- Published on
As visually stunning as his works have been, Guillermo Del Toro -- as a director -- has just never quite worked for me.
Oh, I know, I know, I know. He's amassed an incredible number of awards along with a helluva lot of critical acclaim over the years. There's no dispute that -- when it comes to seriously leaving an imprint on film history -- del Toro is owed a spot in that pantheon of the film gods. My point is that of the flicks attached to him that I've seen I've just not been moved by the characters so much as I have his cinematography. Some directors can be like that -- their cinematic nuance is so great that it drowns out a lot of everything else in a compelling narrative -- and that's honestly all I'm saying. I don't dislike him ... but I wouldn't consider him amongst my personal favorites, either.
To each his own ...
In any event, I did see yesterday that the trailer for his forthcoming adaptation of Mary Shelley's Frankenstein hit the World Wide Web; and I wanted to get it up on the MainPage, making sure that the readership was up to speed with the project. I had read about it previously in a press release (can't remember the specifics), and I thought that maybe -- maybe -- there would finally be some connection between del Toro's impressive camera work with the subject matter to win me over. Alas, the trailer really looks like -- ahem -- more of the same, and this is why I always advise caution when considering coming attractions: they serve only one goal -- hype -- and rarely do justice to the completed project.
So ... I'm posting it below. Take a gander, if you're so inclined.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
Oh, I know, I know, I know. He's amassed an incredible number of awards along with a helluva lot of critical acclaim over the years. There's no dispute that -- when it comes to seriously leaving an imprint on film history -- del Toro is owed a spot in that pantheon of the film gods. My point is that of the flicks attached to him that I've seen I've just not been moved by the characters so much as I have his cinematography. Some directors can be like that -- their cinematic nuance is so great that it drowns out a lot of everything else in a compelling narrative -- and that's honestly all I'm saying. I don't dislike him ... but I wouldn't consider him amongst my personal favorites, either.
To each his own ...
In any event, I did see yesterday that the trailer for his forthcoming adaptation of Mary Shelley's Frankenstein hit the World Wide Web; and I wanted to get it up on the MainPage, making sure that the readership was up to speed with the project. I had read about it previously in a press release (can't remember the specifics), and I thought that maybe -- maybe -- there would finally be some connection between del Toro's impressive camera work with the subject matter to win me over. Alas, the trailer really looks like -- ahem -- more of the same, and this is why I always advise caution when considering coming attractions: they serve only one goal -- hype -- and rarely do justice to the completed project.
So ... I'm posting it below. Take a gander, if you're so inclined.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
in memoriam
For reasons I've never quite understood, Gerry Anderson's Space: 1999 seems to be a forgotten franchise.
Now, some of this might be owed to the premise: our planet's satellite gets blasted out of its orbit and is sent hurtling through space on a journey to undiscovered worlds. While I think anyone might concede that -- ahem -- that's a bit far-fetched indeed, the show still had some solid production details, some interesting stories, and a pretty fabulous cast ... of which Prentis Hancock is included. While he may not exactly have been one of the bigger regulars, it was an incredible 23 episode run (throughout the first season as I'm pretty sure he wasn't around for the second) that I'd always argue is worth a look. British storytelling from that era occasionally seemed a bit talk (at least to me), but there are some very vivid yarns in there, of which Hancock gave it his very best.
A quick rundown of the man's professional resume on IMDB.com will show that he had a pretty incredible run in television roles, always managing to slip like a chameleon into any property requiring his particular skill set. There were several other forays into the realms of the Fantastic, too -- stints aboard Doctor Who and the Chocky serials come to mind -- so it goes without saying that his legacy stretches beyond Space: 1999. Here's hoping fans might take a gander at something he did in the days ahead just to see what a talent like his contributed to genre entertainment when answering the call.
Our warmest prayers are extended to the family, friends, and fans of Prentis Hancock.
May he rest in peace.
-- EZ
Now, some of this might be owed to the premise: our planet's satellite gets blasted out of its orbit and is sent hurtling through space on a journey to undiscovered worlds. While I think anyone might concede that -- ahem -- that's a bit far-fetched indeed, the show still had some solid production details, some interesting stories, and a pretty fabulous cast ... of which Prentis Hancock is included. While he may not exactly have been one of the bigger regulars, it was an incredible 23 episode run (throughout the first season as I'm pretty sure he wasn't around for the second) that I'd always argue is worth a look. British storytelling from that era occasionally seemed a bit talk (at least to me), but there are some very vivid yarns in there, of which Hancock gave it his very best.
