[EXPRESSO] Ghost Lab (2021) | Thai Ghost Of Ruin

Let’s take a dip from Netflix new original content, specifically this thai horror thriller, Ghost Lab.

The premise is novel enough, as we see 2 medical doctors try to scientifically explain ghosts, after their hospital is infested by something they both have witnessed with their very own eyes together, so they venture on this quest of undisputable scientific proof for the literally unfathomable, setting up the titular “ghost laboratory” in a hall of an abandoned building in their hospital.

And as it turns out, it’s quite hard to prove ghosts, as even the odd night events like wheelchairs moving by themselves in fairly open spaces or things flying off the shelves by themselves don’t look more believable than the stuff available online, but while it doesn’t unfold exactly as you would expect (it doesn’t do the “Layton twist”) and it has some good drama, most of the final act seems kinda at odds with what came before, in a last second course correction to make it a more standard horror thriller, maybe afraid it would have less impact if didn’t.

Sure, at least there’s some entertaiment to it, but it’s hard to shake the feeling the script was tooled with to deliver a more palatable, safe conclusion, as if the writer wasn’t confident enough, so it threw all the genre cliches in a final act that – again, for the most part – might as well belong to a completely different movie.

It’s a shame, because it has a decent atmosphere, good characters, convincing performances, but it just doesn’t develop the interesting premise in a potentially interesting way, falling back into the generic, and in a fairly jarring way to boot.

It’s an uneven film, for sure, but i’d say it’s still worth a watch if you dig the premise.

[EXPRESSO] Kadaver (2020) | Dinner Theatre

The first norwegian horror film produced by Netflix, and available since October 22.

Directed and written by Jaran Herdal, Kadaver tells of a family living in a cold, barren, post-apocalyptic city, with a full-out nuclear war that might erupt at any moment. One day, a strange man shows up to sell tickets for an event held by Mathias, a local rich man, with promise of food and entertaiment at his mansion.

After dinner is served, Mathias tells the audience that the show is unique, as it takes place all through the mansion, and instructs them to wear masks while they follow the maskeless actors putting up various scenes. In time the spectators are whisked away in secret for true purpose of the party. Which i won’t give away, even if you can take an easy educated guess.

Sadly, it’s an uneven experience.

It has some stylish and morbid imagery, the idea of a trap “dinner theatre” is cool and quite original, but the narrative moves too damn fast even at the beginning, so you’re not really given any valuable time to feel invested in the fate of the family, or to second guess the nature of the odd performance. Doesn’t help that the plot relies on characters doing dumb mistakes most of the time.

On the upside, it’s fairly short and entertaining all the way, the ambiancè is great and there are some good moments, but also middle of the road character (decent acting, at least), and an ending that’s quite… clichè for such an intriguing promise.

It’s a shame, because it released at the perfect time for the themes to resonate with the audience, but it held back by its not small flaws. It’s still a decent horror movie, definitely worth checking out, even just for the original plot.

[EXPRESSO] #Alive (2020) | SNS Zombies

No cinema for me this week, so guess i’ll dust off Netflix, see and review this new korean zombie movie, which comes with the hashtag already built in the title. The plot sees a streamer in Seoul waking up and logging on to do some online gaming (he’s shown playing PUBG), only to hear people chatting of something weird being broadcast on tv, and soon enough even in the very streets below him, as a zombie virus of sorts spreads.

He’s forced to barricade himself home, trying to use his tech savviness to understand what is exactly going on outside, all made harder by scarce rations and social medias (or the reception for phones) not working most the time.

It’s better than i expected, and being set in “the now” you get to see fun stuff like zombie (of the running and “contorsionist” variety) getting attacked by drones’s eliblades, and there are some cool action scenes, production values are fairly decent-good, same for the special effects. Problem is, there isn’t too much to the plot, there’s enough, but nothing special, and after a fairly fast start, the movie suffers from pacing problems.

