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You know how you have a bad meal at a restaurant so the experience ruins you from wanting to return? That was how I felt about Australian horror movies. I’d only tasted it once, but the outcome was unsavory so I steered clear for a while. Then I caught wind of Acolytes, a 2008 crime horror directed by Jon Hewitt. The first impression was promising, so when I found the time I sat down to behold what I know consider a phenomenal movie.

While scavenging their stomping grounds for things to do, Mark (Sebastian Gregory), his best friend James (Joshua Payne), and his girlfriend Chasely (Hanna Mangan Lawerance) discover a dead body buried in the woods. The debate over reporting what they’ve found ensues, but when the call is made the authorities prove to be difficult to convince. Instead, they decide to cover up the secret and track down the killer themselves. After using relatively believable deduction, the boys decide to blackmail the killer into murdering the man that tormented and raped them several years prior. Meanwhile, Mark struggles through the turmoil of loving his best friend’s girlfriend, though now is the time he must stick closest to James. Just when they think they can relax and let their diabolical plan play out, things take a sharp turn and the trio is now suddenly pitted against not one, but two foes. But the plot only thickens from there.

The plot, in fact, does more than thicken. It braids over itself, constantly climbing to new heights, while always maintaining intensity. When watching so many horror movies, things can easily start to repeat themselves, and feel very overdone. This could have easily fallen into that too, but instead seemed to possess a particularly striking, memorable, and unique look and feel. Though very subtle at times, Acolytes never lets the string of excitement slacken. The concept of killing another person willingly was held under a microscope, allowing you to watch these young adults transform through the events that transpired. I commend them on the writing. Every line was perfect. And when the ending could have very well ruined the whole thing, they brought it full circle and ended with a bang.

Savage score stabs a 4.5 out of 5. I highly recommend this film to the avid murder mystery enthusiast. I myself didn’t think I could be so enthralled by that sub-genre, but this film crammed murder, lust, violence, mystery, and death all into one to make for a fine meal. Gore score gushes a 6 out of 10. I thought the effects didn’t over shadow nor underplay the conflict that they attributed to. I urge you to enjoy the parent-free nightmare three able bodied and over-confident teenagers manage to entangle themselves in.

http://www.youtube.com/watch?v=R-1xKUzj2A0

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In celebration of St. Patricks day, we’ll take a look at one of the latest films from the tremendously underrated Irish actor Cillian Murphy.

Murphy is Martin, an architect whose wife, Kate (Thandie Newton), has recently suffered a miscarriage. The fall out from such a devastating event has led them down two divergent paths emotionally. Martin books a cottage on an isolated island hoping the time together away from the memories and routines of their everyday life will begin to repair the damage their marriage has suffered. Then Jack shows up.

Rescued by Martin after being washed up on the beach with a nasty head wound, Jack (Jaime Bell) beings to tell a tale of a devastatingly deadly disease ravaging the mainland. With no contact from the outside world Martin and Kate are forced to comply with Jacks demands. They board up the house, blocking the entrances and exits. They put plastic over the windows hoping to keep the disease out. Left alone and isolated with a shitty generator, Martin and Kate begin to question Jacks story. That’s when things get really crazy.

First time writer/director Carl Tibbets crafts a wonderful character study in the guise of a thriller/horror film. Yes, it’s slow at times, but those times have purpose. There are seeds of doubt placed through the film. Doubt not just about Jacks motives, but about Martins and Kates as well. The dynamic that develops between the three main principals drives the last half of the film. This is one of those films that shows why the human condition can be more frightening than any serial killer or monster. It’s one of the reason I loved the first “Saw” film so much. When you boil it down that film is two guys in a room trying to survive. This film is very similar in that three people are isolated on an island and who they can trust is always in question. Tibbets script effectively build tension between all three sets of characters equally. Even after the film is over and the credits are running, there is an ambiguity as to what you’ve just seen.

It’s not a perfect film. There are a couple gaping plot holes that a more experienced writer and film maker would have closed. Some stretches of logic also muddy the waters a bit. The pace of the film will not be for everyone. If you are not a fan of verbal exposition, then this might not be the film for you.

The pock marks are easy to ignore if you just lose yourself in three tremendous performances. Murphy has been one of my favorites ever since his star turning role in “28 Days” later. He is the anchor of this film. Buzzing around him, Newton and Bell (who would have though the guy who played Billy Elliott could be such a crazy mother fucker), craft subtle moments that build tension between them that the script may have been lacking.

