorcism of Emily Rose & Sinister), Doctor Strange marks his first stint with comic book movies and while he succeeds in delivering a sufficiently entertaining blockbuster, his latest suffers from the same issues that marred his earlier works as Derrickson begins this story on a promising note but once again loses his grip in the middle.
The screenplay features a universe that's full of imaginations & possibilities yet beneath its parallel universes, time manipulation & astral projections lies the same generic storyline following the same predictable route that we all have seen many times before. What's interesting, however, is how the arc of the eponymous character is handled, for Stephen Strange remains an intriguing character at all times.
Production Design team chips in with set pieces that brim with mystical qualities while props such as ancient artefacts & antiquated relics provide added details to the desired spiritual environment. Camerawork is fine, Editing gets carried away by letting numerous CGI-infested moments overstay their welcome due to which it feels longer than it should. And Michael Giacchino contributes with a score that's fitting yet not enthralling.
Coming to the acting department, the film features a talented ensemble in Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Mads Mikkelsen & Tilda Swinton. Cumberbatch as Strange is pitch-perfect casting and does total justice to his role by depicting his stubbornness, arrogance & ambition with precision while Swinton steals nearly every scene she's in. But the main highlight of this film is its shape-shifting & eye-popping visual effects.
On an overall scale, Doctor Strange does serve its purpose by delivering an entertaining, amusing & serviceable origin story but it isn't impressive enough to garner a spot amongst Marvel's finest features. Travelling a safe, risk-free route & sugarcoated with trippy, hallucinatory visuals, it is a typical fun-filled extravaganza that we've come to expect from Marvel Studios and is another enjoyable addition to their ever-inflating repertoire. Definitely worth a shot.
Chris Sawin (602 KP) rated The Black Phone (2022) in Movies
Jun 26, 2022
Ethan Hawke (2 more)
Madeleine McGraw
Leaves much of the horror to the audience's imagination
Writing is a bit silly at times (1 more)
Teases more story elements and horror than it reveals
A Juvenile Curtain Call of Death
Somewhere in North Denver in 1978, The Black Phone sees Finney (Mason Thames) and his sister Gwen (Madeleine McGraw) attempting to survive constant bullying at school and the abuse of an alcoholic father (played by Jeremy Davies). The missing kids in town are said to be a result of The Grabber (Ethan Hawke); a man who drives around in a black van with black balloons kidnapping and eventually killing kids. When Finney is suddenly taken by The Grabber, he’s told that the black phone in his room doesn’t work but then the phone rings.
Based on the short story of the same name by Joe Hill, The Black Phone is directed by Scott Derrickson (Doctor Strange, Sinister) and written by Derrickson and C. Robert Cargill (the two have been collaborating together on everything Derrickson has done since Sinister). What’s interesting is The Black Phone has mastered the art of subtlety and teasing its audience. The Grabber is introduced in the film similar to the shark in Jaws. You only see glimpses of him for the first third of the film. The black van will come into frame and the screen will immediately fade to black. The Grabber will park and get out of his van to abduct a kid, but he’ll purposely be out of focus. The Grabber lurks in the background like a shark waiting for that first drop of blood, which is essentially when Finney walks by alone.
The unfortunate aspect is that it feels like something is missing. The supernatural horror film keeps building and building that when the finale rolls around it feels like it isn’t a big enough payoff. Most of the violence and kills aren’t seen since the film deals with child and teenager victims. The audience is shown the end result instead; the wounds sustained by the victims that call Finney, The Grabber’s game of Naughty Boy, and Gwen being whipped with a belt by her father (you see him holding the belt and her crying, but we never see the contact). There’s artistry to leaving some things to the viewer’s imagination. In a time where horror has evolved into showing its audience every gruesome detail it’s become a forgotten art. It could also be a personal preference, but it feels like The Black Phone teases more than it reveals.
The writing of the film is as genius as it is ridiculous. Most of it is very good, especially with what Finney is building up to in the basement. The unveiling of the location of The Grabber’s house is silly though, especially since an entire police squad didn’t make the connection. Finney and Gwen’s mom is never seen since she’s passed during the events of the film, but she is mentioned. She apparently heard things and seen things that ended up in a fatal situation for her. Gwen has visions of The Grabber while she sleeps and Finney is able to receive phone calls from The Grabber’s victims because of the relation to their mom. This leads to one of the greatest lines in the film when Finney asks why no one has ever called before. “The phone rang, but no one heard it.”
