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Ivana A. | Diary of Difference (1171 KP) rated Delusions in Books
Sep 14, 2018
A must-have for all the lovers of psychological thrillers and mysteries – this is a book that will show you a twisted side of a human being so well, that you will not know what happened once you reach the end! A masterpiece of a thriller – a delight for all the murder solvers out there!
''She remembered now. The deaths. They weren't just delusions planted in her mind by others. They were real.''
This book starts in an interrogation room, where two detectives are questioning Abigale about the murders that happened - and she is the main suspect. As the interrogation happens in the present, we follow the story in the past from Abigale's point of view, from the moment she moves into the new town.
The story and plot are so well set, and the past and present are so well connected that give you clues step by step, until you reach the grand ending, and nothing is as you expected. Even though I realised what is happening around the middle of the book, I still had to keep reading to find out whether it was true in the end.
This is, for certain, the best ending of a mystery book I have read so far!
The characters - some of them - are so twisted, and so psychologically unstable and scary, that it makes you wonder. Such possessiveness and anger, and twisted mind - Amy managed to perfectly such a rare condition. ( I am trying so hard here to stay away from all the spoilers.)
''Abigale wasn't the outgoing type. She'd rather sit in her room with her nose buried in a book than socialise with anyone outside her inner circle of friends, which was small to begin with.''
I wish I could connect with Abigale's character - but I just couldn't. That was the only flaw I had with this book. I didn't care enough for her, and for what was happening to her. The side characters were amazingly portrayed though - I enjoyed reading about Julia and Mike, and Damien - what an interesting character!
''There was something about him that made her feel alive and ready for anything, but there was another part that screamed danger. She wasn't sure she liked either half.''
The ending, as I already mentioned, was the best one I have read - it was so unexpected and so amazing - I can't explain that feeling of satisfaction when all the little pieces from the puzzle throughout the book finally come together - spectacular!
If you love mystery, psychological thrillers and good book that keeps you on your toes all the time - this is the book for you. I highly recommend it!
Thank you to the author, Amy Crandall, for sending me an e-copy of this book in exchange for an honest review.
''She remembered now. The deaths. They weren't just delusions planted in her mind by others. They were real.''
This book starts in an interrogation room, where two detectives are questioning Abigale about the murders that happened - and she is the main suspect. As the interrogation happens in the present, we follow the story in the past from Abigale's point of view, from the moment she moves into the new town.
The story and plot are so well set, and the past and present are so well connected that give you clues step by step, until you reach the grand ending, and nothing is as you expected. Even though I realised what is happening around the middle of the book, I still had to keep reading to find out whether it was true in the end.
This is, for certain, the best ending of a mystery book I have read so far!
The characters - some of them - are so twisted, and so psychologically unstable and scary, that it makes you wonder. Such possessiveness and anger, and twisted mind - Amy managed to perfectly such a rare condition. ( I am trying so hard here to stay away from all the spoilers.)
''Abigale wasn't the outgoing type. She'd rather sit in her room with her nose buried in a book than socialise with anyone outside her inner circle of friends, which was small to begin with.''
I wish I could connect with Abigale's character - but I just couldn't. That was the only flaw I had with this book. I didn't care enough for her, and for what was happening to her. The side characters were amazingly portrayed though - I enjoyed reading about Julia and Mike, and Damien - what an interesting character!
''There was something about him that made her feel alive and ready for anything, but there was another part that screamed danger. She wasn't sure she liked either half.''
The ending, as I already mentioned, was the best one I have read - it was so unexpected and so amazing - I can't explain that feeling of satisfaction when all the little pieces from the puzzle throughout the book finally come together - spectacular!
If you love mystery, psychological thrillers and good book that keeps you on your toes all the time - this is the book for you. I highly recommend it!
Thank you to the author, Amy Crandall, for sending me an e-copy of this book in exchange for an honest review.