This is a tremendous film. Dumped direct to DVD here in the States, it’s a film any genre fan really needs to check out. It’s the type of film that gives hope to an industry where Michael Bay seems to somehow still have a job. Check it out.

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When I first learned that Silent House would be presented to us as one shot, I thought, “that is an amazing idea for building tension.” Then I learned it was being helmed by Chris Kentis (Open Water) and thought, “HELL yeah!” This is not a review of Open Water, you can read that elsewhere on HM, but I feel it necessary to mention why I thought this pairing would be so solid. Kentis has the incredible ability to handle isolation as well as a dark atmosphere like few directors out there with as little experience. I was expecting great things from him with Silent House and I was not disappointed. He even called back to my favorite scene from Open Water with the use of a lighting technique that I always mention when discussing that film. Now you could say that perhaps he sounds like a one-trick pony. I don’t think so. But even if he was, if I enjoy the trick this much I don’t mind seeing it repeatedly.

Now enough back-scratching for Kentis, let’s move on to the topic at hand. Put yourself in an old, dusty house with the daunting task of clearing away years of belongings with the intent to sell. It has been abused by time and by the locals to the point that all the windows are boarded to mask the missing glass. So even when it’s broad daylight outside, it is as dark as a tomb within these walls. Now add the lack of electricity, unfamiliar surroundings and things that go bump in the night.

In Silent House, we follow the trials beset Sarah, her father and her Uncle Peter when those above-mentioned things turn into Things That Bump You Off in the Night. The ordeal lasts 88 minutes and we are there for every second of it.

Elizabeth Olsen (who will now be known as The Olsen Sister I like) does wonders with fear. Her ability to convey heart-stopping terror is something I did not honestly expect to see in an actress so young. But she nailed it right down to the open-mouthed silent scream we use when we are terrified but cannot risk detection.

I didn’t personally find the film “scary” but I was in love with the headliner, the atmosphere. Above all, the feeling of isolation and being trapped was the biggest star of the movie. I kept looking for holes in the framework of this idea but they just weren’t there. Kentis sealed off every entrance, every escape with deft skill, forcing the audience to desperately search along with Sarah for a way out of her torturous prison. There were times when personal choices were made that I found odd or unrealistic but at that point, I belonged to Kentis and was willing to go wherever he took me.

As for the story, I will say it’s not what I expected and leave it at that. This film is subtle and cerebral. It’s a psychological journey meant to give you a glimpse into places most of us never have to go. And it does it well.  Having not seen the original film yet, I cannot offer a comparison but I will say that, based on this version, I will be seeking out the original.

I have seen comments where viewers have come away disappointed or confused or even angry. In those cases, they were obviously not the intended audience. To enjoy this film requires an appreciation of the thought-provoking and the willingness to visit uncharted territories on the spur of the moment. Don’t go on this trip with an itinerary in your hand.

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Over the past decade, Vampires and Werewolves have been given a “humanized” treatment in movies and TV.  Rather than being the cold, sinister blood thirsty creatures of the night they used to be, they are now more human.  They have feelings, and a culture now- so much so that they’re almost soap operatic in nature… and not as scary as they used to be when Mom would warn us about the vampire in the attic…

One creature of the night that has pretty much stayed the same has been the zombie… except for one film that I found that looks at the zombie in a whole different light…

John and Jennifer are a young couple hoping to enjoy a weekend away at their cabin.  After getting lost in the woods, they are attacked by a stranger who bites John.  Managing to escape, they reach their cabin and safety.  Unfortunately, they soon realize that some changes are taking place in their lives…

This movie presents us with an intellegent, and even thought provoking look at the zombie.  We all know that zombies are brainless, shambling corpses with only one thought: EAT THE LIVING!  But what few zombie movies explore is what it would be like to experience the change from living to undead… and remain concious throughout the whole thing.  “Shadows of the Dead” does this brilliantly.

The movie is more drama than pure horror, so is pretty slow.  Because of the slow pace however, you come to care about these two as they go through their changes- and are drawn into the story of how it affects their relationship as well.  There is some blood- it IS a horror movie after all, but it’s used sparingly and effectively to move the story forward… it’s not there just because it’s fun to splash blood all over the set.  The dialogue can seem a bit stiff and bland at times… but no more than you’d find in most soap operas or dramas.