Ethan Hawke’s performance is so mesmerizing that you wish he had more screen time. Even his motive behind what he intends to do with his victims is hinted at, but not really clarified. With all of the bodies piling up and the amount of phone calls Finney receives, the end result is always the same. The Grabber is slightly flamboyant in his demeanor and particular about how everything should play out. His mask and the fact that it resembles the comedy and tragedy masks that tend to symbolize the theater hint at this all being a performance for him. Things not going his way is like someone fumbling over their lines; it’s unforgivable.
Madeleine McGraw is not so secretly the best part of the film. Her career before The Black Phone has mostly been in voice acting (Cars 3, Toy Story 4, The Mitchells vs The Machines) and playing younger versions of other characters (Pacific Rim: Uprising, Ant-Man and the Wasp). McGraw gets a fair amount of screen time here and Gwen is an incredibly resourceful character and arguably the film’s biggest asset. McGraw’s performance is genuine as you believe every word she says. She’s hilarious as she has the best lines of dialogue in the film. Her portrayal of sadness and anguish is top notch as well as she has the most powerful and emotional sequence in the film that breaks your heart and only makes you sympathize with both her and Finney.
With supernatural dread lifted from the likes of Stir of Echoes and The Sixth Sense, The Black Phone features a breakthrough performance from Madeleine McGraw while Ethan Hawke’s hauntingly memorable turn as The Grabber is felt in a hair-raising sense; like someone who has unknowingly snuck up behind you and waits in your peripheral for that dramatic reveal. The Black Phone is a solid, pulse racing horror film that packs a punch, but seems like the type of film that simply won’t be as delectable on repeat viewings.
Based on the short story of the same name by Joe Hill, The Black Phone is directed by Scott Derrickson (Doctor Strange, Sinister) and written by Derrickson and C. Robert Cargill (the two have been collaborating together on everything Derrickson has done since Sinister). What’s interesting is The Black Phone has mastered the art of subtlety and teasing its audience. The Grabber is introduced in the film similar to the shark in Jaws. You only see glimpses of him for the first third of the film. The black van will come into frame and the screen will immediately fade to black. The Grabber will park and get out of his van to abduct a kid, but he’ll purposely be out of focus. The Grabber lurks in the background like a shark waiting for that first drop of blood, which is essentially when Finney walks by alone.
The unfortunate aspect is that it feels like something is missing. The supernatural horror film keeps building and building that when the finale rolls around it feels like it isn’t a big enough payoff. Most of the violence and kills aren’t seen since the film deals with child and teenager victims. The audience is shown the end result instead; the wounds sustained by the victims that call Finney, The Grabber’s game of Naughty Boy, and Gwen being whipped with a belt by her father (you see him holding the belt and her crying, but we never see the contact). There’s artistry to leaving some things to the viewer’s imagination. In a time where horror has evolved into showing its audience every gruesome detail it’s become a forgotten art. It could also be a personal preference, but it feels like The Black Phone teases more than it reveals.
The writing of the film is as genius as it is ridiculous. Most of it is very good, especially with what Finney is building up to in the basement. The unveiling of the location of The Grabber’s house is silly though, especially since an entire police squad didn’t make the connection. Finney and Gwen’s mom is never seen since she’s passed during the events of the film, but she is mentioned. She apparently heard things and seen things that ended up in a fatal situation for her. Gwen has visions of The Grabber while she sleeps and Finney is able to receive phone calls from The Grabber’s victims because of the relation to their mom. This leads to one of the greatest lines in the film when Finney asks why no one has ever called before. “The phone rang, but no one heard it.”
Ethan Hawke’s performance is so mesmerizing that you wish he had more screen time. Even his motive behind what he intends to do with his victims is hinted at, but not really clarified. With all of the bodies piling up and the amount of phone calls Finney receives, the end result is always the same. The Grabber is slightly flamboyant in his demeanor and particular about how everything should play out. His mask and the fact that it resembles the comedy and tragedy masks that tend to symbolize the theater hint at this all being a performance for him. Things not going his way is like someone fumbling over their lines; it’s unforgivable.
