Welcome back to Haunted MTL’s extensive recap and review series for Swamp Thing on DC Universe. Everyone seems to be in a key position now for the final two episodes in what has been a rather thrilling and satisfying season of horror television.
The Story So Far
Avery’s Swamp Trek
Having nearly been murdered by the sheriff and her son, Avery finds himself wounded and alone in the swamps of Marais. Avery has been in a character who, while maybe not entirely in control throughout the season, has had the air of someone who could get out of any setbacks. “Long Walk Home,” however, finds the industrialist at his most vulnerable. Delirious, Avery’s walk is punctuated with visions that flesh out his own relationship to the swamps; chiefly the murder of his father by the swamp itself. In a flashback, Avery watches his father dragged into a campfire by a tree that Sunderland, Sr. attempted to chop down.
It’s then that Avery is found by Swamp Thing. After being cared for, Avery offers to seek out a cure for Swamp Thing and meets with Jason Woodrue. Woodrue fills Avery in on the meeting with The Conclave that was taken over by Maria. The pair discuss the scientific advancements that could result from the study from the Swamp Thing, and Avery Sunderland gives in to his baser instincts, opting to capture the former Alec Holland for research purposes.
Abby, after her long talk with Alec last episode, returns to the CDC in Atlanta to continue her work, eager to help Alec in any way she can. Things are off, however, in that Abby is being received coldly by the powers that be and the samples she sent for analysis are being withheld from her. Abby encounters Dr. Palomar (Adrienne Barbeau) her new boss, who informs her that things will be much different from here on out. Abby is able to reconnect with her CDC-pal Harlan, but by the end of the episode, his fate is likely up in the air. Abby also gets the pleasure of being introduced to The Conclave’s Nathan Ellery who reveals how much he knows about the situation in Marais. Cornered by The Conclave, Abby flees back to Marais to warn Swamp Thing of what is coming.
“Curse your sudden but inevitable betrayal!”
Swamp Thing rescues and cares for a delirious Avery Sunderland and introduces himself as the former Alec Holland. Avery, as expected, does not let on to how involved he was in Alec’s death. The pair have a deep discussion on the swamp and recent incidents. Swamp Thing hints at the nature of the rot in the swamp to Avery, suggesting that his own form, as the Swamp Thing, maybe the result of the Green fighting back. Avery, thankful to his swampy savior, offers to find a cure, which Swamp Thing does not outright dismiss.
Avery Sunderland and Jason Woodrue later enter the swamp, seeking out Swamp Thing. This is a trap, however, as The Conclave has provided a team to take down the creature of the swamp. They manage, using liquid nitrogen, to contain the Swamp Thing, ready to be carted off to a lab for Woodrue to begin his research.
What Stood Out?
The cinematography of Avery’s trek through the swamp was quite well done. The shots really added to the sense of delirium and exhaustion felt by the character, and the Swamp Thing’s reveal to Sunderland is handled quite effectively.
The Final Verdict on Swamp Thing
“Long Walk Home” is a strong episode that distills the three main figures of the show to what seems to be their essential, core struggles; Avery grapples with his past and ambition, ultimately repaying the kindness of his savior with what is sure to be inevitable torture. Abby Arcane, again finding herself torn between her professional world of the CDC and the mystical high-strangeness of the swamps ultimately chooses the Swamp Thing. The Swamp Thing himself, a tortured soul, finds his efforts to reconnect to the world of man exploited because of what he is. It’s all a very strong set up to the final pair of episodes in the first and the only season of Swamp Thing. (4 / 5)
The Conclave is a deep, deep organization in the comics, and their presence in the CDC should not come as a surprise to viewers as it is meant to establish that they have a wide base of power from which to draw.
Dr. Palomar, the CDC director who Abby clashes with, should be recognizable to any fan of Swamp Thing and horror in general: Adrienne Barbeau. Barbeau’s history in horror is worthy of an article in itself, but for our purposes, we’ll highlight her role as Alice Cable in Wes Craven’s 1982 adaptation of Swamp Thing. As with any adaptation there were changes between the source material and the adaptation, but Alice Cable is very much an adaptation of the Abby Arcane character.
Movies n TV
The Beach House, a Film Review
The Beach House (2019) is a body horror film directed and written by Jeffrey A. Brown starring Liana Liberato, Noah Le Gros, and Jake Weber.
The Beach House (2020) is a body horror film directed and written by Jeffrey A. Brown. This film stars Liana Liberato, Noah Le Gros, Jake Weber, and Maryann Nagel. As of this review, this film is only available on Shudder.
Desperate to rekindle their strained love, Emily (Liana Liberato) and Randall (Noah Le Gros) escape to a beach getaway. They soon learn to find that family friends of Randall’s father, Mitch (Jake Weber), and Jane (Maryann Nagel), also had a similar idea. After getting used to each other, a mysterious fog engulfs the town. Unfortunately, they realize too late the danger they find themselves in.