Despite the occaisonal blandness of the dialogue, I felt the acting was pretty good for a movie of such a low budget.  I really came to feel for both John (played by Jonathan Flanigan), and Jennifer (played by Beverly Hynds).  Jason Schwartz- as the pizza guy was funny to watch- I enjoyed his scene.  I also enjoyed Paul Kessler as the doctor that tries to find John’s heartbeat… and fails.  The acting isn’t Academy Award level, but suitably good for this purpose of this film.

The use of the single cabin (pretty much just one or two rooms of it actually) was very well done.  The director, Carl Lindbergh kept things interesting with lighting and camera angles.  There are some great shots where the cabin looks smokey with the light playing in it.  Really added to the mood and feel of the movie- as did the use of greys, blacks, browns and oranges for the sets, costumes, etc.  “Shadows of the Dead” really had a nice tone to it.

The zombie make-up for Jennifer wasn’t great, but was still effective enough to give the impression of her muscles and skin shrinking on her face, giving her a pretty good skull look to her head.  With the use of bandages, contact lenses, fake blood smears, and a bit of make-up peeking through the bandages, the look they gave John was excellent in my opinion.  Seeing him look out through the window at the camera with the grey eyes and bloody bandages was creepy and made me wonder just how much of his face was really left.

While many horror fans will get bored with this film because of its slower pace, and minimal kills, those that enjoy interesting and creative looks at the creatures that scare us will probably enjoy this.

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I do enjoy a good Man vs Nature film; ‘Jaws’ is certainly a classic, ‘Razorback’ as one of my all time favorite films and for anyone who hasn’t seen it, ‘The Grey’ is a phenomenal film.

‘Yellow Fangs’ though I would say is an odd, interesting little number from icon Sonny Chiba, who directed but didn’t star in this film. The Sankebetsu Brown Bear Incident loosely inspires the film; where in 1915 a brown bear awoke from hibernation and killed several villagers over the course of several days before being killed. Read the article about the attacks on Wikipedia; it’s an interesting read and I’d certainly like to get my hands on one of the few books written about the incident. Surprisingly; this is the only film based on it.

In this dramatization, Yuki has returned home to her village after leaving employment with a village elder because of unhappiness. Disowned by her disgraced father she spends time with an old friend Eiji, while at his house; she receives word of a bear attack at her home. Her family killed, Yuki vows vengeance and when Eiji and the other bear hunters in the village refuse to let her go with them; she sets out on her own to kill the creature; dubbed Red Spots.

The story itself is rather basic and certainly falls into the numerous ‘giant creature on a rampage’ formula post-‘Jaws’ cinema. There were two things that surprised me the most about ‘Fangs’ is that the film is told almost entirely in flashback and that the bear itself is more of a backdrop for a character drama about sex separation in early 1900s Japan.

After the opening kill (as these movies always do) at a village, we meet Eiji and the other hunters a year into their search. When they go after a bear they think is Red Spots, Yuki surprises all of them and slays the bear before running off; cue flashback for the next hour.

While I’m not bashing flashbacks as they can serve a narrative purpose in revealing character and plot points; I found that having nearly 80% of the film be a flashback a mild distraction as there was no tension with the hunters or Yuki; I knew they were going to make it up to a certain point and I kept thinking when the film would return to the present. It can be done effectively don’t get me wrong; but I’m just old fashioned I guess as I know some people who might call this style ‘avant-garde’; personally I prefer a more traditional A-B-C structure. While I do enjoy the bouncing style of ‘Pulp Fiction’; there is a sense of momentum and buildup that here in ‘Fangs’ is left out. I didn’t care for the flash-back style of storytelling.

But what I don’t think is a drawback and in fact came, as at first a disappointing yet pleasant surprise was the film was more of a character drama than a straight horror film. Netflix’s synopsis even calls the film ‘a drama’. Don’t get me wrong there are bear attacks, blood, and some ‘chases’; but the film at it’s core is a look at the sex class system in Japan during that time and breaking the boundaries set upon you by your culture of the film.

Yuki herself is fighting not only the bear but also Eiji as he tries to protect her by sending her back home and back to what he (and the other hunters see) as women’s duties of tending to the home. It’s the same theme we’ve seen in countless costume dramas throughout the ages and here it’s executed competently and short of the injections of the bear; the focus is more on Yuki and Eiji’s relationship.

For this reason I’m sure that most fans will turn off ‘Yellow Fangs’ as the formula of having ‘kill, filler, kill, filler, kill, filler’ etc is more or less done away with here. Long pauses without attacks is a nice change and I would even say that writer Shigeko Satô might have been looking back to ‘Jaws’ where once again the focus was on the characters.

