2024’s ‘SILENCE OF THE PREY’ is a Rifle Butt to the Head
The Horror Collective released this week the social justice-themed horror, SILENCE OF THE PREY!
#SilenceOfThePrey @TheHorrorCo
Thank you to The Horror Collective for this screener. More about them is at the end of the review, so stay tuned!
SILENCE OF THE PREY is a new horror movie from directors Karyna Kudzina and Michael Vaynberg, with Kudzina also sharing a writing credit with Saro Varjabedian and also starring in the movie (although credited as Karina Bezell)…and produced by Kudzina, as well (also credited as Karina Bezell). So, there is a lot of Kudzina in SILENCE OF THE PREY. And also a lot of rifle butts to the noggin. People in this film have no peripheral vision.
Anyway, Kudzina can’t be everyone and do everything, so it also stars Monte Bezell (nabbing himself a producer credit), Chris LaPanta and Michael Doyle.
So, what is Kudzina’s passion-project about and why is it dubbed a “Social Justice-Themed Horror”? Well, let’s take a look!
THE PLOT OF SILENCE OF THE PREY
Nina (Kudzina) is a mother with a young daughter, escaping Belarus after suffering persecution for her views. Looking for a better life in the US, she’s having a hard time because she and her daughter are undocumented refugees. However, an opportunity presents itself when an elderly man (Chris LaPanta) needs help around his home.
However, as soon as she’s moved in, there’s something sinister about the place. Strange noises in the woods. She starts seeing things, including a ghostly specter of a Deerman.
But when another migrant (Bezell) shows up at the isolated house, can Nina figure out the mystery before it’s too late for all of them? Or will she, too, be silenced?
THOUGHTS ON SILENCE OF THE PREY (Spoilers ahead)
Okay, I have thoughts. I really wanted to like this movie because it has actually a lot to say, which I’ll brush on more in my Brainroll section.
However, the pacing, atmosphere, acting, lighting and script are rough.
The pacing meanders point to point. There is meant to be tension when there just really isn’t. For example, Nina and Andres (Bezell), decide to drink Luther’s wine at the prodding of Andres (which also, my dude, don’t flirt with Nina and ask her to leave with you when you’ve known each other a day). Later when Luther finds out, he’s rightfully pissy about it. However, the tone is slanted to the audience like he’s being weird and controlling, which…he told her to ask him next time. That’s it. I would have done the same thing if I were Luther.
The atmosphere could have been utilized way more efficiently to show a woman in a foreign country and in the middle of nowhere. The woods could have played a bigger factor, especially if she used to be a city girl from Minsk or something. The atmosphere was bland as most of the day shots looked very cute cottage-core cabin and the night shots were too bright to be menacing.
And speaking of lighting (and filters), SILENCE OF THE PREY looked so washed out. I get that’s the new horror vibe, being flat and muted colors, but whoo boy, does it make it uninteresting to look at. There’s nothing that really catches your eye. Nothing to draw you in as a viewer.
This leads to the acting, which is stilted. I needed Luther to be at a 10, but instead he was at a nervous 6. I never found him believable as someone intimidating. He was too soft-spoken and gentle. Don’t get me wrong, I love old badass, creepy dudes – Stephen Lang is making bank on it. But LaPanta never reaches those levels of insanity or villainy. And opposite him is a sleepy-eyed Nina that just wanders from scene to scene.
(Not pictured: the dye-free lavender bath bomb and Rae Dunn mug of tea)
However, the real issue was the writing, which was comedic at times. If you told me this was a parody, I’d still find the tone weird, but it would be believable.
For example, when Nina chops down the door to what we imagine is an injured or dying Andres, and she actually yells down, “Ready or not, here I come!” Completely breaking the tone of the dramatic scene.
Or that Luther keeps calling Nina “delicious” and her daughter “Bambi” affectionately, which is hilarious. Like, we get it. You’re a cannibal. I’m surprised the bath scene wasn’t a marinade.
