Sacrifice (2016): Slow Moving Thriller (Review)

Rafa Mitchell in Sacrifice

Based on SJ Bolton’s debut novel  of the same name Sacrifice was directed by Peter A. Dowling (who also wrote the screenplay) and stars Radha Mitchell and Rupert Graves. It is a slow moving thriller set on a small island community in Shetland, Scotland.  

Filmed, in part, in Ireland and Shetland the movie is part The Wicker Man, part The Stepford Wives and part gothic fiction.  Mitchell plays Dr. Tora Hamilton an American woman whose body has rejected three pregnancies.

After the last spontaneous miscarriage she and her husband Duncan return to his familial home on the small Shetland island of Unst.  The couple are made welcome and she starts working at a local hospital.

Burying a dead horse on their property, Tara discovers what is initially thought to be a “peat body.” The preserved corpse of a woman with runes on her body and the heart cut from her chest. The corpse shows that the woman gave birth before dying. Tara is more than a little intrigued.

She believes that the victim is not from hundreds of years ago but is a woman murdered quite recently.

The only other person on the island who believes Tara is justified in her belief is policewoman Sergeant Dana Tulloch (Joanne Crawford).  The doctor has an uphill battle as she struggles to find out who the victim really is and who killed her. 

Sacrifice is very slow paced. It has only one brief car chase and there is not a huge onscreen body count. This is a mystery thriller which relies on old fashioned detective work from the American doctor who Nancy Drew’s her way through the film.

At its core this is an armchair mystery, reminiscent of Agatha Christie but with a protagonist that is more learned than Miss Marple yet not as astute as Hercule Poirot. The amateur detective does follow her hunches however and finally sorts out the truth.

Sacrifice could also be seen as a cautionary tale. Do not marry foreigners who come from small islands in Scotland could be the underlying theme. It is interesting to note that all the characters have very soft Scottish accents and are quite easy to understand.

As thrillers go the film is interesting and has some tense moments. The storyline was interesting enough that one wanted to learn the truth along with Tara.  If there is any fault to be found, outside the almost excruciatingly slow pace, would be the lighting at the film’s climax. It really was too dark.

Mitchell, as usual, was on point as the American doctor trying to get past three miscarriages and solve a mystery.  Graves was also spot on as the loving husband with a secret.

The entire cast was full of performers with splendid bona fides. David Robb and  Ian McElhinney were but two of the actors with a long list of credits to their names. 

The movie  may have come unstuck with its choice of location, using a real place versus a fictional version of same, but it all looks good to those not familiar with the area.

Sacrifice is a solid 3.5 stars.  It offered enough mystery to keep things going but lacked any real fire. For those who like a little adrenaline in their thrillers, will be disappointed.  Check out the trailer and see what you think.

The film is currently streaming on Netflix.

The Blood Lands (2015): Aka White Settlers – Real Estate Horror (Review)

Screen shot from The Blood Lands

Written by Ian Fenton (Emmerdale, Byker Grove) and directed by Simeon Halligan (His second feature length film.) The Blood Lands, aka White Settlers is more a sly dig at real estate than a straight up horror film.  At the time of its release, the film caused a bit of a stir as the Scottish Referendum was making headlines. 

But strip away the Scottish national issues and it all boils down to the British housing market and how big money from the cities make buying properties more than difficult.

Pollyanna Macintosh (Exam, Let Us Prey)  and Lee Williams (When Calls the Heart, Grantchester) are Sarah and Ed. A couple  from the city who travel to the wilds of Scotland to  buy a dilapidated pig farm that  was repossess by the bank. 

A property that has been in one family for generations now belongs to them.  Out in the middle of nowhere, the farm is isolated and their first night in the house turns into a nightmare. A group of men, in pig masks invade the home and  they fight to stay alive.

The horror film has been credited with mirroring the Scottish sentiment about leaving Britain.  That the movie was released at the same time as the referendum was, perhaps, more serendipitous than purposeful.

Anyone who has attempted, or actually purchased, a home in England will know about house prices.  After the bottom dropped out of the market in the ’90s prices once again skyrocketed.  Prospective home owners got into bidding wars and often local denizens of villages across the country lost out to big city money.

(The problem was so bad at one point that local councils built houses specifically for young local people to buy.)

In Scotland, and  quite often in England, there was a practice called “gazumping”  which meant that after a price for a house and been agreed upon, another party could offer more money and then “gazump” the people who thought they had bought the house.

Property prices have far exceeded what most first time buyers can afford.  Some areas are more expensive than others. Suffolk, which Ed mentions early on in the film, is one of the most expensive places to buy a home in the United Kingdom.

In that area of the country a  lot of Londoners buy houses driving prices up and forcing the locals out of the market. At the start of the film, there is a notice that it was influenced by real events. It is the city folks forcing prices up that the filmmakers are on about.

The Blood Lands really is a wry look at the housing market in a country where houses skyrocketed in value and kept many first time buyers from getting on the ladder. The same issues apply in this story, a family farm was repossessed and the family could not afford to purchase the property. They then decide to chase out the couple who did buy the farmhouse.