BankofMarquis (1832 KP) rated Rope (1948) in Movies
Nov 15, 2018
Master Director working some Masterful Camerawork
For my next deep dive into a film of the "Master of Suspense", Alfred Hitchock, I thought I'd pull out a "one-trick pony" film of his, 1948's ROPE. Based on a stage play, HItchock decided to film this movie as it were a play - keeping the entire film in one location (an apartment) and to film it in (what appears to be) one long take.
And, darn it all, if he doesn't pull it off.
The film starts off with a murder, we see two young men (John Dall and Farley Granger) strangling their "inferior" friend. They then decide to hold a dinner party to see if anyone can tell that they have committed murder. Included in this party is the dead friend's girlfriend (Joan Chandler), his father (Sir Cedrick Hardwicke) and their old school teacher (James Stewart).
The fun of this film isn't "will they get caught", it's "how will they get caught - and by who". The cast is wonderful (especially Hardwicke) but they all take a back seat to the absolute stellar performance of Stewart who begins to piece together that something is amiss and turns the tide on the two murderers.
The real star of this film is Director HItchock and his camera. Since he decided to make this in one long take, it took a master of organization and logistics to pull this off, having stagehands move furniture and walls out of the way (and back in again) as the camera moved around. In 1948, a camera could only hold 10 minutes worth of film, so the "one long take" aspect of this is a trick, as it is really 8 takes with strategic timing of camera movements behind walls and backs to give the illusion of seamlessness.
The interesting thing of this "trick" is that you are totally at the control of what Hitchock wants you to see (and not see). There is a scene about 1/2 way through the film that completely ignores the action and the people in the scene and focuses on the trunk the body is in. It is a masterwork, and the tension of keeping your focus there throughout the course of this part of the film is scary, tense and mesmerizing.
One last thing, Hitchock makes a cameo in every one of his films. Try to tell where Hitch is in this film (and, no, it is not as someone walking by the apartment at the beginning of the movie).
Not one of Hitchock's best, plotwise, but one of his best, camera-wise. Well worth checking out.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)
And, darn it all, if he doesn't pull it off.
The film starts off with a murder, we see two young men (John Dall and Farley Granger) strangling their "inferior" friend. They then decide to hold a dinner party to see if anyone can tell that they have committed murder. Included in this party is the dead friend's girlfriend (Joan Chandler), his father (Sir Cedrick Hardwicke) and their old school teacher (James Stewart).
The fun of this film isn't "will they get caught", it's "how will they get caught - and by who". The cast is wonderful (especially Hardwicke) but they all take a back seat to the absolute stellar performance of Stewart who begins to piece together that something is amiss and turns the tide on the two murderers.
The real star of this film is Director HItchock and his camera. Since he decided to make this in one long take, it took a master of organization and logistics to pull this off, having stagehands move furniture and walls out of the way (and back in again) as the camera moved around. In 1948, a camera could only hold 10 minutes worth of film, so the "one long take" aspect of this is a trick, as it is really 8 takes with strategic timing of camera movements behind walls and backs to give the illusion of seamlessness.
The interesting thing of this "trick" is that you are totally at the control of what Hitchock wants you to see (and not see). There is a scene about 1/2 way through the film that completely ignores the action and the people in the scene and focuses on the trunk the body is in. It is a masterwork, and the tension of keeping your focus there throughout the course of this part of the film is scary, tense and mesmerizing.
One last thing, Hitchock makes a cameo in every one of his films. Try to tell where Hitch is in this film (and, no, it is not as someone walking by the apartment at the beginning of the movie).
Not one of Hitchock's best, plotwise, but one of his best, camera-wise. Well worth checking out.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)
Hazel (1853 KP) rated Videodrome: Days of O'Blivion in Books
Dec 17, 2018
<i>I received this book from the author in exchange for an honest review</i>
Written as a prequel to David Cronenberg’s horror film, Lee McGeorge explores the potential scenario that led up to the surrealist events in <i>Videodrome</i>. This short story is more science fiction than horror in nature as it only builds up the background and setting to the point in which the film begins.