A quick rundown of the man's professional resume on IMDB.com will show that he had a pretty incredible run in television roles, always managing to slip like a chameleon into any property requiring his particular skill set. There were several other forays into the realms of the Fantastic, too -- stints aboard Doctor Who and the Chocky serials come to mind -- so it goes without saying that his legacy stretches beyond Space: 1999. Here's hoping fans might take a gander at something he did in the days ahead just to see what a talent like his contributed to genre entertainment when answering the call.
Our warmest prayers are extended to the family, friends, and fans of Prentis Hancock.
May he rest in peace.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2001 (in the United Arab Emirates and Kuwait), the lost empire of Atlantis was found once more -- well, theatrically, that is, and in animated style -- when Walt Disney released Atlantis: The Lost Empire in theaters. Directed by Gary Trousdale and Kirk Wise, the film featured the voice talents of Michael J. Fox, Jim Varney, Claudia Christian, and others.
According to our friends at IMDB.com, here's the plot summary:
"A young linguist named Milo Thatch joins an intrepid group of explorers to find the mysterious lost continent of Atlantis."
-- EZ
On this day in 2001 (in the United Arab Emirates and Kuwait), the lost empire of Atlantis was found once more -- well, theatrically, that is, and in animated style -- when Walt Disney released Atlantis: The Lost Empire in theaters. Directed by Gary Trousdale and Kirk Wise, the film featured the voice talents of Michael J. Fox, Jim Varney, Claudia Christian, and others.
According to our friends at IMDB.com, here's the plot summary:
"A young linguist named Milo Thatch joins an intrepid group of explorers to find the mysterious lost continent of Atlantis."
-- EZ
- Published on
press release
THE SOUND
Genres: Thriller/ Horror/ Action
Rating: R
Running Time: 104 mins
Release Date: In Theaters and on VOD: June 27 (US)
Produced, directed and written by: Brendan Devane (The Canyonlands)
Cast: Marc Hills (Elephant Department), Rachel Finninger (American Horror Story), Nicholas Baroudi (The Hating Game), Jocelyn Hudon (The Strain), William Fichtner (Crash, Armageddon), Christina Kirkman (Trigger Happy), Jolene Kay (Star Trek), David Clennon (The Thing), Hazel Findlay (Reel Rock), Brette Harrington (The Alpinist), Adrian Ballinger (Edge Of The Earth), and Alex Honnold ( Free Solo).
Executive Producer: James Devane (Sadieland Productions)
Director Of Photography: Ryan Galvan
Editing by: Alex Russek (Reel Rock).
Score by: James Iha (The Smashing Pumpkins)
Distributor: Blue Harbor Entertainment
Synopsis: In terrifying horror thriller THE SOUND, a world-class group of climbers is granted access to the Forbidden Wall, a mysterious rock wall previously closed for decades. Among the climbers is Sean (Marc Hills), whose grandfather made an ill-fated attempt 63 years earlier. During the group’s ascent, they come face to face with a malevolent force that quickly turns their expedition into a harrowing battle for survival hundreds of feet above the ground.
ABOUT BLUE HARBOR ENTERTAINMENT:
Blue Harbor Entertainment is a boutique distributor of independent films designed for the business needs of today’s filmmakers and provides a comprehensive and full-scale distribution and marketing solution covering theatrical releases, home entertainment, transactional and subscription digital streaming platforms, and television. Established in 2023 by industry veterans Amanda Sherwin, Mike Messina and Seth Needle, and with a combined experience spanning hundreds of films over multiple decades, Blue Harbor was conceived as a much-needed alternative in today’s challenging U.S. distribution environment with a structure that empowers filmmakers. Recent releases include the award-winning untold story of Dr. Audrey Evans, Audrey's Children, starring Natalie Dormer, romantic comedy A Nice Indian Boy, starring Karan Soni and Jonathan Groff, which has become this year's highest-grossing English-language film in limited release, and Lilly, the powerful story of equal pay activist Lilly Ledbetter starring Patricia Clarkson. Other notable releases include the cannabis horror/thriller Trim Season, starring Bethlehem Million (Sick) and Jane Badler (V), director Olivia Kuan’s award-winning documentary The Herricanes about The Houston Herricanes, a team that was part of the groundbreaking first women’s full tackle football league of the 1970s, and writer/director Zia Mohajerjasbi's award-winning film Know Your Place, a story about change and loss set amidst the landscape of a transforming Seattle as seen by a young Eritrean-American boy.
