A lot of people compared this Russian sci-fi horror film to the 1979 Ridley Scott film Alien when it first came out, and rightly so. The general concept of Sputnik (Спутник) could be a sister to Alien, and when you throw some Splice and Life influences into the mix, it’s clear to see where director Egor Abramenko drew inspiration from. However, I would never make the claim that Sputnik is a rip-off of any of these films but rather a descendent of them all with its own unique take on the stowaway alien tale. It’s been a year since this film’s release but I’m here to remind people of its existance and to advise them in giving it a try. You won’t regret it.
Released in 2020, Sputnik is Abramenko’s directorial debut that stars Oksana Akinshina as the brilliant physician-neurophysiologist, Tatyana Yuryevna Klimova, a fantastic no-nonsense woman whom I love.
Infamous for her methods, Tanya is considered a controversial topic in her field because she takes risks that other doctors might consider extreme or unethical, and it’s this reputation that gathers the attention of Colonel Semiradov, the head of an isolated military facility. He wants her to take a look at a young cosmonaut, Konstantin (Pyotr Fyodorov), the only survivor of a two-man space excavation who has become inhabited by an alien creature that needs a host to survive. The Colonel wants Tanya to figure out a way to separate the two without harming either host or visitor.
That’s when the real terror begins.
(minor spoilers below)
As the relationship between Tanya and Konstantin grows, so does her understanding of the alien and of the compound that she’s more or less trapped in. A delicate balance between intensity and tranquility ensures that despite the touching moments between doctor and patient, we’re never able to completely shake the tight grip that the film holds over us. Even moments of calm feel suffocating. Tanya senses that things aren’t quite what they seem and that Colonel is hiding something, and the more suspicious she becomes, the more threatening the very air around her feels.
At the center of it all is the mysterious alien, the Hannibal Lecter to Tanya’s Will Graham, who is not quite the monster, or villain, that we expect.
A true stand-out detail of this film is the way that it treats the alien. It treats it as if it’s just another animal, in that what it does or how it feeds cannot be controlled or altered because that is its nature. There is nothing coherently “bad” about it.
This is a route not commonly taken in this genre, where any life outside Earth is usually seen as a force of pure evil that almost revels in the lives that it takes or more likely, portrayed as mindless killing machines, but Sputnik clearly doesn’t see this slimy extraterrestrial as the villain. Only as a factor to a much larger problem. Once the creature is actually relieved to Tanya, the mystery moves on to something else with the little guy, who is actually kind of cute and looks like a gremlin with a fishtail, playing a type of supporting character.
In the end, Sputnik is a film about human connection. Although it may contain an alien creature, it’s much more science-based, and emotive than I expected and carries with it a political Soviet-era twist throughout the film, only one scene actually takes place in space. Also if you’re wondering why the film is called Sputnik despite taking place in 1983 and never once mentions the famous launch of the Sputnik ship in 1957, it’s because the word “sputnik” roughly translates to “fellow traveler” or “companion.” Some lessons on language for you.
If we’re going to rank all the man-eating space aliens movies together I definitely would put this movie in the top five, a decent sci-fi horror film that leaves you feeling that it was more violent than it actually was. If you won’t take my word for it, take Fangoria’s because Sputnik was nominated for Best International Movie at the 2021 Chainsaw Awards. It didn’t win, but it’s still an honor to be nominated (La Llorona won by the way).(4 / 5)
Photos property of Art Pictures Studio and Sony Pictures
The Last Drive-In: Joe Bob’s Vicious Vegas Valentine Special Live Watch Party February 10th!
The sweet putrid stench of love lingers through the air which can only mean one thing…Valentine’s Day and its annoying little winged cherub mascot, Cupid, is fast approaching. Soon, partners will be spoiling one another with extravagant bouquets of roses, heartfelt Hallmark cards, obnoxiously large teddy bears, glistening diamond jewelry, and heart-shaped candies or boxes filled with assorted mediocre chocolates. You know? Normal things couples do. I tend to prefer my chocolate boxes filled with bleeding hearts, à la ‘My Bloody Valentine’ but, beggars can’t be choosers, right? All jokes aside, Valentine’s Day is special for many couples, however, there are also many others who find themselves celebrating this day without a significant other. Luckily, Shudder, along with drive-in king Joe Bob Briggs and co-host Darcy the Mail Girl (Diana Prince) will graciously be keeping us lonely mutants’, and yes, all you horror fanatic couples’ company on Friday, February 10th as they return with The Last Drive-In: Joe Bob’s Vicious Vegas Valentine, premiering live at 9pm EST.