<i>Days of O’Blivion</i>, as well as the original film, is set during the cold war between the US and USSR. It is a period of time threatened with atomic weapons of mass destruction, and the competition to create the most superior technology. In this particular scenario, two men: Professor Brian Olivier and his friend Barry have been experimenting with special television technology resulting in interesting outcomes. Their product, which they name <i>Veraceo</i> –a compound of Veracity and Video –, has the ability to make everyone believe what they are seeing on screen to be true. This could be a big boon to advertising establishments, however cause dire consequences if found in the wrong hands, i.e. communists.
Readers, including those unfamiliar with the film, should be able to ascertain several problems this technological advancement could pose, making it all the more foreboding when an unknown but powerful company pays out thousands of dollars to become partners with Brian and Barry. What makes it all the more ominous is Brian’s hesitancy in accepting the offer in contrast with Barry’s excitement. As the technology is adapted further it becomes clear that they are dealing with very dangerous concepts and people – hallucinations being only the smallest of side affects.
Although Lee McGeorge is using an already existing story, he makes this prequel his own by exploring the hows and whys <i>Veraceo</i> came to be developed. His narrative is accurate in terms of the way it builds up to coincide with the film script without damaging or giving new meaning to Cronenberg’s original storyline.
Although not horror as in scary, <i>Days of O’Blivion</i> contains many horrific scenes. Most of these are pornographic in nature and rather disturbing, particularly more so as the story progresses – something that lessened the general enjoyment of the book. The overall nature of the book (and film, probably) may appeal more towards a male market, particularly those with a less delicate temperament.
As with his previous books, which also incorporate pre-existing ideas, Lee McGeorge writes well in a way that engages the reader and even interests those without prior knowledge of the subject. There is also additional digital content alongside this book. Those lucky enough to own a paper back copy will be able to access these using an NFC enabled device.
Written as a prequel to David Cronenberg’s horror film, Lee McGeorge explores the potential scenario that led up to the surrealist events in <i>Videodrome</i>. This short story is more science fiction than horror in nature as it only builds up the background and setting to the point in which the film begins.
<i>Days of O’Blivion</i>, as well as the original film, is set during the cold war between the US and USSR. It is a period of time threatened with atomic weapons of mass destruction, and the competition to create the most superior technology. In this particular scenario, two men: Professor Brian Olivier and his friend Barry have been experimenting with special television technology resulting in interesting outcomes. Their product, which they name <i>Veraceo</i> –a compound of Veracity and Video –, has the ability to make everyone believe what they are seeing on screen to be true. This could be a big boon to advertising establishments, however cause dire consequences if found in the wrong hands, i.e. communists.
Readers, including those unfamiliar with the film, should be able to ascertain several problems this technological advancement could pose, making it all the more foreboding when an unknown but powerful company pays out thousands of dollars to become partners with Brian and Barry. What makes it all the more ominous is Brian’s hesitancy in accepting the offer in contrast with Barry’s excitement. As the technology is adapted further it becomes clear that they are dealing with very dangerous concepts and people – hallucinations being only the smallest of side affects.
Although Lee McGeorge is using an already existing story, he makes this prequel his own by exploring the hows and whys <i>Veraceo</i> came to be developed. His narrative is accurate in terms of the way it builds up to coincide with the film script without damaging or giving new meaning to Cronenberg’s original storyline.
Although not horror as in scary, <i>Days of O’Blivion</i> contains many horrific scenes. Most of these are pornographic in nature and rather disturbing, particularly more so as the story progresses – something that lessened the general enjoyment of the book. The overall nature of the book (and film, probably) may appeal more towards a male market, particularly those with a less delicate temperament.
As with his previous books, which also incorporate pre-existing ideas, Lee McGeorge writes well in a way that engages the reader and even interests those without prior knowledge of the subject. There is also additional digital content alongside this book. Those lucky enough to own a paper back copy will be able to access these using an NFC enabled device.
