The Golem (2019), a Film Review
The Golem (2019) is a folk horror film directed by Doron and Yoav Paz, starring Hani Furstenberg and Ishai Golan.
The Golem (2019) is a folk horror film directed by Doron and Yoav Paz. The cast includes Hani Furstenberg, Ishai Golan, Kirill Cernyakov, and Brynie Furstenberg. As of this review, the film remains available to Amazon Prime and fuboTV subscribers with additional purchase options on other platforms.
Set in 1673, a small Jewish community faces hardships from others as the Black Plague spreads. When these hardships reach a boiling point, Hanna takes matters into her own hands. Having secretly learned to read, she seeks to perform a ritual that would create a protector for her people. Yet, this act brings about a steep cost.
What I Like about The Golem
The film received three nominations in 2019. These nominations include Best Actress, Best Sound, and Best Cinematography from the Award of the Israeli Film Academy. While The Golem wouldn’t win these awards, the nominations indicate a strong film.
I won’t claim to know the accuracy and intricacies of the golem in relation to its religious origin, but the film certainly brings to life its concept. The effort to create such a creature and the toll it takes from the summoner create an emotional throughline for viewers to follow.
Hani Furstenberg’s Hanna and Ishai Golan’s Benjamin bring a complicated but realistic relationship to the film. Viewers see the love between them, even as their own society attempts to cast them from each other. They feel like a couple who understand the other’s wants and needs. However, we begin to witness the decaying of this relationship.
Hanna, specifically, provides a complex character that incentivizes the viewers to root for and against her at different points in the movie. Though she navigates blatant sexism and discrimination, she remains far from flawless. These flaws and ambitions establish Hanna as an interesting character.
The Golem can be brutal. This film provides a period-accurate look into antisemitism and systemic oppression, which certainly evokes a different form of horror. However, the golem itself brings brutality through its smiting.
Tired Tropes and Triggers
As the film deals directly with systemic issues of 1673, understand that antisemitism, sexism, and hate crimes remain important elements within the film.
An assault leads to a miscarriage, which seems a point worth mentioning for potential viewers who are sensitive to such points. Fertility and bodily autonomy, generally, also play roles within the provided film.
If any of these are potential issues for your viewing experience, perhaps skip The Golem.
What I Dislike about The Golem
Aleksey Tritenko delivers a wonderful performance for an interesting antagonist, but the role of Vladimir serves limited purposes. In many ways, he’s the representation of his societal antisemitism. While this remains perfectly valid, he somewhat disappears from the narrative until he becomes relevant. His marauders should be an oppressive threat within the society, looming over it with malice.
I can’t deny the lack of intimidation the golem’s aesthetic brings. While some films evoke an eeriness through silent children to horrific effect, this didn’t sit well with me. It should be eerie, but something was missing in execution.
The Golem focuses on a more human horror than the supernatural elements might suggest. While not a direct critique, prepare your viewing expectations accordingly. The Golem remains a folk horror film, using the folk story to represent human evil and flaws. It won’t particularly haunt you with the gore.
Final Thoughts
The Golem brings the old legend of the golem folk story to life. If you thirst for a human horror that shines a light on the flaws of the people within, The Golem might satisfy you. However, it’s not a particularly frightening film, choosing instead to tell a story of loss and overcoming suffering.
(3 / 5)
Movies n TV
A Taste of Cosmic and Occult Horror, or Messiah of Evil
Arletty searches for her estranged father in a remote town, witnessing illogical events that only grow stranger in Messiah of Evil.
Messiah of Evil (1974) is a Lovecraftian horror film written and directed by Willard Huyck and Gloria Katz. This R-rated horror film stars Michael Greer, Marianna Hill, Joy Bang, and Anitra Ford. As of this review, the film is available on Tubi TV, Hoopla, Shudder, AMC+, Screambox and much more.
Arletty (Marianna Hill) searches for her estranged father in a remote town, witnessing illogical events that only grow stranger. After meeting Thom (Michael Greer), a bizarre artist, and his female companions (Joy Bank as Toni and Anitra Ford as Laura), she finds moderately normal help against the growing madness. But as the forces against them grow, madness seems a blissful peace.