Madeleine McGraw is not so secretly the best part of the film. Her career before The Black Phone has mostly been in voice acting (Cars 3, Toy Story 4, The Mitchells vs The Machines) and playing younger versions of other characters (Pacific Rim: Uprising, Ant-Man and the Wasp). McGraw gets a fair amount of screen time here and Gwen is an incredibly resourceful character and arguably the film’s biggest asset. McGraw’s performance is genuine as you believe every word she says. She’s hilarious as she has the best lines of dialogue in the film. Her portrayal of sadness and anguish is top notch as well as she has the most powerful and emotional sequence in the film that breaks your heart and only makes you sympathize with both her and Finney.
With supernatural dread lifted from the likes of Stir of Echoes and The Sixth Sense, The Black Phone features a breakthrough performance from Madeleine McGraw while Ethan Hawke’s hauntingly memorable turn as The Grabber is felt in a hair-raising sense; like someone who has unknowingly snuck up behind you and waits in your peripheral for that dramatic reveal. The Black Phone is a solid, pulse racing horror film that packs a punch, but seems like the type of film that simply won’t be as delectable on repeat viewings.
LeftSideCut (3778 KP) rated Doctor Strange (2016) in Movies
Feb 3, 2021
On the surface, you could argue that Doctor Strange isn't all that different from Iron Man in terms of structure. Rich, white dude with a goatee lives out his life, arrogantly full of himself until a life altering incident forces him to fight to survive, setting him on a path of betterment and redemption. Whilst this is unarguably true, the fact is that this movie is so much more than retreading familiar ground. Gone are the times where superhero movies play it safe. Guardians of the Galaxy may have knocked down the doors, but Doctor Strange takes the cosmic concept, and runs full speed with it. Marvel Studios have got to the point where they can make a movie about the Dark Dimension, the Mirror Dimension, the Sorcerer Supreme, Dormammu, the multiverse, and audiences will still lap it up, and I'm here for it.
Sinister director Scott Derrickson proves to be a smart choice, as he provides us a story that's humourous, full of heart, brimming with new lore, and is visually mind bending. The aesthetic if this movie is what sets it apart from its kin. Sure it doesn't stray too far from the Marvel formula, but it does something different. Many have compared it to Inception, which isn't an unfair note, and it makes for some wonderful looking set pieces.
Benedict Cumberbatch is picture perfect as Stephen Strange himself and is joined by a stellar supporting cast. Chiwetel Ejiofor, Tilda Swinton, Mads Mikkelsen, Benedict Wong, and Rachel McAdams are all great in their respective roles. Mikkelsen gives us a compelling villain in Kaecilius, jaded by an order he's followed for years and turning tail to pursue what he thinks is right (not to dissimilar to Thanos in that respect). We're also introduced briefly to Dormammu, which is certainly exciting to any fans of the comics. With the Infinity Saga all wrapped up, this could prove to be seed planting for a future big bad.
Doctor Strange could have easily just been another run of the mill origin story (which some believe it is, and that's ok!) but for me, it's so much more. It manages to build on Marvel lore, whilst teasing future story lines by flirting with the Multiverse and the Dark Dimension, all while never losing focus on its very human story. It's a fantastic first outing for one of Marvel's more out there characters and one of my favourites of the whole franchise.
Sinister director Scott Derrickson proves to be a smart choice, as he provides us a story that's humourous, full of heart, brimming with new lore, and is visually mind bending. The aesthetic if this movie is what sets it apart from its kin. Sure it doesn't stray too far from the Marvel formula, but it does something different. Many have compared it to Inception, which isn't an unfair note, and it makes for some wonderful looking set pieces.
Benedict Cumberbatch is picture perfect as Stephen Strange himself and is joined by a stellar supporting cast. Chiwetel Ejiofor, Tilda Swinton, Mads Mikkelsen, Benedict Wong, and Rachel McAdams are all great in their respective roles. Mikkelsen gives us a compelling villain in Kaecilius, jaded by an order he's followed for years and turning tail to pursue what he thinks is right (not to dissimilar to Thanos in that respect). We're also introduced briefly to Dormammu, which is certainly exciting to any fans of the comics. With the Infinity Saga all wrapped up, this could prove to be seed planting for a future big bad.
Doctor Strange could have easily just been another run of the mill origin story (which some believe it is, and that's ok!) but for me, it's so much more. It manages to build on Marvel lore, whilst teasing future story lines by flirting with the Multiverse and the Dark Dimension, all while never losing focus on its very human story. It's a fantastic first outing for one of Marvel's more out there characters and one of my favourites of the whole franchise.