Gareth von Kallenbach (980 KP) rated Yes Man (2008) in Movies
Aug 14, 2019
Carl Allen (Jim Carrey) is a man that has shut himself away from life following a divorce. Despite the best efforts of his friends Peter (Bradley Cooper), and Rooney (Danny Masterson), Carl is content to keep his life to toiling away in a dead end banking job and limiting his social activity to renting DVDs and watching them at home alone.
Following another disappoint day at work where he learned that he is once again being overlooked for a promotion, Carl runs into an old friend who tells him about a seminar that changed his life and has freed him up to do and be what he wants.
With his curiosity peaked, Carl attends the seminar that is conducted by the charismatic Terrance Bundley (Terrance Stamp), who decides to make Carl his project, and tells him that he must agree to say yes to things that are offered to him. Although reluctant, Carl takes the advice and says yes to the first thing he is asked, which is to give a ride to a stranger.
The chance ride and resulting situations that follow lead Carl to meet a quirky and attractive lady named Allison (Zooey Deschanel), who intrigues Carl. The next day, Carl learns that he is getting the promotion and despite getting into some outrageous and at times, scary situations, he continues to say Yes to everything that is offered to him, as he fears the consequences of breaking the covenant of yes.
Carl eventually meets up with Allison again and learns that she spends her evenings singing in a unique band, and the two begin a relationship soon after. What follows is a very funny and amusing story that tracks the crazy events that follow Carl as he begins to open himself not only to Allison but to the possibilities that life presents to him every day when one makes themselves open to new possibilities.
The film is based on the book by Danny Wallace which covers his exploits when he decided to yes to everything thing presented to him for one year. While the film has little in common with the book aside from the title and saying yes premise.
“Yes Man” is Carrey’s best film in years and is a triumphant return to the comedy films that made him such a huge success. He plays Carl with a very likeable and easygoing manner that makes him easy to root for and his energetic performance once again proves beyond a shadow of a doubt that he is one of the most gifted comedians of our generation.
Despite the differences in their ages, Carrey and Deschanel make a winning combination and the strong supporting cast anchored by Stamp, Cooper, and Rhys Darby make this a very funny and enjoyable comedy.
Following another disappoint day at work where he learned that he is once again being overlooked for a promotion, Carl runs into an old friend who tells him about a seminar that changed his life and has freed him up to do and be what he wants.
With his curiosity peaked, Carl attends the seminar that is conducted by the charismatic Terrance Bundley (Terrance Stamp), who decides to make Carl his project, and tells him that he must agree to say yes to things that are offered to him. Although reluctant, Carl takes the advice and says yes to the first thing he is asked, which is to give a ride to a stranger.
The chance ride and resulting situations that follow lead Carl to meet a quirky and attractive lady named Allison (Zooey Deschanel), who intrigues Carl. The next day, Carl learns that he is getting the promotion and despite getting into some outrageous and at times, scary situations, he continues to say Yes to everything that is offered to him, as he fears the consequences of breaking the covenant of yes.
Carl eventually meets up with Allison again and learns that she spends her evenings singing in a unique band, and the two begin a relationship soon after. What follows is a very funny and amusing story that tracks the crazy events that follow Carl as he begins to open himself not only to Allison but to the possibilities that life presents to him every day when one makes themselves open to new possibilities.
The film is based on the book by Danny Wallace which covers his exploits when he decided to yes to everything thing presented to him for one year. While the film has little in common with the book aside from the title and saying yes premise.
“Yes Man” is Carrey’s best film in years and is a triumphant return to the comedy films that made him such a huge success. He plays Carl with a very likeable and easygoing manner that makes him easy to root for and his energetic performance once again proves beyond a shadow of a doubt that he is one of the most gifted comedians of our generation.
Despite the differences in their ages, Carrey and Deschanel make a winning combination and the strong supporting cast anchored by Stamp, Cooper, and Rhys Darby make this a very funny and enjoyable comedy.