Genres: Thriller/ Horror/ Action
Rating: R
Running Time: 104 mins
Release Date: In Theaters and on VOD: June 27 (US)
Produced, directed and written by: Brendan Devane (The Canyonlands)
Cast: Marc Hills (Elephant Department), Rachel Finninger (American Horror Story), Nicholas Baroudi (The Hating Game), Jocelyn Hudon (The Strain), William Fichtner (Crash, Armageddon), Christina Kirkman (Trigger Happy), Jolene Kay (Star Trek), David Clennon (The Thing), Hazel Findlay (Reel Rock), Brette Harrington (The Alpinist), Adrian Ballinger (Edge Of The Earth), and Alex Honnold ( Free Solo).
Executive Producer: James Devane (Sadieland Productions)
Director Of Photography: Ryan Galvan
Editing by: Alex Russek (Reel Rock).
Score by: James Iha (The Smashing Pumpkins)
Distributor: Blue Harbor Entertainment
Synopsis: In terrifying horror thriller THE SOUND, a world-class group of climbers is granted access to the Forbidden Wall, a mysterious rock wall previously closed for decades. Among the climbers is Sean (Marc Hills), whose grandfather made an ill-fated attempt 63 years earlier. During the group’s ascent, they come face to face with a malevolent force that quickly turns their expedition into a harrowing battle for survival hundreds of feet above the ground.
ABOUT BLUE HARBOR ENTERTAINMENT:
Blue Harbor Entertainment is a boutique distributor of independent films designed for the business needs of today’s filmmakers and provides a comprehensive and full-scale distribution and marketing solution covering theatrical releases, home entertainment, transactional and subscription digital streaming platforms, and television. Established in 2023 by industry veterans Amanda Sherwin, Mike Messina and Seth Needle, and with a combined experience spanning hundreds of films over multiple decades, Blue Harbor was conceived as a much-needed alternative in today’s challenging U.S. distribution environment with a structure that empowers filmmakers. Recent releases include the award-winning untold story of Dr. Audrey Evans, Audrey's Children, starring Natalie Dormer, romantic comedy A Nice Indian Boy, starring Karan Soni and Jonathan Groff, which has become this year's highest-grossing English-language film in limited release, and Lilly, the powerful story of equal pay activist Lilly Ledbetter starring Patricia Clarkson. Other notable releases include the cannabis horror/thriller Trim Season, starring Bethlehem Million (Sick) and Jane Badler (V), director Olivia Kuan’s award-winning documentary The Herricanes about The Houston Herricanes, a team that was part of the groundbreaking first women’s full tackle football league of the 1970s, and writer/director Zia Mohajerjasbi's award-winning film Know Your Place, a story about change and loss set amidst the landscape of a transforming Seattle as seen by a young Eritrean-American boy.
- Published on
press release
Synopsis
When Zephyr, a rebellious surfer, is abducted by a shark-obsessed serial killer and held captive on his boat, she must figure out how to escape before he carries out a ritualistic feeding to the sharks below.
Director: Sean Byrnes
Written by: Nick Lepard
Cast: Jai Courtney, Hassie Harrison, Josh Heuston
Genre: Horror, Thriller
Language: English
Runtime: 93 min
About IFC Films:
IFC Films is a leading U.S. distributor of independent cinema that is operated by AMC Networks Inc. The company has been at the forefront of championing boundary-pushing, thought-provoking films for 25 years, with a commitment to delivering high-quality, filmmaker-driven cinema across all genres. IFC Films’ slate reaches a national audience through theatrical releases, cable Video On Demand (VOD), and digital platforms.
Some of the company’s successes over the years include Andrew Haigh's 45 YEARS, Jennifer Kent's THE BABADOOK, Matthew Johnson’s BLACKBERRY, Richard Linklater's BOYHOOD, Armando Iannucci's THE DEATH OF STALIN, Noah Baumbach's FRANCES HA, David France's HOW TO SURVIVE A PLAGUE, Chris Nash’s IN A VIOLENT NATURE, Colin and Cameron Cairnes’ LATE NIGHT WITH THE DEVIL, Stephen Frears’ THE LOST KING, Adam Elliot’s MEMOIR OF A SNAIL, Olivier Assayas' PERSONAL SHOPPER, Tran Anh Hung's THE TASTE OF THINGS, Michael Winterbottom’s THE TRIP, and Chloe Okuno’s WATCHER.
About Shudder:
AMC Networks’ Shudder stands as the leading curatorial voice and cultural destination for genre entertainment, delivering an unparalleled selection of horror, thrillers, and the supernatural. With an ever-expanding library of films, TV series, and exclusive Originals, Shudder is accessible across most streaming devices in the US, Canada, the UK, Ireland, Australia, and New Zealand.
