Connect with us

Published

on

Very early in, it’s perceivably clear that Spiral is a story that a large portion of the audience will not appreciate. It might even elude them for there are moments where the terror comes off as uneventful or too tepid to go full third base unless you properly understand what it is that the central character is experiencing. Not that these viewers won’t be able to enjoy the film, only that they might look at the horror unfolding in Spiral and think nothing of it.

This difference in interpretation can be seen in the limited reviews for this film. Early discussions about Spiral from when it was released on Shudder in September, showed almost no middle ground between final verdicts. Certain groups of people which included women, minorities, and members of the LGBTQA+ community thought it was downright terrifying while others felt underwhelmed by what was presented.

Spiral confirms two things for me. One, ALL horror movie husbands are useless and two, nothing good ever happens in the suburbs. A perfectly tidy neighborhood filled with polished passive-aggressive white people that smell like snobs. Often unintnetional snobs but snobs nonetheless. That’s the first problem the characters make in Spiral. They move to the freaking suburbs.

Same-sex couple Malik (Jeffrey Bowyer-Chapman) and Aaron (Ari Cohen) move to a nice small city in the suburbs with Aaron’s daughter from a previous marriage, Kayla, your typical angsty teen. There is no big reason behind this move other than getting out of the noisy city. It’s quiet and supposedly, safe, but it doesn’t take long before weird things start happening because anyone who has ever seen a movie knows that in the suburbs, you’re neighbors are always up to no good.

On their first day there, Malik starts having problems with some of the neighbors as they appear rude in unduly polite ways. Then one day he comes home to find the slur “F****ts” written on their wall, and just like that, their peaceful, and shockingly spacious home becomes the setting for Malik’s worst nightmares. Things only get stranger when he finds several copies of a book with a spiral logo in the neighboring houses and when someone gives him a post-it note secretly numbered with dates. They’ve become targets in something sinister. Unfortunately, he’s the only one aware of these events. Aaron has no idea and refuses to take any of it seriously.

Advertisement

Spiral starts with a brief flashback of a hate crime in which a teenaged Malik and his boyfriend (not Aaron) are attacked by a group of homophobes. The memory appears repeatedly throughout the film and is the heart of Malik’s growing paranoia. He’s living in fear, waiting for the next attack, unraveling at the seams much to the confusion of the completely at ease Aaron. He doesn’t understand why his husband is so upset, or so afraid. The two analyze their surroundings in very different ways as Aaron is a seemingly well-off, middle-aged white man that has likely never experienced more than a few hateful words regarding his sexual orientation while Malik is a black man who has already suffered hate-induced violence.

Aaron doesn’t have a lot to do in the film. He’s absent for a large portion of it, and when he is present, it’s only to ask Malik why he can’t just get over his anxieties and go make friends with the neighbors. If only anxiety and PSTD were that easy to cure buddy.

At one point, he even makes the comment, “You know what people do in the suburbs?” he asks “they leave their doors unlocked.” Which is honestly one of the dumbest things I’ve ever heard. This film is not set in the 50s when the suburbs were at peak power. Spiral is set in 1995, a time when people should have been most definitely locking their doors! Anyone who trusts their community enough to sleep with the door unlocked is someone who has likely lived a sheltered existence, which I’m sure is exactly what the film is trying to say about Aaron. Being, not only a black man but also a gay man, Malik feels the pressure of conforming to “acceptable” society that Aaron is blind to.

Spiral isn’t all social commentary though. There is something going on in town. What may or may not be a cult is living next door and they’ve got their eyes set on Malik, or do they? For the first half, Spiral attempts its hand at being a psychological thriller that wants you to question Malik’s sanity. The biggest problem with that is the film immediately gives away the answer. As Malik is slowly losing his marbles, there are multiple shots of people in hoods watching the house from the outside.

As good as Spiral is, if it had kept the question of insanity more prominent I feel that it would have resulted in a more impactful finale. It gives away part of the mystery a bit too soon. Knowing early on that Malik is right and that the neighbors are up to something, changes the viewing experience. It slowly turns from a study of fear, trauma, paranoia, and prejudices into a guessing game about the neighbors. All those themes remain strong though, coming back big in the end.

Final Verdict

Spiral is Get Out meets IT, with an end that pulls a Sinister. (Sorry, I just love name dropping movies). It is brutally honest when it holds up that mirror to the audience, a rigid atmosphere that keeps you tense and a slow buildup of poking at cultural prejudices like poking at a water balloon. Soon everything’s gonna pop. There are two monsters in this film, the actual villains and the fear they exploit. Those who’ve targeted Malik and his family have no personal issues with either of them, but they need to use human nature to their advantage, and fear is a part of human nature. Where there is prejudice, they can thrive.

Spiral is streaming now on Shudder.

Advertisement
3.5 out of 5 stars (3.5 / 5)

All photos are property of Hadron Films and Digital Interference Productions

Rachel Roth is a writer who lives in South Florida. She has a degree in Writing Studies and a Certificate in Creative Writing, her work has appeared in several literary journals and anthologies. @WinterGreenRoth

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.

Published

on

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.

A woman with her mouth agape. Behind her is a dark background. Next to her reads, "The Beach House." Below is a scenic beach with a mountain in the distance.
The Beach House Alternative Cover Art

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.

Advertisement

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.

White background, rubber stamp with disclaimer pressed against the white background.
Disclaimer Kimberley Web Design

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.

Woman looks shocked or horrified. Bushes or trees make up the background.
Liana Liberato as Emily

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.

Final Thoughts

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 out of 5 stars (3 / 5)

If this movie suits your fancy and you want more, Honeymoon seems an appropriate recommendation.

Advertisement

Continue Reading

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.

Published

on

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.

Laura Lippman stands out at the top of the cover, over a black background. Every Secret Thing appearing over a pool
Every Secret Thing Book Cover

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.

Advertisement

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.

White background, rubber stamp with disclaimer pressed against the white background.
Disclaimer Kimberley Web Design

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.

Daughter resting on her mother's shoulder. Both are in the back of a car.
Diane Lane as Helen and Danielle Macdonald as Alice

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.

Advertisement

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.

Final Thoughts

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 out of 5 stars (2.5 / 5)

Continue Reading

Movies n TV

Quid Pro Woe

Published

on

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.

Advertisement
Jenna Ortega in Wednesday

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. 

Advertisement

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. 

Jenna Ortega in Wednesday.

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.

Advertisement

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 out of 5 stars (4 / 5)

Advertisement
Continue Reading

Trending