The film is taut and starts off with a few laughs. The couple are cute and funny together. McIntosh and Williams have a splendid chemistry together and their lines, at the start, are funny.

Halligan delivers a brilliantly paced horror film.  At 79 minutes long, The Blood Lands races along and offers more than a few nail biting moments. The ending is a bit ambiguous but does not detract from the film at all.

The Blood Lands  is streaming on Netflix at the moment. This is a 4 star film that delivers an entertaining and tense thriller/horror.  Have  a look at the trailer and see what you think.

Kill Kane (2016): No Budget Thriller With Vinnie Jones (Review)

Vinnie Jones in Kill Kane

Not having a discernible budget means little in the overall scheme of things.  “Kill Kane,” starring Vinnie Jones could have been an edge of the seat thriller.  Shane Meadows, for example, made the brilliant Dead Man’s Shoes (with Paddy Considine and Toby Kebbel) for a pittance and the film was unforgettable.

Director Adam Stephen Kelly, helming his first feature length film did not strike cinematic gold for a myriad of reasons. Kelly co-wrote the movie with Christian Sellers and Andrew Jones and this may well be a case of too many cooks spoiling the broth.

“Kill Kane” is a revenge film. Told haltingly via flashbacks and slow plodding scenes between all the characters. Vinnie Jones is P.E. teacher Ray Brookes. Ray is married with a wife and two kids. While out driving with his missus, the couple stop to consult a map. Brookes investigates some criminal activities in the industrial estate and witnesses a murder. 

His family are executed and only he survives after being induced into a three month coma. Ray wants revenge and he sets about getting it.

Jones as actor literally does best when he has little dialogue. (With the right lines and direction Vinnie can act his little cotton socks off, check out ABCs Galavant.) In this instance the former bad boy footballer manages to show a range of emotion. Although he could not cry, he came close and convinced me of his grief but not one tear was shed.

Sean Cronin was very effective as the cold and brutal gangster who carries out the hit on Ray and his family. Unfortunately the film has a lot wrong with it.

“Kill Kane” moves at a “molasses in winter” pace. At an hour and 14 minutes the film should have flown by. Unfortunately the pacing was so slow the film felt twice as long. The soundtrack was too loud, it felt as though the filmmaker wanted the sound to be very ’70s; harsh and clashing and intrusive.

Speaking of sound, the actors clearly looped or provided their online dialogue via ADR.  Lips did not match and the protagonists all sounded lethargic and bored.  The gangsters, and the DCI actually, all delivered their lines in a near monotone.  At one point, as the film was shot entirely in Wales, I wondered if they were speaking Welsh and the English was dubbed in. There was no proof either way except for those lips not syncing with the dialogue.

Another odd thing was the DCI having a shotgun handy in the boot (trunk) of his car. Britain has an armed response team and regular cops, even inspectors, do not carry guns. Shotguns are strictly regimented and must be locked in cases. It may have looked very good but is miles from reality.

“Kill Kane” was made with the idea that Vinnie Jones could carry a film.  This independent production must have felt it was a good idea and even though Jones is not a strong performer he could have made it work with better writing.

This English take on Michael Winner‘s Charles Bronson Death Wish” franchise may get better with a sequel or two but for now the film lacks so much.

For a myriad of reasons this film rates a 2.5 stars.  So many things conspired to drag this tale down, poor sound work, that included a too loud soundtrack, plus a snail-like pace just destroyed any chance this had of entertaining. On Hulu at the moment, watch this one  only if there is nothing else  to do. Sorry Vinnie, better luck next time.

Howl (2015): Terror Courtesy British Rail (Review)

Poster for Howl

It is hard to find fault with the British horror film “Howl.”  It delivers some delicious terror courtesy of British Rail, or its imaginary equivalent,  and it has some familiar faces and names from the world of horror.

(The company logo appears to be an “A” and the only rail service that start with that letter is Arriva in Wales.  As not one passenger speaks with a Welsh accent and since there is no Eastborough in Wales, the company must be imaginary.)

Written by Mark Huckerby and Nick Ostler (both better known, somewhat amazingly, for children’s telly) and directed by Paul Hyett “Howl” hits all the right notes.   This was Hyett’s second film as director, the first being “The Seasoning House” which starred  Rosie Day and Sean Pertwee

Hyett’s directorial debut was a brilliant thriller where Pertwee was a baddy and Day won Best Actress for her role.  This second  feature from the director does not disappoint as it takes the myth of the werewolf, or a hybrid of the creature, and places it in the English countryside.

The plot deals with one of those tiny rail lines with about five cars that empties out the closer the train gets to its final destination.  The vehicle hits a deer and stalls out. The driver (Pertwee) gets out to check and dies; ripped to shreds by a werewolf.

Joe  (Ed Speleers) has been passed over for promotion and is bullied into doing a double shift for the Eastborough line.  When the driver (Pertwee) goes missing Joe is in charge of the reduced number of passengers and he tries to save everyone. 