Shudder releases approximately thirty films per year, and has redefined genre streaming with a slate of groundbreaking and critically acclaimed titles, including Rob Savage’s HOST, Jayro Bustamante’s Golden Globe-nominated LA LLORONA, Phil Tippett’s MAD GOD, Coralie Fargeat’s REVENGE, Kyle Edward Ball’s SKINAMARINK, Christian Tafdrup’s SPEAK NO EVIL, Chloe Okuno’s WATCHER, Demián Rugna’s WHEN EVIL LURKS, and the latest installments in the V/H/S franchise. Shudder also boasts fan-favorite series such as the two-time Emmy Award-nominated THE BOULET BROTHERS’ DRAGULA, Mark Duplass’ THE CREEP TAPES, Greg Nicotero’s CREEPSHOW, and THE LAST DRIVE-IN WITH JOE BOB BRIGGS. Notable recent releases include Veronika Franz and Severin Fiala’s THE DEVIL’S BATH, Chris Nash’s IN A VIOLENT NATURE, Sébastien Vaniček’s INFESTED, Colin and Cameron Cairnes’ LATE NIGHT WITH THE DEVIL, Damian McCarthy’s ODDITY, and Robert Morgan’s STOPMOTION.
When Zephyr, a rebellious surfer, is abducted by a shark-obsessed serial killer and held captive on his boat, she must figure out how to escape before he carries out a ritualistic feeding to the sharks below.
Director: Sean Byrnes
Written by: Nick Lepard
Cast: Jai Courtney, Hassie Harrison, Josh Heuston
Genre: Horror, Thriller
Language: English
Runtime: 93 min
About IFC Films:
IFC Films is a leading U.S. distributor of independent cinema that is operated by AMC Networks Inc. The company has been at the forefront of championing boundary-pushing, thought-provoking films for 25 years, with a commitment to delivering high-quality, filmmaker-driven cinema across all genres. IFC Films’ slate reaches a national audience through theatrical releases, cable Video On Demand (VOD), and digital platforms.
Some of the company’s successes over the years include Andrew Haigh's 45 YEARS, Jennifer Kent's THE BABADOOK, Matthew Johnson’s BLACKBERRY, Richard Linklater's BOYHOOD, Armando Iannucci's THE DEATH OF STALIN, Noah Baumbach's FRANCES HA, David France's HOW TO SURVIVE A PLAGUE, Chris Nash’s IN A VIOLENT NATURE, Colin and Cameron Cairnes’ LATE NIGHT WITH THE DEVIL, Stephen Frears’ THE LOST KING, Adam Elliot’s MEMOIR OF A SNAIL, Olivier Assayas' PERSONAL SHOPPER, Tran Anh Hung's THE TASTE OF THINGS, Michael Winterbottom’s THE TRIP, and Chloe Okuno’s WATCHER.
About Shudder:
AMC Networks’ Shudder stands as the leading curatorial voice and cultural destination for genre entertainment, delivering an unparalleled selection of horror, thrillers, and the supernatural. With an ever-expanding library of films, TV series, and exclusive Originals, Shudder is accessible across most streaming devices in the US, Canada, the UK, Ireland, Australia, and New Zealand.
Shudder releases approximately thirty films per year, and has redefined genre streaming with a slate of groundbreaking and critically acclaimed titles, including Rob Savage’s HOST, Jayro Bustamante’s Golden Globe-nominated LA LLORONA, Phil Tippett’s MAD GOD, Coralie Fargeat’s REVENGE, Kyle Edward Ball’s SKINAMARINK, Christian Tafdrup’s SPEAK NO EVIL, Chloe Okuno’s WATCHER, Demián Rugna’s WHEN EVIL LURKS, and the latest installments in the V/H/S franchise. Shudder also boasts fan-favorite series such as the two-time Emmy Award-nominated THE BOULET BROTHERS’ DRAGULA, Mark Duplass’ THE CREEP TAPES, Greg Nicotero’s CREEPSHOW, and THE LAST DRIVE-IN WITH JOE BOB BRIGGS. Notable recent releases include Veronika Franz and Severin Fiala’s THE DEVIL’S BATH, Chris Nash’s IN A VIOLENT NATURE, Sébastien Vaniček’s INFESTED, Colin and Cameron Cairnes’ LATE NIGHT WITH THE DEVIL, Damian McCarthy’s ODDITY, and Robert Morgan’s STOPMOTION.
- Published on
site update
So many movies ... so little time ...
On this day in 2015 (in the U.S.), some devious forces were up to some bloody shenanigans for the theatrical release of The Encounter. Written and directed by Robert Conway, the film starred Clint James, Owen Conway, Megan Drust, and others.
According to our friends at IMDB.com, here's the plot summary:
"A man is found in the forest, beaten and barely alive with a shocking story to tell. What started as a simple camping trip quickly descended into a horrific and unbelievable night."