Love Spells Abound…
Back in 2021, Joe Bob and Darcy invited us to a gruesomely passionate night of spell-binding love witches and animatronic dinosaurs infused with teenage human brains during The Last Drive-In: Joe Bob Put a Spell on You. Many, including myself, were introduced to the tantalizing 70’s inspired retro throwback ‘The Love Witch’ and the graphically goofy cult classic ‘Tammy and the T-Rex’, providing the perfect viewing pleasure to mend any broken heart. While the two films for this year’s morbid love-induced special have yet to be announced, as a special treat, Briggs has announced for the first time on The Last Drive-In, he will be marrying one lucky couple during the live showing. We here at HauntedMTL are eagerly awaiting the return of the ghoulish duo so, as is tradition, we will be proudly hosting a watch party on Twitter during the broadcasting of The Last Drive-In: Joe Bob’s Vicious Vegas Valentine. Be sure to follow us on Twitter and tag us @hauntedMTL as well as @shudder, @therealjoebob, and @kinky_horror to partake in this night of unholy love.
What started off as a one-time special premiering on Shudder July 13, 2018, ‘The Last Drive- In’ was originally meant to be Brigg’s swan song; one last special before hanging up the bolo tie in retirement. However, due to so many mutants, excuse me…viewers tuning in and breaking the Shudder servers, it was only natural to announce an official full season of ‘The Last Drive-In‘, which would make its explosive debut March 19, 2019. Since then, Darcy and Briggs have spawned many exclusive holiday specials, have graciously donated to many charities within the community, and have accumulated 4 seasons of ‘The Last Drive-In’, with a fifth currently in production premiering on Shudder’s 2023 schedule sometime this year, let’s hope sooner rather than later.
Horror Noire, a Film Review
Horror Noire is a horror collection that includes “Daddy,” “The Lake,” “Brand of Evil,” “Bride Before You,” “Fugue State,” and “Sundown.”
Horror Noire is a horror collection brought by the combined efforts of AMC+ and Shudder. The collection includes “Daddy,” “The Lake,” “Brand of Evil,” “Bride Before You,” “Fugue State,” and “Sundown.” Horror Noire boasts Black directors and screenwriters, providing six unique stories.
As this collection explores six stories, I will skip the usual synopsis to assess the genres and ideas explored, albeit limited as needed. Expect to find supernatural horror, creature features, and psychological thrillers. Many short films deal with these genres while exploring Black issues, but this isn’t universal for the collection.
The directors and writers include Zandashé Brown, Robin Givens, Rob Greenlea, Kimani Ray Smith, Steven Barnes, Ezra Clayton Daniels, Tananarive Due, Shernold Edwards, Victor LaValle, and Al Letson.
What I Like
Each story remains unique, holding different strengths and weaknesses that highlight drastically different perspectives. Collections like VHS hold a similar premise to create their collection, but Horror Noire gives more creative freedom to its talent to be independent.
My personal favorite short film is Zandashé Brown’s “Bride Before You.” This period piece unravels a fable set in the Reconstruction Era. The entry feels Fabulistic in approach, which happens to be my preferred niche.
However, the best example of horror goes to Robin Givens’ “Daddy,” providing an existential horror tied directly to the characters involved.
What I Dislike
As mentioned, all have a particular style and idea. The downside of this approach always remains to keep the viewer interested long enough to find their favorite. If you find several underwhelming choices, this becomes a chore. But I imagine that is rare as the variety makes the options refreshing.
Personally, “Brand of Evil” had an interesting premise, but the execution fell short. On paper, it might have sounded like my favorite, which makes the lackluster execution a bigger letdown.
Horror Noire gives power and control to Black creators, providing a formula for a unique collection against others in the space. While the various subjects and approaches mean you aren’t likely to love them all, there should be a short film for everyone.
(3.5 / 5)
Episode six of Netflix’s Dahmer was not, honestly about our title character. Instead, it was about one of his victims, a man named Tony. We’ve actually seen Tony a few times during this series. We just didn’t know it was him.
And, well, he wasn’t exactly alive the first time we saw him.
Tony was born into a supportive, loving family. This is good because soon after he was born a viral infection took his hearing. He is black, deaf, and gay in the early 90’s.
Tony has a dream of becoming a model. And he certainly has the looks for it. He is beautiful, body and soul. He has lots of opportunities for romance, but it’s not what he’s looking for. He wants a real relationship.
Eventually Tony moves to Madison, trying to pursue his dream. He gets a job and starts getting modeling work.
Then, he meets Jeff Dahmer at a bar.
At first, we can almost believe that it’s going to be alright. Jeff seems happy. He’s taking care of himself. He’s not drinking as much. He even has his dad and stepmom over for dinner. It seems like his life is getting on track. Even better, he’s treating Tony right.
Then, of course, things go bad.
One thing that has always bothered me as a true crime fan is that we know so much about the killers, but not as much about the victims. Not so much if we don’t know who the killer is, of course. But the names that are part of our pop culture are those of the killers. Dahmer, Manson, Jones, Bundy, Holms. The names we don’t know are Roberta Parks, Beth LaBiancas, Leno LaBiancas, and Tony Hughes. And clearly, we should know them.
If Tony Hughes was half the shining, positive person that the show Dahmer made him out to be, I’m so sad that he isn’t with us anymore. We need so many more people like him. And many of Dahmer’s victims were likely just like him. After all, he was attracted to them for a reason.
This was a significant episode, and I understand why it’s the highest-rated episode of the series. I finished it with a heavy heart, saddened by the loss of a man who should still be with us today.(5 / 5)