Review: LEFT ONE ALIVE (2024)
Hello everyone and Happy October! It’s time for some spooky goodness and terrifying treats. And of course at HauntedMTL, it’s our favourite time of the year.
That being said, this review is a long time coming.
I first had the pleasure of viewing LAST ONE ALIVE’s Michigan premier at Motor City Nightmares, a horror convention and film festival. In the audience was writer and director David Axe and star Caylin Sams to promote the film and answer questions.
And since I was fashionably late to the movie, I asked Axe if it was possible to snag a screener to watch the full movie and, well, here we are.
So, enjoy this rare spoiler-free review.
The Plot of ONE LEFT ALIVE:
Sara (Sams) is the lone survivor of a brutal massacre of her friends in the woods one fateful night.
And where most movies end here, ONE LEFT ALIVE begins.
Burdened by survivor’s guilt, police suspicion, newly found fame and growing nihilism, Sara navigates the world and her memories after the attack. Trying to regain her sanity and find out why she was the only one left alive, Sara keeps going back to the woods, searching for answers…or maybe her own ending.
Thoughts of ONE LEFT ALIVE:
LEFT ONE ALIVE is a unique film. It’s a slow-burn independent drama where the horror isn’t so much what’s out in the woods but picking up the pieces of a life interrupted by tragedy.
But that isn’t to say that it’s devoid of humor.
Writing
The writing swings between clichéd to clever, and sometimes to cleverly clichéd. There’s quite a bit of meta humor, but it’s not irritatingly so. It’s more through the perspective of Sara instead of any grand sweeping statements. There’s a point in LEFT ONE ALIVE where the actress playing Sara in a movie (Lorelei Linklater) confronts her for material and motivation. Sara becomes an on-looker of the film, watching another woman play the person who she had to become on the worst night of her life. We see her seeing the fake creatures (tubbies) that the fake film’s effects department created and realizing that her experiences are just being exploited.
But during these scenes, there’s humor mixed in. She punches the actress when she gets annoyed with the questioning, but only grows closer to her. Dating the actress afterwards in a strange relationship
Also, when seeing the fake Tubbies (the monsters) for the first time, she was really vocal about their missing…appendages. Dangly appendages.
Acting and Cast
However, some of the most genuine scenes came when Sara was with her sister, Sam (Rachel Tracy). The acting throughout ONE LEFT ALIVE can be slightly stilted. However, it shines brightest between Sams and Tracy, showing the bond of their sisterhood and the love they share. It felt very natural and organic, really achieving some of the best moments of the film.
For such a tight budget, Axe really was able to use a lot of resources. The casting was really impressive, having both seasoned and new actors including Rachel Petsiavas, Alex Javo, the delightful Sanethia Dresch, and Raj Karottukunnel.
Cinematography
Sarah Massey produced, shot and edited the film, and took risks with some of the shots. However, the risk paid off, not only keeping the story and perspectives interesting, but also reminded me of the art of cinematography.
It’s not often when a movie reminds me that yes, this is a moving picture. Each scene should be expressed in a way that suits the theme, mood and acting. I don’t want to sound old and be like, “movies these days…” But here we are. I am old and also, movies these days. Cinematic shots are meant to serve as a kind of shorthand for what the audience is meant to be feeling – what the expression of the film is and inside the minds of our characters (i.e., long shots to show the character is feeling alone or overwhelmed, etc.). Cinematography 101 stuff.
One shot in LEFT ONE ALIVE that was clever and simple to execute was when Sara goes missing and her sister, Sam, is waiting at home, pacing back and forth. The camera moves with her as other characters are sitting down. The motion follows her unease, focusing only on her and her fear that something horrible has happened. Again. The audience experiences this unease with her as we, too, pace with her.
Music
Also, the music in LEFT ONE ALIVE – color me impressed. It’s often that I’ll watch a horror movie and either the music is too jarring (looking at you, Longlegs) or just doesn’t fit because it’s thrown in without relating to the movie itself. Tyler Matthews does an incredible job at adding to the scene than detracting from it in a careful balance. The music is never too intrusive as to divert attention away from the acting or cinematography, nor does it overstay its welcome. The editing and sound design were clever with when to have silence, music, and natural sound. It’s a difficult balance to do and LEFT ONE ALIVE is a shining example of how to do it right.
Critiques
The only critiques that I have are, as mentioned, the acting can be stilted. Some of the bigger concepts (like finding the new species, making a film within a film, and the legal/media issues) will need you to suspend your disbelief a bit. And as much as I love a slow-burn, some of scenes could have been cut down (like the uber ride).
BRAINROLL JUICE:
For this section I was going to talk about PTSD and dogmen, but then while researching for this review, I saw something I’d rather talk about more.
This movie was one of the last films with actor Raj Karottukunnel, who passed away in April of this year. He was very young (40 is young, trust me) and left behind two daughters. It’s evident he was extremely loved by those who knew him and he will be missed greatly.
There is a gofundme for his daughters for a college fund for them: Fundraiser by Rejani Nedumchira : Raj’s Princess Warriors (gofundme.com)
Sometimes when we watch movies, especially independent movies, we forget how fucking hard it is to make a film. It takes time. Work. Talent. Ambition. A lot of luck. Everyone goes an extra mile because it’s a small crew and it’s a dream that they have. They get to live it, but it takes a lot of effort.
It’s easy to forget there’s a forest through the trees and that these are all people. People with hopes and dreams and fears and whole other lives. Maybe they’re in front of the camera, maybe they’re directing the camera, or maybe they’re like my production assistant friend throwing dirt on actors for a civil war history show. But they all have a home and a family to go back to at the end of the day. And it’s incredibly sad when they don’t get to.
So, I guess this is just my soapbox to remind fans to be kind. Remember to be grateful and gracious of the people who are part of this very cool thing that we love and care about. Horror is, ironically, about community. About a place to belong, even in our darkest moments, even when we’re weird and gross. Let’s keep it weird and gross and lovely and, above all, kind.
BOTTOMLINE:
Even though it’s not in distribution yet, when it is and you’re looking for something a little different in your horror repertoire, I would highly suggest LEFT ONE ALIVE.
(4 / 5)
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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRGYWJYaGtVVFpFYlV3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM4MDM4MA=)
- 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=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TlRFdGJuQndVRmhtU1V3dVgxTk1NVFl3WHk1cWNHYz18MTc0MDM4MDM4MA=)
- 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)