What I Like about Messiah of Evil
There’s a Lovecraftian focus on this occult horror, following many aspects that distinguish H.P. Lovecraft from the Cosmic Horror genre he inspired. Specifically, the town feels straight out of one of his stories, with locals openly hostile and awkward to outsiders.
There’s a continued eeriness to the scenes that beats with the allure of Lovecraft. At times, this doesn’t inherently yield logical sense, but the growing strangeness fits the film’s reality.
![Messiah Of Evil (Standard Special Edition) [Blu-ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TmpGRFNXTXpjblZ1ZWt3dVgxTk1NVFV3TUY4dVgxTk1NVFl3WHk1cWNHYz18MTc0MDI1NjgyNA=)
- A woman arrives in a sleepy seaside town after receiving unsettling letters from her father, only to discover the town is under the influence of a strange cult that weeps tears of blood and hunger for human flesh
- From Willard Huyck and Gloria Katz, the writers of American Grafitti, Indiana Jones and the Temple of Doom and Howard the Duck, this dreamy and atmospheric film transposes the post-Night of the Living Dead zombie movie to a surreal small-town American setting, presented through gorgeous Techniscope visuals that echo the stylish European horror of Mario Bava and Hammer
- A true cult film, Messiah of Evil, which was also released as Dead People, has overcome distribution challenges to enjoy growing awareness and high acclaim after decades of word-of-mouth enthusiasm among horror cinema fans and critics around the world
- Hailed in 2003 by The British Film Institute as “a rare work of cinematic genius,” this occult tale comes from writer/director Willard Huyck, known for his work on such popular movies as American Graffiti, Indiana Jones and the Temple of Doom, and of course, Howard the Duck
- Starring a bevy of 1970s eye candy, including Anitra Ford, Joy Bang, and Marianna Hill, Messiah of Evil is about a young woman (Hill) whose search for her missing father brings her to a strange seaside town under the influence of a mysterious cult
- A woman arrives in a sleepy seaside town after receiving unsettling letters from her father, only to discover the town is under the influence of a strange cult that weeps tears of blood and hunger for human flesh
- From Willard Huyck and Gloria Katz, the writers of American Grafitti, Indiana Jones and the Temple of Doom and Howard the Duck, this dreamy and atmospheric film transposes the post-Night of the Living Dead zombie movie to a surreal small-town American setting, presented through gorgeous Techniscope visuals that echo the stylish European horror of Mario Bava and Hammer
- A true cult film, Messiah of Evil, which was also released as Dead People, has overcome distribution challenges to enjoy growing awareness and high acclaim after decades of word-of-mouth enthusiasm among horror cinema fans and critics around the world
Last update on 2025-02-19 / Affiliate links / Images from Amazon Product Advertising API
I am a fan of the ghoulish, and there are plenty of ghoulish figures in Messiah of Evil. First, they linger in the shadows but are ever-present in the plot. As Messiah of Evil builds to its conclusion, these ghoulish forces surround the protagonists. They seem haunted and changed by the cosmic truths of the film.
It’s in this unsettling and creepy atmosphere that Messiah of Evil shines among other Lovecraftian works. Lovecraftian horror films often struggle to communicate this atmosphere, rarely diving into the madness that Messiah of Evil excels in.
Tired Tropes and Triggers
Gore seems the most obvious point to mention, along with body horror to some degree. While Messiah of Evil doesn’t linger in its gore, some moments challenge the squeamish. Some of these moments loosely qualify as body horror, but not nearly enough for fans of the genre.
One can make the case that some female characters are depicted as shallow. However, many characters follow a specific and familiar quirk for Lovecraftian films. The female characters earn an equivalent amount of development to their male counterparts, if shallow at times.
There is an awkward romance between Arletty and Thom. It’s reminiscent of the poorly executed lead romances that seem part of a studio checklist. However, the strange events and eeriness of the characters help make this decision more digestible.
What I Dislike about Messiah of Evil
These issues are more careful considerations for viewers to decide on. There’s a stilted awkwardness that remains a common acting choice for Lovecraftian films. This helps create an eerie atmosphere, but it’s a required taste.
The mystery does invite interest, but Messiah of Evil doesn’t build these mysteries with a desire to satisfy its viewers. Some mysteries get answers as soon as they are raised, and others end abruptly when the film refocuses its attention. There is one exception to this pattern, leading to the heart of the Lovecraftian horror. That mystery should take priority, but it doesn’t.