-- EZ
On this day in 2015 (in the U.S.), some devious forces were up to some bloody shenanigans for the theatrical release of The Encounter. Written and directed by Robert Conway, the film starred Clint James, Owen Conway, Megan Drust, and others.
According to our friends at IMDB.com, here's the plot summary:
"A man is found in the forest, beaten and barely alive with a shocking story to tell. What started as a simple camping trip quickly descended into a horrific and unbelievable night."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2020 (in Canada), Algorithm: BLISS enjoyed its first screening ever when it was released to masses via the World Wide Internet. Written (in part) and directed by the team of Isak Borg and Dena Hysell-Cornejo, the SciFi/Thriller starred Sean Faris, Sarah Roemer, James Saito, and others.
According to our friends at IMDB.com, here's the plot summary:
"Vic Beckett, a brilliant researcher, creates the ultimate App that taps into the pleasure center of the brain and transmits a feeling of nirvana to the user. Instant celebrity and unlimited commercial applications corrupt his altruistic intention and when problems arise with his creation, he justifies doing whatever is necessary to keep the app online."
-- EZ
On this day in 2020 (in Canada), Algorithm: BLISS enjoyed its first screening ever when it was released to masses via the World Wide Internet. Written (in part) and directed by the team of Isak Borg and Dena Hysell-Cornejo, the SciFi/Thriller starred Sean Faris, Sarah Roemer, James Saito, and others.
According to our friends at IMDB.com, here's the plot summary:
"Vic Beckett, a brilliant researcher, creates the ultimate App that taps into the pleasure center of the brain and transmits a feeling of nirvana to the user. Instant celebrity and unlimited commercial applications corrupt his altruistic intention and when problems arise with his creation, he justifies doing whatever is necessary to keep the app online."
-- EZ
- Published on
Site update
So many movies ... so little time ...
On this day in 1970 (in Italy), someone's nuptials were a bit more violent than expected with the theatrical release of Hatchet For The Honeymoon. Written (in part) and directed by Mario Bava, the Giallo Horror starred Stephen Forsyth, Dagmar Lassander, Laura Betti, and others.
According to our friends at IMDB.com, here's the plot summary:
"A cleaver-wielding bridal designer murders various young brides-to-be in an attempt to unlock a repressed childhood trauma."
-- EZ
On this day in 1970 (in Italy), someone's nuptials were a bit more violent than expected with the theatrical release of Hatchet For The Honeymoon. Written (in part) and directed by Mario Bava, the Giallo Horror starred Stephen Forsyth, Dagmar Lassander, Laura Betti, and others.
According to our friends at IMDB.com, here's the plot summary:
"A cleaver-wielding bridal designer murders various young brides-to-be in an attempt to unlock a repressed childhood trauma."
-- EZ
- Published on
For those of you who don’t know it, pay cable outlets – back in their heyday – used to be the proverbial stomping grounds for what most folks accept as softcore pornography.
Now, I’m not complaining. My point in delivering that single-sentence history lesson is that all things begin somewhere: while the drive-in grindhouse features debatably introduced mankind to such sweaty goodness, it really wasn’t until outlets like Showtime and Cinemax truly nurtured the subgenre into cultural puberty. Producers cast good-looking actors and actresses largely on the prospects of seeing them disrobed. The plots were rather routine thrillers – philandering spouses, supernatural occurrences, murder mysteries, uncharacteristically vigorous sexual awakenings, etc. – and audiences knew that the stories would never truly get in the way of the sex, sex, and even more sex. Granted, these skin flicks evolved – they grew a bit more outhouse when some very marquee talent decided to through their hats (and panties) into the ring, with quite a few graduating from the Boob Tube to the silver screen (thank you, Sharon Stone) – but their true heyday remained for a time in pay cable.
This is where a project like 2024’s Russian-language film The Demoness (aka Succubus; aka Otrazhenie tmy) truly belongs, no insult intended to anyone involved. There’s no shame in being what you are, and Demoness even covers that ground. Directed by Serik Beyseu from a story by Oleg Kurochkin and Dmitriy Zhigalov, the steamy Horror starred Angelina Pahomova, Polina Davydova, Artur Beschastnyy, Artur Rival, Pierre Bourel, and others. It’s a tale that takes everything listed above – extramarital affairs, a healthy measure of the occult, a few deaths and rebirths, and the robust sex – and even layers on a case of mistaken identity – with twins! – to deliver a somewhat carnal potboiler about love and loss in the high stakes world of … ethnography?!?!
(Yeah. You read that right. You never even knew ethnography existed before this, am I right?)
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A group of young people arrives to a remote village where they encounter an ancient spirit - a succubus - that can take human disguise. It feeds on one's deepest fears and brings out the darkest side in people.”