What I Like
Body horror gets under my skin, and The Beach House certainly lives up to the standard. There’s something magical about creatures terraforming your body to their preferred environment, turning humans into nothing more than conscious prisoners in their own flesh. While I wouldn’t consider this film the most traumatic or unsettling example, it utilizes wonderfully grotesque scenes.
Aside from the body horror, the film drops a few Cosmic Horror–or Lovecraftian–vibes that go together perfectly. Another favored genre of mine, this combination ensures the odds are overwhelmingly against our human leads.
Beyond the grotesque, visuals might not overwhelm but certainly succeed in their goal. Several scenes provide an intentionally tranquil experience that contrasts with the grotesques and improves their effectiveness.
In terms of performance, each actor hits their mark. While some roles require less effort, each contributes to the plot as intended. The standout performance goes to Liana Liberato’s Emily, who acts as co-lead. She simply has the most to work with and lives up to the part.
Tired Tropes and Trigger Warnings
As “body horror” should indicate, this film will hit hard for the more squeamish viewer. While horror by nature has some amount of grotesque, body horror brings that grotesque to the next level. While I don’t particularly find The Beach House hitting harder than its competition, it certainly respects its chosen genre.
What I Dislike or Considerations
A few scenic montages may hit or miss depending on your interpretation. While I have my own theories, that speculation goes beyond the scope of this review. Many of these scenes overlap more philosophical conversations and musings that may annoy or add layers. This strategy seems a common practice in Cosmic Horror, which forces characters to rationalize the irrational.
It’s hard for me to understand how secretive or known this event is supposed to be in the film’s world. Individuals know something outside of the town, with evidence implying governmental knowledge. This information creates a contrivance–perhaps, even a plot hole–because the characters had to reach this isolated town without any opposition.
One of the visuals didn’t exactly grab me. While I won’t go into too much detail, an effect looked too visually similar to a common animal that barely survives rain. It’s hard to be threatened by that. It also doesn’t exactly match up with some of the other visuals. Even the creatures that look similar to it still look different enough to provide a more alien assumption.
There are moments when the infected chase our main characters by crawling at them. While the context works, with injured characters helping to sell them, I can’t help but find these scenes amusing as opposed to frightening. Yes, it’s certainly visually different from the plethora of zombies out there, but it’s also less frightening than zombies that leisurely walk to their targets.
The Beach House combines cosmic and body horror to create an uncomfortable film that tests its characters. For those who enjoy these genres, it will certainly entertain you, but I doubt it will frighten you. I imagine the mood to watch it again might strike me, but I’m not entirely certain it will stand the test of time. (3 / 5)
If this movie suits your fancy and you want more, Honeymoon seems an appropriate recommendation.
Movies n TV
Every Secret Thing, a Film Review
Every Secret Thing (2014) is a crime thriller directed by Amy J. Berg and written by Nicole Holofcener, based on Laura Lippman’s novel.
Every Secret Thing (2014) is a crime thriller directed by Amy J. Berg and written by Nicole Holofcener. This R-rated film stars Diane Lane, Danielle Macdonald, Dakota Fanning, and Elizabeth Banks. Based on Laura Lippman’s novel of the same name, the film adaptation is accessible through MAX and DirecTV.
When a little girl goes missing, Nancy Porter (Elizabeth Banks) spirals into an all too familiar tale. As pressure mounts, Alice Manning (Danielle Macdonald) and Ronnie Fuller (Dakota Fanning) become the leading suspects. The strained frenemies unravel under the attention and reminders of their shared past.
What I Like
The film unravels in a non-chronological structure but makes it easy for the viewer to follow. It helps that the age difference clearly divides the younger actors, who change actors. One casting choice resembles their older counterpart, and the acting reflects a strong direction for their shared role.
Unreliable narration remains expertly communicated with scenes that change perspectives depending on whose perspective we view them from. This choice adds a reason to view the film twice, providing extra ambiguity for some of these events.
The camera gets up close and personal to an uncomfortable degree, which almost certainly presses the actors’ performances. This choice places the viewer in the character’s perspective and limits us from others’ perspectives to add extra credence to these biases.
Every Secret Thing provides a spiraling mystery that unravels with several twists and turns. Assuming the novel provided the outline, this film executes these points and keeps a consistently engaging experience throughout the runtime.
Tired Tropes and Trigger Warnings
Child abuse and neglect remain the central plot points of Every Secret Thing. Little of this abuse appears in scenes, but there is no escaping the danger children are in throughout the film.
Self-harm and suicide are shown throughout the film (once in the case of suicide) through one specific character. It isn’t glorified or romanticized nor addressed with particular sensitivity. For those sensitive to these subjects, it might be triggering.