With a 1974 release date, Messiah of Evil remains a dated film in many ways. There’s something about the color pallet and cinematography that seems timeless, but it remains an older film. Don’t expect a modern design or expensive special effects.
Final Thoughts
Messiah of Evil brings to life the Lovecraftian horror so overlooked in films. While it’s far from perfect, the film shows the unraveling power Lovecraftian horror possesses. The greatest challenge in adapting Lovecraftian works is communicating the overwhelming unknowability of the cosmos. There are many moments where the viewer feels that unknowable madness. Messiah of Evil earns a place for fans of the Lovecraftian genre.
(4 / 5)
Movies n TV
Unlock Your Subconscious Evil With “The Demon of Algorithms”
The assessors investigate a trend of Vidtap possessions in the sixth episode of Evil’s season 3, “The Demon of Algorithms.”
“The Demon of Algorithms” is the sixth 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 a trend of Vidtap possessions. David (Mike Colter) struggles with his faith. Ben (Aasif Mandvi) becomes increasingly agitated by internet scams. Kristen (Katja Herbers) prepares the girls for potential danger. Leland (Michael Emerson) gets bested in digital warfare.
What I Like about “The Demon of Algorithms”
I have issues with the fake TikTok app’s (Vidtap) execution, but “The Demon of Algorithms” gets the algorithm aspect right. Navigating the rabbit hole of social media remains a universal experience that Evil seeks to represent through this algorithm.
A part of Evil’s success in communicating this algorithmic influence is watching the characters struggle with the targeted recommendations. Ben, skeptical as he is, falls in line with its influence as he engages in internet feuds with people who have no interest in changing their minds.
Leland struggles in this episode, losing constantly against people he has overlooked or played for most of this season. It’s a cathartic development to watch these losses unfold, because Michael Emerson understands how to make these losses build tension. We know what this character is capable of and how low he can sink. Each loss adds to that potential breaking point.
David’s demon challenges Sister Andrea (Andrea Martin), leading to a fight that lingers on the campier side of Evil. “The Demon of Algorithms” makes David’s succubus more tangible.
When the procedural villain is caught, that villain performs a transparent and cringe-inducing act live on Vidtap. The hollow performance seems purposely and expertly done.
Sheryl’s (Christine Lahti) heart-to-heart with Andy sends a shiver down my spine. It remains a terrifying moment in the series and an exceptional ending for “The Demon of Algorithms.” While I won’t say the entire episode haunts the viewer, this scene lingers in the mind.
Tired Tropes and Triggers
While there are accurate and commendable aspects of the social media plotlines, some awkward moments suggest unfamiliarity with such platforms. This goes beyond the fake TikTok, as Kristen’s children play an online game, later making a video in the game to call out Leland. It’s not a mechanic I see existing in a free mobile-like game. I can pretend to believe it, but it doesn’t hit the mark.
It is diabolical that the church promises a positive recommendation for someone they believe talks to children inappropriately. A natural continuation of this point is the general grooming behavior of one character.
What I Dislike about “The Demon of Algorithms”
The “Vidtap” app looks genuinely unattractive compared to its real competition. If Evil claims Vidtap is this universe’s TikTok, the issue remains moot. However, Ben says Vidtap made TikTok irrelevant. That’s an unlikely claim to believe.
Another technical issue that suggests digital illiteracy is that the proof video that condemns a particular character is described as live but later revealed that someone downloaded and edited the video within the app.
There’s a brief mention of Vidtap knowing everything about their users, revealing information that otherwise couldn’t be verified. I don’t like how this isn’t interrogated or pushed back on. Perhaps this suggests a personal bias, but prioritizing an algorithm over a platform tracking information outside the app seems a strange priority.
Final Thoughts
“The Demon of Algorithms” taps into the social media craze. While the execution misses the mark in some respects, the episode does address some relevant evils in the digital age. While the procedural case dominates the episode, the villains take the show as the audience slowly uncovers their plan. (3 / 5)
Movies n TV
Fight Your Demon in Full Plate Armor, or Wild Eyed and Wicked
Lily Pierce (Molly Kunz) struggles to overcome her childhood trauma in Wild Eyed and Wicked melee combat against her demon.