It’s something that sets ‘Fangs’ apart from the numerous post-‘Jaws’ animal movies that focus only on the animal attacks and not the characters and story; or how numerous zombie films post-Romero focus on the zombies and less on the characters and story.

For those of you who haven’t IMDBed this film before you read the review or during your read; a big surprise for you is that the film is from 1990. The big reason that this is a surprise is that it feels very 1970s; it feels very ‘old fashioned’ (as those who consider anything older than 2000 ancient) in compared to films of that period.

Chiba made a very classic feeling movie; if the year was never listed I would have pegged it to be in the 1970s plain and simple. The look of the film, the pacing and event the acting is old school. This is not a slick film, the slight grain and slightly washed out look of the movie brings back memories of another time.

And that’s not a bad thing I would say; I didn’t mind the feel or the look of the piece; in a way it felt like a nice breath of fresh air after seeing so many recent ‘animal attack’ films that look exactly a like.

But with that comes the Japanese acting; which for much of the 20th Century was still very theatrical in how the actors worked on screen and to most Western audiences; it could look a little silly. Emotions at times are very over exaggerated in times of high drama and once again, it’s very theatrical. If you’ve watched a lot of more recent Japanese films where the acting has become far more understated and ‘natural’; without being exposed to older films, the acting might be a turnoff.

For most American audiences; the only recognizable face in the cast would be Hiroyuki Sanda. Sanda first appeared to the US in ‘The Last Samurai’ and has gone on to appear in ‘Sunshine’, ‘Speed Racer’, and the upcoming ’47 Ronin’. Once again, taking the acting in context of it’s time and country; it’s fairly good in my view, it’s not Kurosawa class acting; but neither is it bad.

What is bad though; is the bear. Obviously the film didn’t have a huge budget and most of it seemed to go for attaining the look of the early 1900s and shooting out in practical locations. And it seems for that reason the bear suffers massively. In my old ‘Rawhead Rex’ review I hit the film hard on for showing the creature in full in the opening five minutes and here in ‘Fangs’ you see the bear in full within the first five minutes.

When standing on it’s hind legs, the bear is obviously a guy in a suit; the head having basic open and close movements, though it appears wildly out of proportion to the rest of the body. While at times the suit is covered in quick cuts and fast camera; it’s shown in the open far too much to be anything scary. In other shots where the bear is running on all fours; a different suit seems to be used and is a little more effective there as the cuts are a bit faster.

A real bear is used in some wide shots and obviously those are quite effective as it’s a real bear. And unlike some modern films, which use stock footage, it’s clear they had a real bear there on set.

Fans of nature run amok will be disappointed in this, the attacks have some blood but aren’t as viscous as some other films. The bear isn’t scary and to be honest, I didn’t mind too much as I was enjoying those sequences on a cheesy level. I would backup my initial statement that the main focus of the story is a character drama and the bear is basically an after thought; something to move the story along.

The only part I really didn’t care for was the score; which was made of guitar riffs, synths, and drums and was very pop and rock in feel. It felt very out of place; it wasn’t dark enough try and push whatever drama or horror was happening. It was far too, modern I would say. It was over the top and made no qualms about it. The score, could be rescored I feel.

Overall, ‘Yellow Fangs’ is a strange little film; fans of nature attack films will be disappointed in that the animal action is relegated to the backburner for much of the film and the focus is a drama. And for such a modern film is feels very old fashion; but that might still get a curious onlooker or two.

I really can’t give this film a rating; all I can really say is that if you’re curious, check it out.

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I’m hardly a feminist, but when it comes to vampires, the females rule. At least in Denis Gansel’s 2010 film, We Are The Night, where century-old women roam the land like kids on a playground. But it’s not always about drugs and sex. Sometimes it’s about love, and what you’ll do to obtain it.

A small clan of unique female vampires dominates the underground of one of the corners of Berlin, seeking any form of purpose in their eternal being. Meanwhile, thieving, fighting, dark sprite known as Lena (Karoline Herfurth) plays cat and mouse with the police when she robs the wrong guy. It’s obvious she likes to flirt with danger and knows exactly how to do it. But when she sneaks into the clan’s club, they take a particular interest in her. Louise (Nina Hoss), their make-shift dean mother, stalks Lena in the writhing crowd as she marks her as her own. Unfortunately Lena isn’t looking for a commitment and because Louise won’t take no for an answer, the fatal bite occurs.