Or how about when Luther has a cult dinner party, and all the white people are being…racist? Ignorant? Belarus is confused for the Ukraine and Nina doesn’t even try to correct them (which if she’s so outspoken in Belarus to predicate the need to flee the country, why can’t she get that energy to talk about her home country?). They are supposed to be acting like assholes and I get that but also in a way, I don’t. She and they are European descent (ahem, white, unlike Andres), and their comments never instilled any danger, so I felt it just weakened the tension.
The scene would have been more impactful if she witnessed how awful they were to Andres instead and her having to choose her daughter and her wellbeing over his. But the scene never really pushed the boundary, which it needed to. It was more laughable than sinister or vile.
SMALL ASIDE
Before we move on to Brainroll, one thing that drove me crazy. The songs sounded like they were bought so they never really quite matched the scene, but there was one in particular they kept using. And I was like, ‘I’ve heard this before. I know I have. Is this from Kevin MacLeod?‘
Nope. Big friggin’ nope. It finally dawned on me at the credits. It’s absolutely the main theme of 28 Days Later by John Murphy. Anyway, it was jarring and I didn’t like it.
BRAINROLL JUICE:
Look, I get it. You might be thinking, ‘Why are you dumping so hard on this indie film?’ I’m not trying to, in fact, I was rooting for it. I wanted this to be compelling. Because I understood that it has a lot to say.
The first thing that grabbed my attention is that this “inspired by a true story” (no information was given about that). And at the end of the film, there’s a quote by Julia Ainsley from NBC News that’s in regard to missing migrants, which the full article can be found here: https://www.nbcnews.com/politics/immigration/dhs-lost-track-177000-migrants-us-rcna104464.
Now, after reading the article, I don’t think it means exactly what Kudzima was alluding to. I believe, in context with the film, she was taking the article out of context. In the 2023 article, Ainsley was reporting on 177,000 of migrants who, once they entered the US and were awaiting immigration hearings, ghosted the US government.
“[D]uring a 17-month period 177,000 address records for new arrivals were either blank or contained nonexistent or nonresidential locations.
More than 1 million migrants were released inside the U.S. pending their immigration hearings from March 2021 to August 2022, according to a new report from the DHS Office of Inspector General. Of those migrants’ records, more than 54,000 were blank, while the rest were either invalid or not legitimate residential locations.
Julia Ainsley,
DHS has lost track of 177,000 migrants inside the U.S.
This is not the same as alluding to migrant women being missing due to nefarious reasons. The article has absolutely no information about that and in fact, is more about how migrants often give outdated or false information to ICE so that they can come into the country and stay off the radar of ICE…which is not a good look for Kudzima.
So, I’m going to lend a hand for a minute because this is a very real issue that migrant women face. Being a migrant afab/woman in the US makes them extremely vulnerable to violence, exploitation, trafficking, and fewer opportunities to connect to resources than their afab/male counterparts. They face incarceration or deportation if they speak up against the abuse against them and have limited support structures and resources. Many times they work longer hours, are underpaid, and are often in care-related jobs, sacrificing their own care. And not all migrant women are treated the same. Age, color, religion, ethnicity, and marital status all have a role.
In a much clearer focus on missing migrants, the IOM’s Missing Migrants Project has been going strong for 10 years, recently compiled a report regarding the deaths and disappearances of migrants – A Decade of Documenting Migrant Death.
From their website, they state: “The more than 63,000 deaths and disappearances recorded during migration over the past decade are likely only a fraction of the actual number of lives lost worldwide. The report highlights the need for improved data collection efforts to accurately assess the scale of the issue and address the broader challenges of unsafe migration. There are more than 37,000 dead for whom no information on sex or age is available, indicating that the true number of deaths of women and children is likely far higher,” and ” migrant deaths are on the rise, with 2023 marking the highest annual death toll on record when over 8,500 deaths were recorded”.
I highly suggest checking out my resources for more information:
- https://www.iom.int/news/one-three-migrant-deaths-occurs-en-route-while-fleeing-conflict-iom-report
- https://iris.who.int/bitstream/handle/10665/259463/9789241513142-eng.pdf
- https://www.unwomen.org/sites/default/files/Headquarters/Attachments/Sections/Library/Publications/2021/Policy-brief-From-evidence-to-action-Tackling-GBV-against-migrant-women-and-girls-en.pdf
- https://www.migrationpolicy.org/article/immigrant-women-united-states-2000#7c
BOTTOMLINE FOR SILENCE OF THE PREY
It’s a worthy cause and be sure to check out https://www.iom.int/, but in the scope of movies, SILENCE OF THE PREY misses its mark.