Now, I’m not complaining. My point in delivering that single-sentence history lesson is that all things begin somewhere: while the drive-in grindhouse features debatably introduced mankind to such sweaty goodness, it really wasn’t until outlets like Showtime and Cinemax truly nurtured the subgenre into cultural puberty. Producers cast good-looking actors and actresses largely on the prospects of seeing them disrobed. The plots were rather routine thrillers – philandering spouses, supernatural occurrences, murder mysteries, uncharacteristically vigorous sexual awakenings, etc. – and audiences knew that the stories would never truly get in the way of the sex, sex, and even more sex. Granted, these skin flicks evolved – they grew a bit more outhouse when some very marquee talent decided to through their hats (and panties) into the ring, with quite a few graduating from the Boob Tube to the silver screen (thank you, Sharon Stone) – but their true heyday remained for a time in pay cable.
This is where a project like 2024’s Russian-language film The Demoness (aka Succubus; aka Otrazhenie tmy) truly belongs, no insult intended to anyone involved. There’s no shame in being what you are, and Demoness even covers that ground. Directed by Serik Beyseu from a story by Oleg Kurochkin and Dmitriy Zhigalov, the steamy Horror starred Angelina Pahomova, Polina Davydova, Artur Beschastnyy, Artur Rival, Pierre Bourel, and others. It’s a tale that takes everything listed above – extramarital affairs, a healthy measure of the occult, a few deaths and rebirths, and the robust sex – and even layers on a case of mistaken identity – with twins! – to deliver a somewhat carnal potboiler about love and loss in the high stakes world of … ethnography?!?!
(Yeah. You read that right. You never even knew ethnography existed before this, am I right?)
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A group of young people arrives to a remote village where they encounter an ancient spirit - a succubus - that can take human disguise. It feeds on one's deepest fears and brings out the darkest side in people.”
The real trick to understanding a project like The Demoness – retitled from Succubus when original let loose on all of mankind – is to avoid getting lost in its own weeds. Kurochkin and Zhigalov’s script reaches for thematic layers; but because this all boils down to being little more than an erotic Thriller – with spooky overtones – there’s no need to be distracted by the accompanying narrative bells and whistles. A good deal of this revolves around getting laid – hell, that’s even the goal of the central supernatural being – but director Beyseu persists from start to finish by infusing the picture with atmosphere when what it truly needed was a bit of air.
The premise is that there’s this far-off island retreat – not at all unlike TV’s popular Fantasy Island (1977-1984) – wherein regular folks can go to have their life crises resolved via clever intervention by the host and staff. What’s chiefly different here from that distant show is that this getaway only seems to concern itself with treating flawed heterosexual relationships: every single couple has experienced turbulence between their respective significant others, and their island host Gin (played by Nino Ninidze) has put down a specific regimen of activities that somehow – magically? – promise to put the puzzle pieces back in such a way as to deliver happiness … but happiness for whom?
This is where Demoness truly fails to achieve any measure of believability, causing the film’s protagonist Stacey (Angelina Pahomova) to doubt Gin’s true goal. Granted, we eventually learn that Stacey’s twin sister vanished on this island not long ago under equally mysterious circumstances, so it isn’t as if our lead showed up expecting any of these shenanigans to authentically work. Added to the context is the fact that eventually watchers learn that Stacey isn’t even Stacey (trust me, it’ll make sense once you see it); and it grows increasingly clear that Kurochkin and Zhigalov were throwing everything they possibly could into this spectral stew. Though some might find that ambitious, it still grows tedious under Beyseu’s ambling direction.
The central problem is that Demoness never quite settles into what it actually wanted to be: bloated skin flick or basic Horror. This superficiality winds up tanking what could’ve otherwise been an interesting but overwrought story of twin sisters trying to reconcile a tragic turn of fate: instead, the only forgiveness here turns out to Stacey 2’s desire to pass over. Forget the central sinning so long as there’s a smile in the ending. As a complete story, Demoness never shakes off feeling like it could’ve gone one way or the other; and this indecisiveness instead suggests that all involved decided they’d pluck sequences from better films as inspiration – Stanley Kubrick’s confusing Eyes Wide Shut (1999), the dinner table sequences from Would You Rather (2012), the winding wooded exteriors of The Evil Dead (1981), etc. – and refashion them to suit their purpose. Much like Gin keeps rejiggering these various couplings for the sole purpose of stirring up the emotions of the left-out spouse or significant other, Demoness resorts to the simplest path forward to give life to what otherwise feels like dead space, albeit prettily photographed.