When Lena finds her way back home, things are very different. The symptoms progress quickly and she’s forced to accept what she has now become. A vampire. (Oddly enough they never use that term in the movie.) Louise, Nora (Anna Fischer), and Charlotte (Jennifer Ulrich) take Lena under their wing and show her a world she never dreamed of, filled with speeding cars, crazy blood parties, and walking on walls. But she’s not easily severed from the persistent officer who has taken a personal interest in her. With his soft spot weighed upon, Tom (Max Riemelt) manages to become collateral damage in a struggle that’s been brewing for centuries.

An electrifying, erotic adventure that deserves to be placed in the ranks of Let the Right One In, Interview with the Vampire, and Vampires. Offering the best aspects of vampirism, We Are The Night picked a rough and tumble young girl to be the channel through which we experience the unique facets of transformation. I appreciated their eye for detail when it pertained to the sensitive intermingling of these rare, deadly creatures and the naïve world around them. But as we all know better doesn’t mean perfect. And we get to watch the cookie crumble when heightened bliss gives way to grave threats to their way of life. Some of the things the producers made these sexy vampires do were truly amazing to watch. In particular, the final stand-off proved to be gravity-challenged. Though I’m not an expert on German actresses, I was absolutely pleased with the performances in this film. I have high standards when it comes to theatrical depictions of my favorite species and was glad I watched this.

Savage Score sucks a 4 out of 5. Viewers will enjoy the thick sexual aura emanating from the main characters while they run around tearing out veins like twizzlers. Which leads me to the Gore Score of a 5 out of 10. Surpassing bleeding arteries are several burning bodies and ice cube shot glasses. If you’re a fan of this particular sub-genre, you’ll appreciate the modern day take that this German rendition offers.

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I have experienced things in life that have taught me to never say,”It can’t get worse than this”! Because I know it can.Every horror fan usually knows this by the films they watch. If you mistake what happens in films as things “that will never happen to me”,well,you’ll learn.

As The Grey opens on the cold,bleakness Liam Neeson appears as a man that has no dream of life left,no lies,no illusions.The reasons are not apparent.

He is a sniper contracted to protect oil rig workers from infrequent wolf attacks,and shoots only when completely necessary.He respects the animal enough to know its dangers.His fellow humans he has much less admiration for,at least the ones he works with.They are the refuse of the real world,who deserve to be in the harsh conditions that he has chosen to be in.

On a routine flight to return to civilization the plane crashes literally in the middle of nowhere.The sound editors and techs did such a fantastic job with this film you feel as close to everything that is possible without actually being there.Real depictions of crash victims-and the cold,the cold is a complete character on it’s own.That would be enough to threaten your life.

Then you are hit with the real fear.The primal one most of us have forgotten on our long ride at the top of the food chain. The line between our world of safety and 911 and sanity, and complete all bets are off,nothing will save you but yourself world, is very thin.

He finds out in the worst way possible that the plane has crashed in the world of the wolf and they do not belong there.

Having some knowledge of the animal, but not much else he scrambles to live and protect what is left of humanity in this unforgiving reality. The survivors try to cope as well as you or I could,and we are along for every terrifyingly tense moment.

The Grey is real,raw,scary and so good you will be appreciative of every aspect of your life.Neeson is at his best when thrown against everything that man and nature fears, and it is a film experience. See it!

Editors note: This review was contributed by a reader by email submission to scoops@horror-movies.ca! 

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Every now and again you come across an independent horror movie that really does sustain tension and most importantly, doesn’t end up going for laughs. If that is what you’re looking for then you are in for a treat and its name is “Rage”.

Rage is a tip off to Duel, Steven Spielberg’s 1971 debut film where Dennis Weaver plays a commuter terrorized by an unseen driver in a semi-truck. Rage director Christopher Witherspoon swaps out the truck for a motorcycle to great effect, upping the challenge and changing expectations.

Rick Crawford plays Dennis Twist (a great twist on Dennis Weaver), an everyday guy with an everyday life. One day he heads out into town to run some errands, leaving his lovely wife Crystal (Audrey Walker) at home, even though it’s his only day off. Soon we learn why, he’s actually going to meet his mistress, Dana (Anna Lodej) and break it off with her. While parking, he cuts off a Biker (Christopher Witherspoon) for a parking space.

Never a good idea since you never know who you’re dealing with. Anyway, during the painful break up (painful for her, not him) we learn that she has an ex-con boyfriend that is not too happy about him being around in the first place, all the more reason to bolt. He says his goodbyes and heads out to his car only to be confronted by the Biker who keys his car in a drive by maneuver involving a large black combat knife. Thus begins the real game, is it Steven, Dana’s ex-con ex, or somebody far more dangerous?