Gareth von Kallenbach (965 KP) rated Doctor Strange (2016) in Movies
Jun 19, 2019
Doctor Stephan Strange (Benedict Cumberbatch), is a man of extremes. He is a brilliant and gifted surgeon who makes the impossible seem routine, but is also a self –centered egomaniac that spends money almost as fast as he makes it.
When a freak car accident deprives him of the use of his hands, his life spirals into self-pity and rage as he is no longer able to earn money at his profession nor accumulate the praise and accolades he has become accustomed to.
When one treatment after another fails to achieve any desired results and only serves to further deplete his dwindling resources, Strange heads to Nepal in search of a locale where a paraplegic was reported to make a full recovery after a visit. Although highly skeptical and arrogant, Strange is eventually taken in by The Ancient One (Tilda Swinton) who leads an order who protects Earth from other dimensions that would destroy all life as we know it.
Strange begins training in spells and archaic knowledge and in time becomes skilled at his craft although highly unwilling to get behind the true nature of his order as he sees his study as little more than a means to restore his hands and regain his former career.
When a rogue member of the order named Kaecillius (Mads Mikkelsen), and his followers begin a series of attacks designed to destroy the safeguards of Earth and bring a being of evil to earth from another dimension, Strange is forced into action and soon learns that the universe and the multiverse is threatened forcing him to reexamine his life and place in the grand scheme of things.
What follows is a thrilling adventure spanning multiple dimensions and the streets of London, New York and Hong Kong as Strange battles to save the day.
Marvel Studios has once again proved they have the Midas touch when it comes to their properties. Cumberbatch embodies the Doctor so well that he is a captivating and complex character who like many of the best Marvel characters is also a deeply flawed individual at his core.
Swinton does great work in her role as do Rachel McAdams, Chiwetel Ejiofor, and Benedict Wong in their supporting roles.
The film does take some time getting to the action but Director Scott Derrickson allows his characters the time to establish their history, relationships with one another, and the setting before getting to the very impressive effects and action.
There are two scenes during the credits that set the stage very well for future adventures for the Doctor as Marvel continues to weave their complex tapestry of characters into their ever expanding universe.
http://sknr.net/2016/11/02/doctor-stange/
When a freak car accident deprives him of the use of his hands, his life spirals into self-pity and rage as he is no longer able to earn money at his profession nor accumulate the praise and accolades he has become accustomed to.
When one treatment after another fails to achieve any desired results and only serves to further deplete his dwindling resources, Strange heads to Nepal in search of a locale where a paraplegic was reported to make a full recovery after a visit. Although highly skeptical and arrogant, Strange is eventually taken in by The Ancient One (Tilda Swinton) who leads an order who protects Earth from other dimensions that would destroy all life as we know it.
Strange begins training in spells and archaic knowledge and in time becomes skilled at his craft although highly unwilling to get behind the true nature of his order as he sees his study as little more than a means to restore his hands and regain his former career.
When a rogue member of the order named Kaecillius (Mads Mikkelsen), and his followers begin a series of attacks designed to destroy the safeguards of Earth and bring a being of evil to earth from another dimension, Strange is forced into action and soon learns that the universe and the multiverse is threatened forcing him to reexamine his life and place in the grand scheme of things.
What follows is a thrilling adventure spanning multiple dimensions and the streets of London, New York and Hong Kong as Strange battles to save the day.
Marvel Studios has once again proved they have the Midas touch when it comes to their properties. Cumberbatch embodies the Doctor so well that he is a captivating and complex character who like many of the best Marvel characters is also a deeply flawed individual at his core.
Swinton does great work in her role as do Rachel McAdams, Chiwetel Ejiofor, and Benedict Wong in their supporting roles.
The film does take some time getting to the action but Director Scott Derrickson allows his characters the time to establish their history, relationships with one another, and the setting before getting to the very impressive effects and action.
There are two scenes during the credits that set the stage very well for future adventures for the Doctor as Marvel continues to weave their complex tapestry of characters into their ever expanding universe.
http://sknr.net/2016/11/02/doctor-stange/
JT (287 KP) rated Sinister (2012) in Movies
Mar 10, 2020
Has the found footage genre been done to death? Some would very much say it has, yet they keep on churning the films out. One thing to note with many of these is the budget, films like Paranormal Activity and Insidious were made for a pittance yet generated millions at the box office.