Gareth von Kallenbach (980 KP) rated Ouija: Origin of Evil (2016) in Movies
Jul 15, 2019
As a huge fan of supernatural horror films I was really looking forward to screening Ouija: Origins of Evil. I had hoped that this film would make up to it’s unsuccessful predecessor. I think the last big box horror movie that I thoroughly enjoyed was The Conjuring 2. I can’t say that I was surprised with being a little disappointed with this film.
As always, some of the best scenes in any film are usually displayed in the trailer to reel us in and that’s precisely what happened.
The film is based in 1965 with a young widowed mother Alice (Elizabeth Reaser) raising two daughters Paulina and Doris. Alice and the girls use old school seance scams to make ends meet.
The somewhat rebellious teen daughter Paulina sneaks out to a party where a Ouija board is used and suggests that her mother should buy one and add it to the act. Her mother decides that it just might be what they need to liven up the show. Thinking that this would only be one of her many parlor tricks she buys one.
While setting up the board for a practice session she decides to see if it might actually work. She doesn’t realize that she has now opened a can of worms and her youngest daughter Doris is in the throws of a malevolent force.
Is it the board, is it the house, is it their father. With the help of their school priest they are able to understand what is truly happening.
The film in a whole was just okay, not the best but not the worst either. The problem that I had with it specifically was how long you have to get through to get to the scary parts of the film. I was hopeful that it would get better and to my surprise it did.
Yes the lines weren’t great but the cast seemed fitting for their characters. Elizabeth Reaser who I’ve had the pleasure of meeting was perfect as Alice and the young girls as well. I don’t usually go on about editing and lighting but I must say that I really enjoyed the cinematography in the film. The drab colors and filming techniques were very well executed and added to the 60’s style horror films of the past.
In all honesty I would recommend seeing this in theaters. With the energy of the audience and darkness of the theater it makes for a fun and spooky Halloween event.
Just be aware that the build up to the better scenes is long and drawn out. The jump scares are few and far between however it still is worth a watch.
As always, some of the best scenes in any film are usually displayed in the trailer to reel us in and that’s precisely what happened.
The film is based in 1965 with a young widowed mother Alice (Elizabeth Reaser) raising two daughters Paulina and Doris. Alice and the girls use old school seance scams to make ends meet.
The somewhat rebellious teen daughter Paulina sneaks out to a party where a Ouija board is used and suggests that her mother should buy one and add it to the act. Her mother decides that it just might be what they need to liven up the show. Thinking that this would only be one of her many parlor tricks she buys one.
While setting up the board for a practice session she decides to see if it might actually work. She doesn’t realize that she has now opened a can of worms and her youngest daughter Doris is in the throws of a malevolent force.
Is it the board, is it the house, is it their father. With the help of their school priest they are able to understand what is truly happening.
The film in a whole was just okay, not the best but not the worst either. The problem that I had with it specifically was how long you have to get through to get to the scary parts of the film. I was hopeful that it would get better and to my surprise it did.
Yes the lines weren’t great but the cast seemed fitting for their characters. Elizabeth Reaser who I’ve had the pleasure of meeting was perfect as Alice and the young girls as well. I don’t usually go on about editing and lighting but I must say that I really enjoyed the cinematography in the film. The drab colors and filming techniques were very well executed and added to the 60’s style horror films of the past.
In all honesty I would recommend seeing this in theaters. With the energy of the audience and darkness of the theater it makes for a fun and spooky Halloween event.
Just be aware that the build up to the better scenes is long and drawn out. The jump scares are few and far between however it still is worth a watch.
The Craggus (360 KP) rated The Queens Corgi (2019) in Movies
Jul 8, 2019
The Queen's Corgi is a vicious mongrel
There’re so many problematic aspects to “The Queen’s Corgi” it’s kind of baffling it ever made it to cinema screens. A cute cartoon fable about the Queen’s beloved pets may seem like a slam-dunk for the Saturday kid’s club crowd and, if you’re determined to see it, it’s definitely worth waiting for it to reach the bargain screening circuit. Nobody should pay full price to see this.