I understand it would be more realistic to see characters barricade themselves into their apartments, and while this is to feed into the “surviving days and days into a zombie apocalypse”, this kinda backfires, as the plot doesn’t really moves forward or backwards, and it’s not until the third act where it picks up again. Thankfully the characters are likeable, given how much time you spend watching them try to communicate or concoct a plan, but they’re not good enough to gloss over the fairly typical twists and turns of the narrative. Not even with some cool “hip” music.

Decent, worth a watch, for sure, but nothing special.

[EXPRESSO] Underwater (2020) |Ocean Walk In The Dark

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“It’s like Aliens, but”… you probably have heard these words more times than you wish, and i remember a similar situation some years ago, when the sci-fi horror thriller Life (starring Jack Gyllenhaal) came out, a good movie, but also one that fully deserved that comparison for actually having a similar plot focused on a crew trying to survive a killer alien lifeform in space.

Viceversa, i understand why many made this comparison again for William Eubank’s new movie, Underwater, because despite the completely opposite setting, it fits the typical sci-fi horror- thriller formula like a glove, and you can effectively swap out “deep space” for “ocean’s abyssus abyssum” without having to change pretty much anything.

The plot sees a deep-sea mining facility being unexpectedly torn apart by an unknown force, with the few survivors in the structure uniting in order to find a way to another outpost, in the hope of finding escape pods before the main drill’s nuclear core erupts, but as they venture into the depths, they also find horrible and vicious creatures lying in wait and quite ready to pick them off, if faulty equipment and the dangerous living conditions didn’t already…

The director of The Signal (the one from 2014 with Lawrence Fishburne, not the other one) here didn’t feel like reinventing anything or playing around with the genre, but then again it becomes pretty clear the intention was just to make a fun sci-fi horror thriller (not that advertising was deceptive, quite the contrary), one i’m glad it’s set underwater instead of space after all.

And on this regard, the movie delivers, with good cinematography, decent atmosphere, good creature design, decent characters, and a satysfing finale. Story is sadly derivative as it gets, but despite this, i’d quite entertaining, and worth a watch.

 

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Krampus: The Reckoning (2015) [REVIEW] | Children Of The Krampus

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What happens when you wanna cash-in by exploiting the latest fad in the christmas horror subgenre, but you don’t have enough time in order to write it from scratch and push it out of the door in order to maximize exposure? Continua a leggere “Krampus: The Reckoning (2015) [REVIEW] | Children Of The Krampus”

[EXPRESSO] The Nest (2019) | Scrambled, Scrambled Eggs

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Oddly enough as it may sound, there’s not many italian horror movies screening in cinemas here in Italy.

So when i saw the trailer for The Nest, i was intrigued, even more because it didn’t look like one of those (relatively) cheap production when it clearly redubbed despite being filmed in Italy and with a lot of italians in the cast, like The Music Box/Il Carillon.

The story involves a wheelchair bound boy, Samuel, who is raised in this humongous estate, treated with a princely respect by his family and servants, all bound to the estate by a rigid set of rules set to ensur “the program” is respected at all costs. But Samuel feels more and more like a caged songbird, moved around by the wishes of his stern mother, even more restless due to the recent weird happenings and the arrival of a young girl called Denise..

The Nest is a movie with some good performances, a good atmosphere, an intriguing plot revolving the cultish family and the drama that inevitably festers in an enviroment like that, but it’s also a movie that reminded me of Hereditary. And i don’t mean that as a compliment, but here it truly feels like the horror parts were forced in by a producer, as they stick out like a sore thumb, underveloped, clichè and almost vestigial.

Then… the ending, which i’m just gonna spoil because it’s so fuckin stupid it deserves shame. Zombies. Out of nowhere, i’m sure the scriptwriter thought he established it before, but it didn’t, at all. I hate this ending because it doesn’t gel with anything, and reminded me of the shit Fragasso and Mattei pulled in the 80’s, i truly hate to say this about a movie with some self-respect and ambition.

Decent, but frustratingly uneven.

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P.S.: It’s worth noting that there’s another movie simply called “The Nest” , it’s a 2016 fairly obscure italo-swiss production (so it explains why they named this one “The Nest – Il Nido”), directed by Klaudia Reynicke, maybe more talked about after Love Me Tender, her new movie which had its debut in Swiss cinemas this 9th of august.