(2 / 5)
AND NOW A WORD FROM THIS DISTRIBUTOR:
The Horror Collective released this week the social justice-themed horror, SILENCE OF THE PREY. Inspired by a true story, Silence of the Prey follows an undocumented immigrant mother who takes a caretaker job for an elderly man, only to discover a horrifying truth. The film marks the directorial debut of Karyna Kudzina, who co-directed with Michael Vaynberg.
Entertainment Squad’s genre label, The Horror Collective, released the film on all major video-on-demand and digital platforms in the United States, the UK/Ireland, Australia, and New Zealand.
The Horror Collective is the genre label of Entertainment Squad, a finance and distribution company founded by veteran producer Shaked Berenson (TURBO KID, TALES OF HALLOWEEN). The labels’ latest productions include the killer-pants cult classic SLAXX (Shudder Original) and the critically acclaimed LGBTQ+ horror-comedy SUMMONING SYLVIA.
You can find out more on their website here: https://thehorrorcollective.com/film/silence-of-the-prey
Movies n TV
Anna (2013) To Some, Mindscape to Others, a Thriller Film
Anna (2013), also known as Mindscape, is a psychological thriller of a struggling memory detective named John.
Anna (2013), also known as Mindscape, is a psychological thriller directed by Jorge Dorado. This R-rated directorial debut stars Mark Strong, Taissa Farmiga, Brian Cox, Saskia Reeves, Richard Dillane, and Indira Varma. As of this review, interested viewers can watch this film on VUDU, Hoopla, Plex Channel, Pluto TV, Roku Channel, Tubi TV, Amazon Prime, and more. Anna originally released in 2013, but it released in the US in 2014.
Struggling to return to his work as a memory detective, John (Mark Strong) pursues a new assignment. Anna (Taissa Farmiga) views John as her last chance to prove her innocence before she’s condemned to an asylum. As John searches through her memories, a tale of abuse and manipulation unravels.
What I Like about Anna (2013)
Anna earned three nominations but no award recognition. From the Sitges–Catalonian International Film Festival, it earned a nomination for Best Motion Picture. The Goya Awards recognized Jorge Dorado with the 2014 nomination for Best New Director. Finally, Anna received a nomination from the Gaudí Awards for Best Art Direction.
Taissa Farmiga’s performance balances the line between suspicious and innocent, which is necessary for this unraveling mystery. It’s a delicate role, but Taissa Farmiga brings to life the material given.
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Anna‘s plot rotates around a new fringe science that’s slowly gaining traction. It’s less a dissection of this science and more a norm that Anna expects viewers to believe. It’s an interesting concept, though not unique. Still, it’s a nice additional dynamic to the mystery.
While not a horrifying film, it does deliver a mystery that keeps viewers engaged with enough hooks to add an extra layer before something gets stale. That mystery does linger in the mind in some respects but doesn’t haunt the viewer.
Tired Tropes and Triggers
Despite Anna not depicting these moments, sexual assault remains a recurring element of the film. Little remains conclusive, with some suggestions that these are false allegations. Furthering this point, the film depicts Anna as a manipulator and flirt when some incidents suggest she’s a survivor of assault.
Derogatory language might upset some, but these remain brief moments. The use indicates a particular character’s immaturity, but I’ll raise the point regardless. Furthering this line of analysis is a moment where a bullied character is implied to be gay, but it’s likely just an insult.
While not inherently a trigger, this new field of science earns the claim of being somewhere between forensic science and lie detector tests, a massive gap that anything can fit in. It makes everything subjective when the film wants to claim absolute evidence. I can’t help but wonder what exploring that unreliability might look like, but that’s not this film.
What I Dislike about Anna (2013)
The biggest deal breaker for some is this concept of a teen mastermind. I won’t go into details about the mystery, but I am often fatigued with this idea of a teen femme fatale. While Anna gives enough mystery, it’s an overused trope.