At its core, it’s a story of Rex (Jack Whitehall), an adorable but arrogant Corgi who lets being the ‘top dog’ go to his head and ends up in the doghouse, stranded outside the Palace and at the mercy of the ferocious leader of the pack at the local dog pound. So far, so predictable.
Where “The Queen’s Corgi” surprises is in its decision to include in cutesy cartoon the divisive figure of President Trump and his current wife, especially as it involves the real-life self-confessed sexual predator in a sub-plot about mating his (fictional) Corgi with one of the Queen’s pets, a storyline rife with casual coercion and canine sexual assault. From that tawdry and uncomfortable opening, we progress onwards to the meat of the plot which sees Rex encounter an underground dogfighting ring operating at the Pound.
Add in a couple of pretty scary sequences involving nearly getting run over, a surprisingly graphic near-drowning and an attempted murder by arson and you start to understand why this European production has been rated PG when its subject should be an easy-U. It earns it.
Some of this will, of course, pass over the heads of younger children, at least on a conscious level, but there’s such a nasty undertone to the whole movie that you should be thinking twice about seeing it. To UK children, of course, Donald Trump is something of a distant, already cartoonish figure, possibly a bit of a bogeyman but the casual humanisation and normalising of a figure like Trump is a dangerous and slippery slope (as Jimmy Kimmel can attest to) and sets an unpleasant precedent for future ‘family entertainment’. The fact that it pokes fun at him up to and including him getting bitten in the dick by a Corgi doesn’t mitigate his appearance, it just makes it more inappropriate.
I’m genuinely surprised this has been allowed to pass without comment from the Royal Household but perhaps they hope it will quickly fade into obscurity, even though this would benefit from a more activist Royal prerogative – this is one movie that should be sent to The Tower for the rest of its life.
At its core, it’s a story of Rex (Jack Whitehall), an adorable but arrogant Corgi who lets being the ‘top dog’ go to his head and ends up in the doghouse, stranded outside the Palace and at the mercy of the ferocious leader of the pack at the local dog pound. So far, so predictable.
Where “The Queen’s Corgi” surprises is in its decision to include in cutesy cartoon the divisive figure of President Trump and his current wife, especially as it involves the real-life self-confessed sexual predator in a sub-plot about mating his (fictional) Corgi with one of the Queen’s pets, a storyline rife with casual coercion and canine sexual assault. From that tawdry and uncomfortable opening, we progress onwards to the meat of the plot which sees Rex encounter an underground dogfighting ring operating at the Pound.
Add in a couple of pretty scary sequences involving nearly getting run over, a surprisingly graphic near-drowning and an attempted murder by arson and you start to understand why this European production has been rated PG when its subject should be an easy-U. It earns it.
Some of this will, of course, pass over the heads of younger children, at least on a conscious level, but there’s such a nasty undertone to the whole movie that you should be thinking twice about seeing it. To UK children, of course, Donald Trump is something of a distant, already cartoonish figure, possibly a bit of a bogeyman but the casual humanisation and normalising of a figure like Trump is a dangerous and slippery slope (as Jimmy Kimmel can attest to) and sets an unpleasant precedent for future ‘family entertainment’. The fact that it pokes fun at him up to and including him getting bitten in the dick by a Corgi doesn’t mitigate his appearance, it just makes it more inappropriate.
I’m genuinely surprised this has been allowed to pass without comment from the Royal Household but perhaps they hope it will quickly fade into obscurity, even though this would benefit from a more activist Royal prerogative – this is one movie that should be sent to The Tower for the rest of its life.
365Flicks (235 KP) rated Bornless Ones (2016) in Movies
Nov 20, 2019
Take 4 Outrageously good looking guys and gals, A 5th guy with some sort of life challenging disease… Move them into a new out of the way house with a secret history, not to far from an Institution, Have them desecrate and destroy what look to be supernatural symbols boarding up the windows and you have Bornless Ones… Oh and there is scary possession, Craziness and a fair bit of really well done gore, Seriously well done Gore!!!