Wild Eyed and Wicked (2023) is a dark fantasy horror film written and directed by Gordon Shoemaker Foxwood. The film stars Molly Kunz, Michael X. Sommers, Claire Saunders, Colleen Camp, and Stefanie Estes. As of this review, the film is available on FuboTV, Paramount+, Apple TV, and Roku Premium.
Lily Pierce (Molly Kunz) struggles to overcome her childhood trauma. This trauma prevents her from forming a relationship with Willow (Claire Saunders) or resolving her issues with her father (Michael X. Sommers as Gregory Pierce). As she learns more of her past and uncovers her mother’s (Stefanie Estes as Silvia) demon, she works out her issues in full plate armor.
What I Like about Wild Eyed and Wicked
Molly Kunz provides a layered performance in Lily Pierce, balancing social awkwardness and growing confidence depending on the situation. As she leads the film, her chemistry with the cast remains essential. The hostile and dysfunctional relationship with Michael X. Sommers’ Gregory stands out.
Furthering the focus on Lily Pierce, she’s a woman of many talents but not without her flaws. Her family’s interest in history shines in her knowledge of horseback riding, her career as a fencing instructor, and her ability to smith iron. More knowledgeable armor experts inform me that she wears the armor improperly, but it performs the job.
![Wild Eyed and Wicked [DVD]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TmpGVVlXZzNlR1pMZDB3dVgxTk1NVEF3TUY4dVgxTk1NVFl3WHk1cWNHYz18MTc0MDI1NjgyNA=)
- Lily Pierce is sick of being haunted
- She decides to reconnect with her estranged father, a disgraced history professor, and learn how to draw upon a time of steel when armor-clad knights rode out and dueled their monsters to the death
Last update on 2025-02-18 / Affiliate links / Images from Amazon Product Advertising API
Michael X. Sommers provides a troublingly flawed character in Gregory Pierce. While easily hateable, it’s a nuanced performance. Gordon Shoemaker Foxwood allows Michael X. Sommers to enact all the flaws, contradictions, and undesirable traits of Gregory Pierce.
Horror and fantasy remain a rarer but enjoyable combination. Wild Eyed and Wicked combine these elements to drive a modern dark fantasy of personal growth that turns trauma into a haunting figure.
Tired Tropes and Triggers
Yet, turning real trauma into a demon to beat creates some issues of simplifying the complexity of trauma. However, it’s a common trope for a reason. Wild Eyed and Wicked empowers Lily Pierce’s journey through this monsterization of her demons.
Wild Eyed and Wicked tells its audience of Gregory Pierce’s abuse as a husband and person but doesn’t show these traits. Along these lines, his relationship with Silvia began with her being his TA. An additional issue mentioned is his alcoholism. Again, these elements are told and suggested but not explicitly shown.
Lily’s relationship with her mother also creates new trauma. Silvia’s demonic possession follows elements of mental health issues and abuse. As mentioned above, these abuses are lightly touched on, but viewers witness direct evidence of this abuse.
What I Dislike about Wild Eyed and Wicked
While I understand that Lily struggles to form relationships, Willow and Lily’s romance seems more mature and lasting than a budding romance. There seems to be too much of an emotional understanding of each other’s needs that doesn’t easily lend itself to people who struggle with forming relationships.
A key point of this journey is Lily recognizing aspects of herself to empower her fight against the demon. As she is a noted fencer, I would have liked to have seen this play a role in her development. Instead, she fights as her father instructs.
Every stray sound spooks Lily in a forest, but the silence doesn’t faze her. Anyone with any experience in the forest will note silence is so much more terrifying. I would have been satisfied with a mention of why this seems an appropriate standard, but the silence remains as the expected default, a comfort to a woman who grew up in this area. That doesn’t seem right.
Final Thoughts
Wild Eyed and Wicked combines dark fantasy with demonic possession to develop a unique fable. As it’s a rare combination, those interested will likely find their niche quenched. However, it’s not without its issues. The heroine must battle her internal demons, but this isn’t accurately reflected in how she defeats this monster. If you seek a dark fantasy of battling generational trauma, Wild Eyed and Wicked fits the niche.
(3.5 / 5)