Mark Strong’s performance delivers on the material, but John seems so easily manipulated for someone who does this as a profession. While out of practice, I don’t understand why he believes or doesn’t believe information. If Anna depicts John as overly critical or gullible, the film will have a more consistent character.
I assume there remains an understandable reason for the name change, but Anna appears as a common title for a film, spinning a series of some recognition. Mindscape also earns some recognition and competition, but it’s a more memorable title than a single noun name.
Final Thoughts
Anna provides an interesting concept and mystery, but many shortcomings hinder the execution. Viewers eager for a psychological mystery with a drop of sci-fi, Anna delivers an engaging story. However, the market does provide competition, making it a tough film to recommend. 
(3 / 5)
Movies n TV
Tips on Raising Evil from “The Demon of Parenthood”
The assessors investigate cursed toys in an attack against commerce, but Ben has a finger on the issue in “The Demon of Parenthood.”
“The Demon of Parenthood” is the eighth episode of season 3 of Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate cursed toys in a terrible attack against commerce, but Ben (Aasif Mandvi) has a finger on the potential issue. David (Mike Colter) receives another task from the Entity. Kristen (Katja Herbers) learns more about her missing egg. Leland (Michael Emerson) invites Dr Boggs (Kurt Fuller) to the darker side of spirituality. Sheryl (Christine Lahti) takes her granddaughter to work.
What I Like about “The Demon of Parenthood”
I enjoy the espionage aspect of the Entity, pushing David to questionable grounds as he navigates what’s right against what’s demanded of him. While this plotline doesn’t reach its full potential, this episode highlights one of the more interesting opportunities of this idea. The Entity consistently interferes with the procedural case, possibly covering up abuse to support its objectives. This episode highlights this dynamic to perfection.
Kristen gets pulled in multiple directions, forced to question her trust in David, and faces a unique horror after learning about her missing egg. While I won’t dive deeper into this issue for this review, it’s safe to say this episode belongs to Kristen, and Katja Herbers delivers.
Her unsettling night terrors suggest an intuitive understanding of some of the manipulations around her, highlighting these moments to the viewer by proxy. Beyond these meta moments, the execution of these night terrors remains pleasantly unsettling.
![Evil: Season Three [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM5NDg0MA=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
![Evil: Season Three [Blu-Ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM5NDg0MA=)
- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
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Among a constant trail of failures, Leland lingers in the background as he puts pieces together for his master plan. We don’t see the full scope of his vision yet, but the suspense it builds for future episodes earns its place. I’m interested to see how these plots will evolve, even if Leland’s luck seems to turn sour. Perhaps it’s because of this dynamic that the tension works so effectively.
With a shocking moment tied into this episode, “The Demon of Parenthood” creates one of the more haunting episodes. However, the greatest accomplishment in the episode is what it establishes for the future of the series. While not all these points follow through by the end of Evil, it’s still an episode that ripples across the show’s progression.
Tired Tropes and Triggers
Without diving into too many details, spousal abuse and murder occur in the episode. This abuse might indicate a demonic influence, but such points remain speculation.
A severed body part and some gore stand out in this episode. It hardly earns enough attention from fans of gory horror, but the squeamish should tread carefully toward the end.
What I Dislike about “The Demon of Parenthood”
Many dropped ideas seem genuinely interesting, building to some potential development that receives little payoff. Missing these opportunities will never feel satisfying. While some changes are understandable, it creates holes in the narrative. For example, Dr. Boggs’ dark seduction slows in pace, becoming implied or withheld from the audience soon after “The Demon of Parenthood.” These experiences often adapt the concept of evil that the show seeks to bring to life.
Sheryl’s compliance with Leland’s plan still seems underdeveloped as a concept, especially with how far she takes it in this episode. While later episodes add a different perspective, I can’t help but feel these are retcons or concepts not thoroughly thought out.
Final Thoughts
“The Demon of Parenthood” progresses the plot and delivers some genuinely haunting moments. While a retrospective assessment does note many missed opportunities, the episode stands up beyond these missed opportunities. 
(4.5 / 5)
Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