Now that’s not to say that this movie lacks originality in any way because it really does not. Ok we may have seen the creepy house in the middle of nowhere that scares the crap out of its occupants before, but can we really ever get too much of that. The difference I found was that Bornless Ones is in many ways a spiritual cousin to movies like Evil Dead and in many ways actually betters what has come before in its Genre. One of those ways is the performance our cast put in.
Emily (Margaret Judson – The Newsroom) has decided that she cant look after her Cerebal Palsy suffering brother Zach (Micheal Johnston – MTV’s Teen Wolf) anymore, she is going to move him to an institution. However fearing he is going to be too far away from her, Emily and her boyfriend Jesse (Devin Goodsell) buy a house nearby, the house has a past. Emily and Jesse are accompanied by there friends Woodrow (Mark Furze – Home and Away, Underbelly) and Michelle (Bobby T) to help them move in. That’s when the movie cranks it up to 11 and everything goes nuts as our core characters are taken hold of by a paranormal force one by one and must fight for survival.
My horror kick has absolutely continued into 2017 and Bornless Ones was a fantastic place to start. Its a hell of a lot more Evil Dead than the Evil Dead Remake which sucked and this movie really had me in from the start. It does help that it wastes no time at all, no sooner had they all moved in and the shenanigans began.
Alexander Babaev has done a great job on Directing and Writing with this movie and while it falls into the Indie bracket of movies it deserves to be seen by a wider audience. The acting from our core cast is better than you might expect, infact they all smash it out of the park. The acting once possession has taken hold is creepy as shit and utterly compelling.
Bornless Ones is definitely worth a watch if you are a fan of this genre, it is a lot better than most of the possession movies coming out these days. Give it a try…
Now that’s not to say that this movie lacks originality in any way because it really does not. Ok we may have seen the creepy house in the middle of nowhere that scares the crap out of its occupants before, but can we really ever get too much of that. The difference I found was that Bornless Ones is in many ways a spiritual cousin to movies like Evil Dead and in many ways actually betters what has come before in its Genre. One of those ways is the performance our cast put in.
Emily (Margaret Judson – The Newsroom) has decided that she cant look after her Cerebal Palsy suffering brother Zach (Micheal Johnston – MTV’s Teen Wolf) anymore, she is going to move him to an institution. However fearing he is going to be too far away from her, Emily and her boyfriend Jesse (Devin Goodsell) buy a house nearby, the house has a past. Emily and Jesse are accompanied by there friends Woodrow (Mark Furze – Home and Away, Underbelly) and Michelle (Bobby T) to help them move in. That’s when the movie cranks it up to 11 and everything goes nuts as our core characters are taken hold of by a paranormal force one by one and must fight for survival.
My horror kick has absolutely continued into 2017 and Bornless Ones was a fantastic place to start. Its a hell of a lot more Evil Dead than the Evil Dead Remake which sucked and this movie really had me in from the start. It does help that it wastes no time at all, no sooner had they all moved in and the shenanigans began.
Alexander Babaev has done a great job on Directing and Writing with this movie and while it falls into the Indie bracket of movies it deserves to be seen by a wider audience. The acting from our core cast is better than you might expect, infact they all smash it out of the park. The acting once possession has taken hold is creepy as shit and utterly compelling.
Bornless Ones is definitely worth a watch if you are a fan of this genre, it is a lot better than most of the possession movies coming out these days. Give it a try…
LeftSideCut (3778 KP) rated Don't Breathe (2016) in Movies
Feb 22, 2020 (Updated Feb 22, 2020)
For the most part, Don't Breathe is a really tight gem of a thriller with some decent horror elements throughout.
The movie revolves around three thieves - Rocky (Jane Levy), Alex (Dylan Minnette) and Money (Daniel Zovatto) trying to steal themselves enough valuables to be able to move away from their home city of Detroit.