Another actor from Hyett’s past also appears in “Howl;” the splendid Shauna Macdonald who was the main protagonist in both “The Descent” and The Descent 2. Paul was the makeup supervisor on both films.  

The film switches from a claustrophobic  setting to a more open one and back again.  The characters range from the snooty young teen who calls Joe a perv to the smarmy financial expert with a house in the country and a flat in the city.  The successful businessman is a snot and calls one young man on the train “ASBO boy.”

“Howl” is atmospheric and very English in its delivery.  There are no guns to fight the monsters who are attacking the train.  Weapons include a huge spanner (wrench) a fire axe and a crowbar.  There is a bit of the “stiff upper lip old chap” attitude combined with a sort of “MacGyver” (or even the “Dawn of the Dead” remake) ingenuity.

The creatures look very convincing and quite scary. They also appear to be practical mixed with a bit of CG and they work very well.

There are a few things that do not ring true.  The carriages are far too clean both inside and out. Another issue is the PA system, it is far too clear and concise with an adequate decibel level and no static. In other words everyone can hear each announcement clearly. Anyone who has ridden the rail system in England will know that reality is much different than what is shown here.

(At the risk of being really picayune, the “guard” did not punch a hole in the tickets either. Just saying.)

Small complaints aside, “Howl” works brilliantly.  This is what English directors do best. Make horror films that entertain and give a nod and a wink to the genre. Sean Pertwee appearing, and then dying before the film’s midway point, is almost horror tradition. The only film, to date, that Pertwee’s character survives in is the 2010 horror film “Devil’s Playground.”

(A small bit of trivia: This is Pertwee’s second werewolf film. The first being “Dog Soldiers” where he is also attacked by the creatures. Arguably Pertwee’s character could also count as having survived.)

“Howl” is a cracking good film with enough gore and edge of the seat viewing to entertain the pickiest horror film fan.  A solid 4.5 star film (it loses a half star for those clean carriages and for killing off Pertwee far too quickly) that is streaming on Hulu and Amazon at the moment. Check it out and see if you too fall in love with this film.

Estranged (2015) Gothic Horror Returns to Its Roots – Review

Amy Manson as January in Estranged

Directed by Adam Levins from a screenplay by Simon Fantauzzo (who co-wrote the original story with William Borthwick) “Estranged” features some of the best of British in this Gothic horror returned to the genre’s roots.  James Cosmos, Craig Conway,  Nora-Jane NooneEileen NicholasJames Lance  and Amy Manson  star in this dark, twisted  and oddly intimate horror film.

Starting in Brazil; January (Manson) and her boyfriend Callum (Simon Quarterman) are riding a motor scooter in Rio and get into an accident. She ends up in a wheelchair suffering from amnesia. With nowhere else to go, January and Callum go to her home. 

The crippled woman left six years previously and is apparently estranged from her family.  Once the couple arrive things get strange rather quickly.  The rundown mansion has moldy walls in the bathroom and the house is falling apart. Yet the family can afford to retain a butler.

January can remember nothing about her childhood and her father Albert (Cosmos) dislikes Callum. One day her boyfriend disappears and  January’s life takes a a severe downswing.  At first her mum Marilyn (Nicholas), sister Katherine (Noone) and brother Lawrence (Lance) continue to act like her family.

Later, a guilt stricken Thomas (Conway) reveals the truth to January who then tries to escape.  She is made a prisoner in her own home and her life becomes a living hell.

Levins makes “Estranged” more than just intimate. The film is claustrophobic and cloying. Manson’s character is run through the wringer. As the story progresses her trials continue to get worse and she discovers that what she has been told is not true.

Conway is brilliant as the servant who has obviously been beaten into submission by Albert. Cosmos, as the bullish patriarch, is massive and powerful looking and acts like an alpha male on steroids.

The film’s pace is languid to the point of standing still in places but it is necessary. It makes January’s predicament not only disturbing but frustrating as well. This oddball family, so determined to control her every move are strange and annoying. Gradually the theme bypasses strange and enters firmly into the world of the weirdly scary.

As events slowly play out the viewer guesses at what must really be going on in this quirky  country estate where everyone seems to be a more disturbing version of either the Addams family or criminally insane.

When the truth is finally revealed things are worse than imagined and the ending is fitting, if not a little unsatisfying.  In a nutshell, this film allows its stars to shine. Cosmos is scary as hell and Conway plays against type to be the most sympathetic character in the film.

Noone is at turns disturbing and childlike while Lance is just creepy full stop.   Eileen Nicholas is also spot on as the doting mother who has definitely seen better days.  Her Marilyn is spacey and disconnected to everything going on around her.

Manson goes through hell  in this film and it is all too easy to imagine the actress being covered in bruises for some time after shooting the feature.

The lighting and camera work combine to make the film look dark and claustrophobic.  “Estranged”  is a cracking horror film that, while slow, does hit all the right marks and delivers in the end. A full four  stars for this one,  missing the fifth as the pace really is a tad too slow at times. Streaming on Netflix at the moment in the US but not easily found due to the awkward category browsing system.

Watch this one and see why British horror is some of the best in the world.

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