The premise is that there’s this far-off island retreat – not at all unlike TV’s popular Fantasy Island (1977-1984) – wherein regular folks can go to have their life crises resolved via clever intervention by the host and staff. What’s chiefly different here from that distant show is that this getaway only seems to concern itself with treating flawed heterosexual relationships: every single couple has experienced turbulence between their respective significant others, and their island host Gin (played by Nino Ninidze) has put down a specific regimen of activities that somehow – magically? – promise to put the puzzle pieces back in such a way as to deliver happiness … but happiness for whom?
This is where Demoness truly fails to achieve any measure of believability, causing the film’s protagonist Stacey (Angelina Pahomova) to doubt Gin’s true goal. Granted, we eventually learn that Stacey’s twin sister vanished on this island not long ago under equally mysterious circumstances, so it isn’t as if our lead showed up expecting any of these shenanigans to authentically work. Added to the context is the fact that eventually watchers learn that Stacey isn’t even Stacey (trust me, it’ll make sense once you see it); and it grows increasingly clear that Kurochkin and Zhigalov were throwing everything they possibly could into this spectral stew. Though some might find that ambitious, it still grows tedious under Beyseu’s ambling direction.
The central problem is that Demoness never quite settles into what it actually wanted to be: bloated skin flick or basic Horror. This superficiality winds up tanking what could’ve otherwise been an interesting but overwrought story of twin sisters trying to reconcile a tragic turn of fate: instead, the only forgiveness here turns out to Stacey 2’s desire to pass over. Forget the central sinning so long as there’s a smile in the ending. As a complete story, Demoness never shakes off feeling like it could’ve gone one way or the other; and this indecisiveness instead suggests that all involved decided they’d pluck sequences from better films as inspiration – Stanley Kubrick’s confusing Eyes Wide Shut (1999), the dinner table sequences from Would You Rather (2012), the winding wooded exteriors of The Evil Dead (1981), etc. – and refashion them to suit their purpose. Much like Gin keeps rejiggering these various couplings for the sole purpose of stirring up the emotions of the left-out spouse or significant other, Demoness resorts to the simplest path forward to give life to what otherwise feels like dead space, albeit prettily photographed.
Beyseu arguably distracts visually be giving his film some interesting twists and turns – the island staff uniforms alternate between Gothic-inspired masks and rather conventional S&M outfits; the inexorably slow-moving camerawork through interior and exterior locations; his cast of characters looking like shirtless Abercrombie & Fitch magazine models one after another; etc. – but when he neglects giving any depth to the central mystery what little story there is gets robbed of the oxygen needed to truly burn. Stacey 1 has come looking for Stacey 2 more out of familial obligation than anything else, but even that feels flat when compared to everyone else’s commitment to simply gettin’ it on while the time is right. Instead of having a pulse, Demoness inevitably feels like a picture filled with sound but no fury, giving me absolutely no reason to care about any of its people and places, much less what happens after it all fades to black.
The Demoness (2024) was produced by Altermax, KD Studios, and Logistic Star Production. DVD distribution (for this particular release) has been coordinated by the fine folks at Well Go USA Entertainment. As for the technical specifications? While I’m no trained video expert, I can assure you that – for the most part – Demoness looks about as good as does any other low budget thriller: costumes are relatively simple – except for the island resort hosts, which get only mildly elaborate – and it’s all captured with suitable cinematography and atmosphere. It’s nothing elaborate, mostly because it doesn’t need to be. Also, the disc boasts one of the worst acted English-dubbing tracks I think I’ve ever heard. It’s about as plain an affair as you’ll ever get. Sad. Lastly, if you’re looking for special features? Sorry, folks, but this is a bare bones affair, and you’ll likely be leaving only with what you brought when you came. (snicker snicker)
Alas … only Mildly Recommended.
On the one hand, it’s hard to find a great deal of contextual fault with a skin-flick like The Demoness (2024) because it likely both sets out and accomplishes exactly what all involved intended: take a group of young and fit lovers through some supernatural strife – showing enough flesh to keep audiences interested – and then wrap it all up somehow. Still, there’s that other hand – the one used to measure such things as tone, pace, performance, and meaningfulness – and it’s here that everything truly comes up short. Though not a total failure, this Demoness likely won’t tempt watchers much beyond the initial experience – it’s good though bland while you’re in it – meaning there’s zero rewatchability. Cheap thrill … but producers tried not to spare the softcore T & A.