When they hear about a sizable stash of cash hidden in the house of a blind war veteran (Stephen Lang), they get to work on what they assume will be an easy score. Things go rapidly downhill as it becomes apparent that The Blind Man isn't as helpless as they thought, and they become Tangled in a game of cat and mouse as they try to escape with their lives.
Don't Breathe is an incredibly tense film. It's dimly lit set pieces and it's frequently silent atmosphere are hugely effective. Director Fede Alvarez provides continuously great shots throughout (there's an extended sequence around the mid point which takes place in total darkness which is a particular highlight) and utilizes the small set (95% of the film takes place in The Blind Man's house) fantastically.
The cast are pretty good as well. The three thieves are both likable and dislikable at the appropriate moments, and serve their purpose well. Jane Levy is the stand out of the three, playing the role of 'the final girl' with a satisfying mixture of being terrified, vulnerable, and a strong survivalist all at once.
Stephen Lang is the MVP here though. He steals the show as The Blind Man, and manages to portray a genuinely batshit-scary movie monster, well at the same time, being a tragic and sympathetic characters.
This is one of the main strengths if the whole movie actually. Both The Blind Man and the set of thieves are portrayed as characters we should be siding with at one point or another, and then it will flip it over and give us the reverse one point later. The moral compass of who is to root for is in constant flux, and lends the narrative a unique edge.
My main criticism here though is the films final third. After being a stupidly tense thriller and a fight for survival for an hour, Don't Breathe gets a little silly towards it's climax, and downright gratuitous in parts, (the turkey baster to the face ffs!?).
There's not a huge amount of gore in display, so it doesn't quite fall into torture-porn territory, but the vibe is quite similar, and it tarnishes what is otherwise a pretty decent horror.
Overall though, Don't Breathe is worth a watch if you have any passing interest at all in thrillers or horror. With the news of a sequel in the way, I'm excited to see where the story will go.
The movie revolves around three thieves - Rocky (Jane Levy), Alex (Dylan Minnette) and Money (Daniel Zovatto) trying to steal themselves enough valuables to be able to move away from their home city of Detroit.
When they hear about a sizable stash of cash hidden in the house of a blind war veteran (Stephen Lang), they get to work on what they assume will be an easy score. Things go rapidly downhill as it becomes apparent that The Blind Man isn't as helpless as they thought, and they become Tangled in a game of cat and mouse as they try to escape with their lives.
Don't Breathe is an incredibly tense film. It's dimly lit set pieces and it's frequently silent atmosphere are hugely effective. Director Fede Alvarez provides continuously great shots throughout (there's an extended sequence around the mid point which takes place in total darkness which is a particular highlight) and utilizes the small set (95% of the film takes place in The Blind Man's house) fantastically.
The cast are pretty good as well. The three thieves are both likable and dislikable at the appropriate moments, and serve their purpose well. Jane Levy is the stand out of the three, playing the role of 'the final girl' with a satisfying mixture of being terrified, vulnerable, and a strong survivalist all at once.
Stephen Lang is the MVP here though. He steals the show as The Blind Man, and manages to portray a genuinely batshit-scary movie monster, well at the same time, being a tragic and sympathetic characters.
This is one of the main strengths if the whole movie actually. Both The Blind Man and the set of thieves are portrayed as characters we should be siding with at one point or another, and then it will flip it over and give us the reverse one point later. The moral compass of who is to root for is in constant flux, and lends the narrative a unique edge.
My main criticism here though is the films final third. After being a stupidly tense thriller and a fight for survival for an hour, Don't Breathe gets a little silly towards it's climax, and downright gratuitous in parts, (the turkey baster to the face ffs!?).
There's not a huge amount of gore in display, so it doesn't quite fall into torture-porn territory, but the vibe is quite similar, and it tarnishes what is otherwise a pretty decent horror.
Overall though, Don't Breathe is worth a watch if you have any passing interest at all in thrillers or horror. With the news of a sequel in the way, I'm excited to see where the story will go.
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