Rage sets many theories into play from the obvious to the metaphysical and all are valid depending on your own point of view. Another thing the film does well is to keep us in the driver’s seat, holding our expectations, then switching gears and bring the action home, keep the tone but raising the intensity. We see so many knock off film every year but very few true homages that not only pay respect to the original film but bring their own standard of excellence to the table, Rage is trip worth taking.

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How original for me to be watching ANOTHER IFC film? What can I say, I am hooked! Julia’s Eyes is directed by Guillem Morales, who as of yet, only has a few film shorts under his belt. This would be his first big picture, and fortunately for him, it’s noteworthy. Starring Belen Rueda as Julia, and produced by makers of The Orphanage, Julia’s Eyes is a story of suicide and murder, and most importantly, darkness.

We open on a woman in her home, in the dark, seemingly terrified of an unseen force that follows her into the basement where a noose and stool are waiting. Sara begins to hang herself, but she refuses to let the malevolent spirit watch. Then suddenly the stool is kicked over by someone else. Julia, Sara’s twin sister, sensing something is the matter and her and husband Isaac discover the body. But Julia doesn’t believe that Sara would do something like this, and a pursuit to uncover the truth ensues. Like any other murder mystery, the path is filled with different characters and hidden clues. But Julia’s struggling with another foe; her vision. Like her sister, Julia suffers from a degenerative disorder, and with the added stress of investigating a murder, she could trigger a blindness attack any minute.

I have to say I expected a lot from what I saw in the trailer. Unlike the last movie I watched that Guillermo Del Torro presented (Don’t Be Afraid of the Dark), Julia’s Eyes was much better. The character Julia was fantastic. Filmmakers are hard pressed to create a character as watchable as Julia, and then have an actress hold her true to form. You want someone you care for, fear for, and root for. As for her villain, when finally revealed who the mystery murderer was (won’t say!), it was not as shocking as I had hoped for. I would never say I can catch a twist in a movie just by the trailer. In fact I am very easily surprised when it comes to a plot twist. But this one I had pieced together early on. There was something about the film that left me feeling like it was just on the brink of excitement but didn’t make it over the hump. I loved the way the movie played off blindness, and what the world is like for blind individuals. It was a great choice of a setting for a thriller. You don’t have to create the darkness when the character lives in it.

My Savage score reigns in 3 out of 5 with just enough juice to feel thrilling. While the Gore score splashes in at 3 out of 10, but you didn’t need more than that. If you already enjoy mystery murders and want to try out a new Spanish director who I believe is on to something, than have a look through Julia’s Eyes and I think you’ll like what you see.

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Anja and five friends join anthropology student Dace on a journey to study a remote ancient rock painting. Their excitement vanishes when Mel becomes delirious after skinny-dipping in the waterhole. Feverish bleeding confused she physically and mentally regresses to a vicious predatory state. Mel has gone primal. Mels lover and friends realize they are the prey as she savagely hunts them down. Before they can escape another one of them starts to regress posing a hideous choice kill their friends or be killed by them. Their only hope of survival is through a cave where Anja learns too late the meaning of the ancient rock art they came to study.

Australia has always had it’s own little cornerstone in the Horror genre, dating back to the early exploitation films of the 70′s, or as they’re known ‘Ozploitation’ films. Luckily they’ve moved with the times with each revolution the Horror genre has had and “Primal” is a great piece of evidence that proves that they can still produce a great Horror film whilst still keeping their own charisma that Australian flicks seem to have.

“Primal” was  more of a word-of-mouth film, it didn’t get a-lot of promotion outside Australia, I myself came across it as a side link on YouTube.  I can say though that I’m glad I did, yes I know there’s nothing original about the film, even the trailer shows too much of what happens, but once you watch it you forget all that. It drags you into the film like your alongside the group of friends fighting for survival, you even start to feel a little tense about what’s going to happen next, it has a great mixture of suspense & comedy, though not too much comedy, just enough to allow you to relax for a second or two.

The cast is fantastic and the script is amazing! Kudos to the whole team on this film, especially the effects department who did an amazing job, always great to see film -makers using practical effects in this technological age. I whole heartedly recommend this film to any Horror fan. I enjoyed it so much that since my first viewing that my number of times of watching it are in double figures. I hope you enjoy it as much as I do.

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