Friday, July 26

Fantasia International Film Festival - The Beast Within Film Review

 


THE BEAST WITHIN

Director: Alexander J. Farrell
Writers: Greer Ellison, Alexander J. Farrell

 

Starting off THE BEAST WITHIN with a quote from the Cherokee legend Two Wolves, “There are two wolves, and they are always fighting,” is the perfect way to set the stage for this family tragedy disguised as a fairy tale.

Set in the isolated countryside of England, Noah (Kit Harington) is a father with a secret that he is desperately trying to keep under control. His mysterious excursions at night leave his ailing daughter Willow (Caoilinn Springall) plagued with questions.

The old, timeless house in the woods that she lives in with her caring mother, Imogen, (Ashleigh Cummings) and absent father feels more like a haunted castle than a loving home.

As Willow investigates her father’s bizarre and dark behavior, a monstrous figure emerges from the shadows, terrorizing those who encounter it.

Supported by her grandfather, Waylon, (James Cosmo), Willow attempts to unravel the mysteries of the creature, and the revelations that she discovers will rock her family and leave her forever changed.

THE BEAST WITHIN is a very well-done metaphor for domestic abuse.

As the viewer, you only get a sense of what is going on with this family through Willow’s perspective. At times, Willow is happy go luck; other times she is walking on eggshells.

The setting and use of Harewood Woods and Castle provide this dark story with the right fairy tale vibe, so the audience feels a sense of magic and danger.

The acting and charisma with every actor cements the realistic family tragedy.

Very specific, well-acted lines from Noah and Imogen, provide the audience clues that this is not your traditional lycanthrope story.

Lines that signal red flags to an intense final battle between the two wolves include:

 “Don’t ever leave me again.” – Noah to Imogen

“Nothing changes.” – both Noah and Imogen to each other

“I love you when you’re like this.” – Imogen to Noah

At the climax of the film, viewers get the full reveal of Noah. Some fans may mock the reveal because it doesn’t fit certain horror standards.

But this particular werewolf fits the story. There’s a certain loyal, caring canine look that again hints at the internal struggle.

And then the viewers get the truth in the last couple minutes of the film, and immediately go through their own struggle to process what was just revealed.

Director Alexander J. Farrell wanted to create a film that didn’t just scare but showcased the intensity of real-world complications. THE BEAST WITHIN hits those marks in wolf’s clothing.

And personally, as someone who dated a narcissist/emotional abuser, I felt seen and heard.

Because the abuser always finds something else to blame but themselves.

And it takes its toll on everyone around them.

Thursday, July 25

Fantasia International Film Festival - Kryptic Review

KRYPTIC

Director: Kourtney Roy
Writer: Paul Bromley

 

The name KRYPTIC fits this film to a tee.

It starts off tame, then throws you deep down the rabbit hole, and ends in a redemption arc.

Clad in a pink windbreaker, Kay Hall (Chloe Pirrie) joins a group of women on a nature hike to Krypto Peak. The area is known for cryptids and an extensive list of missing women. One of those women happens to be renowned cryptozoologist Barbara Valentine (who could be Kay’s doppelganger).

When Kay strays from the group, she encounters the mysterious Sooka, and forgets who she is as she emerges from the forest.

Kay then becomes obsessed with finding Barbara Valentine and uncovering the truth behind her disappearance and the Sooka. Her journey introduces her to a variety of strangers and even more questions as to what is happening thanks to sexual encounters that push her deeper down wonderland.

In the final act, Kay meets up with Barbara’s husband (Jeff Gladstone) and finally gets a glimpse into the truth behind all these missing women.

There is a lot to take in with this film as it progresses, and at times it can be a bit infuriating – especially with the editing tactic of the sex scenes. They seem like a key piece to putting the puzzle together but it’s not until you see the last sex scene that the pieces seem to finally fit.

Another specific filming tactic in KRYPTIC is the use of the color red. It’s everywhere.

There are red jackets in forest by Sooka area, a special red fungus only found on Krypto Peak, red lighting in the dive bar, red dress on the hotel owner, a red flashlight used in the forest at night, and of course, blood – providing the viewer a sense of lust, danger, and aggression throughout.

But the strongest bit by far in this film is the final act. Throughout the film there are references to time portals where the Sooka lives and urban legends about some women returning through the portals to a different, better life.