This is the same for Sinister, made for $3m it grossed almost $80m and was one of the surprise hits of last year, of course films like this are not going to be everyone’s cup of tea, but I love a good scare now and again and here I wasn’t disappointed.
Ethan Hawke is the clear standout in this one, here he plays true crime writer Ellison Oswalt who is looking for his next big thing to thrust him into the limelight. He and his family move into a house which he tells them is only a few doors down from a gruesome murder of a family who were all hung from a tree in their back garden.
When he finds a box in his attic containing reels of super 8 film and a camera he soon discovers more grisly murders and that somehow they are all linked to each other. Add to that a mysterious figure who appears in all the films and you have a character who goes a little stir crazy in trying to uncover the truth.
His family are desperate to leave, not happy with the current surroundings they are thrown into even more turmoil when its revealed that the house Oswalt said was two doors down is actually the house they are living in at the moment, don’t you just hate when that happens?
Director Scott Derrickson builds solid amounts of tension throughout, most disturbing are the super 8 films that show a number of families being killed off (you’ll never look at a lawn mower in the same light again). But then you have the same old horror cliché’s slipping back into it, things going bump in the night which leave you waiting for that revealing moment which comes with a consistent bang.
You’d be forgiven for thinking that this might not actually be classed as found footage, certainly not in the same vein as maybe Paranormal Activity or The Blair Witch Project. We’re not viewing anything from the point of view that the characters in this are dead….yet, and the resulting film is their story. But it is ‘found footage’, in that Oswalt has uncovered these films in his attic.
What makes Sinister that bit more unnerving is the somber mood, lighting and camera angles. Not quite giving us the full picture we have to let our imagination stay a few steps ahead of us. The musical score then connects everything together to give us a real horror treat.
Hawke gives a solid performance, he’s a man very much on the edge and that fame is the answer to his future. He’ll succeed at whatever the cost, and the cost is ultimately a big one. The end reveal some might have seen coming a mile off, personally I wasn’t expecting it so it was a good finish to a film that had rattled the nerves a few times.
Produced by the same team that brought us Paranormal Activity and Insidious, it’s a low budget success that shows big budget horrors how it should be done.
This is the same for Sinister, made for $3m it grossed almost $80m and was one of the surprise hits of last year, of course films like this are not going to be everyone’s cup of tea, but I love a good scare now and again and here I wasn’t disappointed.
Ethan Hawke is the clear standout in this one, here he plays true crime writer Ellison Oswalt who is looking for his next big thing to thrust him into the limelight. He and his family move into a house which he tells them is only a few doors down from a gruesome murder of a family who were all hung from a tree in their back garden.
When he finds a box in his attic containing reels of super 8 film and a camera he soon discovers more grisly murders and that somehow they are all linked to each other. Add to that a mysterious figure who appears in all the films and you have a character who goes a little stir crazy in trying to uncover the truth.
His family are desperate to leave, not happy with the current surroundings they are thrown into even more turmoil when its revealed that the house Oswalt said was two doors down is actually the house they are living in at the moment, don’t you just hate when that happens?
Director Scott Derrickson builds solid amounts of tension throughout, most disturbing are the super 8 films that show a number of families being killed off (you’ll never look at a lawn mower in the same light again). But then you have the same old horror cliché’s slipping back into it, things going bump in the night which leave you waiting for that revealing moment which comes with a consistent bang.
You’d be forgiven for thinking that this might not actually be classed as found footage, certainly not in the same vein as maybe Paranormal Activity or The Blair Witch Project. We’re not viewing anything from the point of view that the characters in this are dead….yet, and the resulting film is their story. But it is ‘found footage’, in that Oswalt has uncovered these films in his attic.
What makes Sinister that bit more unnerving is the somber mood, lighting and camera angles. Not quite giving us the full picture we have to let our imagination stay a few steps ahead of us. The musical score then connects everything together to give us a real horror treat.
Hawke gives a solid performance, he’s a man very much on the edge and that fame is the answer to his future. He’ll succeed at whatever the cost, and the cost is ultimately a big one. The end reveal some might have seen coming a mile off, personally I wasn’t expecting it so it was a good finish to a film that had rattled the nerves a few times.
Produced by the same team that brought us Paranormal Activity and Insidious, it’s a low budget success that shows big budget horrors how it should be done.