In the interests of fairness, I’m pleased to disclose that the fine folks at Allied Vaughn (via Warner Archive) provided me with a complimentary Blu-ray of The Demoness (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
The Demoness (2024) was produced by Altermax, KD Studios, and Logistic Star Production. DVD distribution (for this particular release) has been coordinated by the fine folks at Well Go USA Entertainment. As for the technical specifications? While I’m no trained video expert, I can assure you that – for the most part – Demoness looks about as good as does any other low budget thriller: costumes are relatively simple – except for the island resort hosts, which get only mildly elaborate – and it’s all captured with suitable cinematography and atmosphere. It’s nothing elaborate, mostly because it doesn’t need to be. Also, the disc boasts one of the worst acted English-dubbing tracks I think I’ve ever heard. It’s about as plain an affair as you’ll ever get. Sad. Lastly, if you’re looking for special features? Sorry, folks, but this is a bare bones affair, and you’ll likely be leaving only with what you brought when you came. (snicker snicker)
Alas … only Mildly Recommended.
On the one hand, it’s hard to find a great deal of contextual fault with a skin-flick like The Demoness (2024) because it likely both sets out and accomplishes exactly what all involved intended: take a group of young and fit lovers through some supernatural strife – showing enough flesh to keep audiences interested – and then wrap it all up somehow. Still, there’s that other hand – the one used to measure such things as tone, pace, performance, and meaningfulness – and it’s here that everything truly comes up short. Though not a total failure, this Demoness likely won’t tempt watchers much beyond the initial experience – it’s good though bland while you’re in it – meaning there’s zero rewatchability. Cheap thrill … but producers tried not to spare the softcore T & A.
In the interests of fairness, I’m pleased to disclose that the fine folks at Allied Vaughn (via Warner Archive) provided me with a complimentary Blu-ray of The Demoness (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
in memoriam
Gentle readers, word has reached the World Wide Web today of the passing of actor Ed Gale.
It's a name a good many of you young pups may not recognize, and that's perfectly okay. In all honesty, Gale's name probably has faded a bit over the years, most of which is just owed to the reality that many talents move on into other professions as they age, perhaps even vanishing completely from the media scene. A scan of his IMDB.com profile shows that he hasn't been active in any major gig for some time, but it also confirms that the guy arguably spent his time in the spotlight as wisely as he could.
Chiefly, I remember his name for his theatrical debut: he played the seminal 'Howard T. Duck' in the 1986 motion picture Howard The Duck, a production brought to you -- in part -- by Star Wars creator George Lucas. No, no, no: in no way did Howard stand shoulder-to-shoulder in creativity with any chapter in the space saga, but kudos to Mr. Lucas for seeing something in it he liked and giving the Marvel intellectual property a spin when few comic book movies were actively in the pipeline.
From there, Gale found employment in such genre enterprises as Spaceballs (1987), Phantasm II (1988), Child's Play (1988), Friday The 13th: The Series, Chopper Chicks In Zombietown (1989), The Dreamer Of Oz (1990), Bill & Ted's Bogus Journey (1991), Dolly Dearest (1991), Mom And Dad Save The World (1992), Land Of The Lost, Lifepod (1993), The Jungle Book (1994), The Munsters' Scary Little Christmas (1996), Weird Science, 3rd Rock From The Sun, Sabrina The Teenage Witch, and a few more.
Our warmest prayers are extended to the family, friends, and fans of Ed Gale.
May he rest in peace.
-- EZ
It's a name a good many of you young pups may not recognize, and that's perfectly okay. In all honesty, Gale's name probably has faded a bit over the years, most of which is just owed to the reality that many talents move on into other professions as they age, perhaps even vanishing completely from the media scene. A scan of his IMDB.com profile shows that he hasn't been active in any major gig for some time, but it also confirms that the guy arguably spent his time in the spotlight as wisely as he could.
Chiefly, I remember his name for his theatrical debut: he played the seminal 'Howard T. Duck' in the 1986 motion picture Howard The Duck, a production brought to you -- in part -- by Star Wars creator George Lucas. No, no, no: in no way did Howard stand shoulder-to-shoulder in creativity with any chapter in the space saga, but kudos to Mr. Lucas for seeing something in it he liked and giving the Marvel intellectual property a spin when few comic book movies were actively in the pipeline.
From there, Gale found employment in such genre enterprises as Spaceballs (1987), Phantasm II (1988), Child's Play (1988), Friday The 13th: The Series, Chopper Chicks In Zombietown (1989), The Dreamer Of Oz (1990), Bill & Ted's Bogus Journey (1991), Dolly Dearest (1991), Mom And Dad Save The World (1992), Land Of The Lost, Lifepod (1993), The Jungle Book (1994), The Munsters' Scary Little Christmas (1996), Weird Science, 3rd Rock From The Sun, Sabrina The Teenage Witch, and a few more.
Our warmest prayers are extended to the family, friends, and fans of Ed Gale.
May he rest in peace.
-- EZ