The time portal information hits hard once you get a glimpse into Barbara’s real life and her interactions with her husband. He even asks her why she keeps disappearing. That’s when you immediately understand these women were possibly disappearing of their own free will after their first experience with the Sooka.

They wanted a better life for themselves, and based on what was briefly shown of Barbara’s, they rightfully deserved it.

This film has a lot to offer in terms of female empowerment. But not all viewers will catch on.

Monday, July 22

Fantasia International Film Festival - Opening Weekend Films

 Fantasia International Film Festival
Opening Weekend Films


The opening weekend of Fantasia International Film Festival was a success and already left its impression on me.

I’ll start you off with these two appetizing film reviews and will continue to provide you with a feast of unique film reviews throughout the next couple weeks.

 

CARNAGE FOR CHRISTMAS

Director: Alice Maio Mackay

Writers: Alice Maio Mackay and Benjamin Pahl Robinson

 


Alice Maio Mackay, (SATRANIC PANIC, T BLOCKERS) presented her sixth feature film CARNAGE FOR CHRISTMAS at this year’s Fantasia International Film Festival.

Mackay is known for giving perspective of what it’s like to fight for your life while being queer and transgender in bigoted towns on the big screen.

And CARNAGE FOR CHRISTMAS is no different.

When true-crime podcaster Lola (Jeremy Moineau) visits her hometown at Christmas for the first time since running away and transitioning, the vengeful ghost of urban legend, The Toy Maker, arises to kill again.

After her sister’s roommate goes missing and is discovered dismembered, Lola inserts herself into the situation and decides she must solve the case before her community is slaughtered.

Unfortunately for Lola, she’s against not only a psychotic killer, but a town haunted by secrets.

In the opening scene, we see Lola at her best, taking the lead on her podcast and portraying herself as a subject matter expert when it comes to true crime. And Moineau does a fantastic job portraying her in that role.

But as the film goes on, it becomes clear that Lola has too much story to tell, and she no longer comes off as an expert but a bitchy Nancy Drew.

Additionally, with having carnage in the film title, there just wasn’t enough of it. In fact, the coolest carnage scene didn’t occur until ¾ of the way into the film – and at that point as a viewer I wasn’t exactly following all the back story Lola provided for me to feel invested in these killings, or her own agenda.

I wanted more of the Toy Maker and got coal instead.

If Mackay had gone more towards a THANKSGIVING-style holiday gore fest with a simpler story line, I think this film could have left a little bit better impression on me. It just wasn’t jingling my bells for the expectations I had.


THE OLD MAN AND THE DEMON SWORD

Writer/Director: Fábio Powers

 


I want you to picture your favorite large sword from your favorite anime. And then I want you find this gem of a genre film, THE OLD MAN AND THE DEMON SWORD, and rethink which sword you’d want to own.

Inspired by Portuguese legends and a tribute to American B-movies and tokusatsu, THE OLD MAN AND THE DEMON SWORD is 63 minutes of pure cheesy fun.

In the remote village of Pé da Serra in the mountains of Portugal, we first meet a monk wielding a demonic sword. We quickly learn the sword and monk made a pact to fight off specific evil threats.

But local town drunk, António da Luz, puts himself in the middle of the initial fight and soon finds himself wielding the sword next.

Together, António and the sword will have to learn how to count on one another to fight the encroaching evil.

The overall vibe of this film is very Mystery Science Theater 3000. It’s low budget, provides hilarious costumed evil spirits and special effect monsters that look like a CGI mash up of Ray Harryhausen creations. The coolest of the practical/special effects is by far the demon sword that wants to own the scenes but is better at being the companion to António.

Most of the scenes are just flat out hilarious - including one in particular where António takes a bathroom break from training with the sword only to piss a very large stream of urine that brings a forest spirit to life. I seriously can’t make this up.

And while you’re laughing at how cheesy it all is, the dialog between the sword and António is well thought-out and becomes very heartfelt. We even get deep moments around grief, religion, good vs evil, and empathy.

You fall for António's charm and root whole-heartedly for him. 

Then Powers hits you with a fourth wall surprise that just puts the cherry on top of such a unique genre film.

This will be a film I have to have to show others after a couple of rounds. It’s just too much fun not to share.