Racism, the assumed motive for the bi-racial victims, plays a small role in the film’s narrative. However, character motives remain more complex, but going further spoils some elements. This film decision does create the reality that bi-racial children are the victims of child neglect and abuse in the film with little additional context. It does invite uncomfortable speculation, but speculation it would be.
Sexual assault is another concern for viewers, specifically statutory rape. This issue seems particularly mismanaged, considering the survivor remains an antagonist. One can be both survivor of assault and an antagonist of a film without needing to discredit the assault. While little appears of this issue, and the manipulation angle can indicate a perspective shift, it’s hard to refute how the film wants to represent this attack.
What I Dislike
Loosely tied to the above point, one character seems mentally off and purposely so. This point doesn’t inherently create an issue, but there seems to be a choice to make this character a mastermind. Perhaps this is better addressed in the book, but the execution is far from perfect here.
A newspaper montage reveals essential information which feels oddly misplaced. Practically the entire setup for the film appears through this montage, which creates the necessity to read these headlines in the minimal time given.
As a horror, nothing but the events are haunting. Children being abused or kidnapped always haunts, but the terror of this remains secondary to the mystery. While the mystery is nice, this film won’t particularly scare the seasoned horror fan.
Every Secret Thing unravels a mystery of opportunism, selfishness, and deception. While the movie won’t haunt the viewer, it certainly unravels a mystery that shocks them. The nuanced and deceptive characters add a layer of engagement that creates a unique experience, but I doubt this movie will linger in my mind.
(2.5 / 5)
Movies n TV
Quid Pro Woe
We’ve now reached episode six of Tim Burton’s Wednesday. And after the last episode, this one did not disappoint.
We start with Wednesday attempting to contact Goody Addams. Last episode, if you’ll recall, Morticia explained the difference between a psychic dove and a raven. Since Goody Addams was the last raven psychic in the family line, it’s got to be her that trains Wednesday.
But her seance is a failure, and Wednesday is interrupted by a magazine note shoved under the door. It says to meet someone at a crypt for answers.
When she gets there, it turns out that her friends have put together a surprise birthday party for her. Before she can cut the cake, however, she has a vision.
Goody Addams tells her that she must find a specific gate. After some investigation, Wednesday discovers it’s the gate to the old Gates house.
Wednesday goes to investigate, but she isn’t the only one. She is nearly discovered by Mayor Walker. He is also investigating the Gates family, even though they’re all reported to be dead. He leaves a message for Sheriff Galpin and is almost immediately run over by a car.
This incident is enough to get Wednesday’s town villages revoked. Though this seems like an empty punishment since the whole school is on lockdown. Someone burned Fire Will Rain on their front lawn.
Wednesday isn’t one for believing the rules apply to her. She has it in her head that she’s meant to save Nevermore Academy, probably from whatever descendent of Crackstone who’s still around. So she has no problem lying to Enid and Tyler and convincing them to help her sneak off campus and explore the Gates house further.
This, of course, is an incredibly informative trip. The kids find a hidden altar to Crackstone, as well as the missing body parts from the monster’s victims. They also find evidence that someone’s been staying in the house. Someone who’s staying in what looks like a little girl’s room.
Before they can find anything more, the monster finds them. They barely escape, and go to the sheriff with what they find.
Of course, the house has been cleared out by the time Sheriff Galpin arrives. Furious that his son was almost killed, he tells Wednesday to stay away from him.
Because that always works, right?
Galpin isn’t the only one angry. Enid is fed up with the way Wednesday has been treating her. And so she leaves their room to bunk with someone else, leaving Wednesday alone.
This episode was well done. The discoveries at the house were exciting, and I’m almost sure I know who’s behind the murders at this point. Overall, this was a good ramp-up to the season finale.
Finally, this episode did something I was worried just wasn’t going to happen. And for that alone, it deserves praise.
Wednesday has been incredibly selfish and inconsiderate since the first episode. She’s been rude and demanding towards Thing. She’s ignored her friends’ needs and emotions while insisting they put themselves in danger for her investigation. She has respected no one’s boundaries, even while other people have at least tried to respect hers.
And now, it’s finally come back to bite her. All of the people who have been doing their best to show her kindness and support are finally done with her bullshit.
Yes, this is a good thing! Characters are best when they’re allowed to learn and grow. When they don’t come to us flawless. When they mess up and learn from it. Especially for a show aimed at kids, this is essential.
If you’d asked me at the beginning of the season if this character was going to experience honest character growth, I’d have assured you it would never happen. Much to my surprise, it’s happening. I hope that Wednesday is going to come out of this a better person. With two episodes left in the season, there’s plenty of time for that. (4 / 5)