The Marshes film review: A slow fever dream mess
New Shudder original, The Marshes, has the ingredients for a decent horror film but it burns the recipe.
The Marshes, written and directed by Roger Scott, is a mess of a film. The most recent release on Shudder, three young biologists travel to a remote marshland to collect aquatic samples only to encounter a malevolent presence. It’s one part Blair Witch, one part Wolf Creek.
Promising plot. Poor execution
Now, before I start nitpicking the film, I want to give it some praise because I know it tried its best. You could see it trying, which is something you don’t always notice in a horror film; how hard it’s trying to scare you. The two best things about The Marshes are its lovely cinematography and it’s ending.
The film was shot by someone who loved sunsets. The way the sun hung in the sky before dusk, turning the landscape into a black silhouette, made for a marvelous setting. The shots of scenery were presented by an artistic eye, and this made the film very beautiful to look at.
However, I’m sorry to say that its scenery is the only marvelous thing about it. Even the best part of the story, the ending, was poorly executed. The film had a hard time setting itself up. This was clear by the awkward character interactions used to quickly transport them to the marshlands. It wants you to accept what’s being presented without question.
Poor characters
The actors in the film are green. Inexperienced and new to the camera, and while this isn’t a bad thing, it’s hard to ignore when the entire film is character-driven. Without special effects and a scarcely seen villain, we spend the entire 85 minutes with Pira (Dafna Kronental), Will (Sam Delich), and Ben (Mathew Cooper).
We never spend enough time with any of them to see past their one-dimensional character traits or to even care about their safety. Their unlikeable, arrogant and incredibly dumb. These people are practically begging to die. They do everything you’re not supposed to do in a horror movie.
Our leading lady is, unfortunately, the least likable of them all. This unlikeability comes from the film’s preference to tell over show. It prefers to recite facts and plot details, with blunt dialogue and misplaced revelations, rather than show us. We’re told Pira is smart and academically driven but we never see it.
If stripped of the opening scene where we’re told about Pria’s possible promotion and that she gave up a simple life in favor of being a scientist, we’d easily believe she’s just a woman who wandered into the marshlands by accident. Unprepared for the unforgiving terrain.
Lack of a plot
The Marshes starts off slow. Then, after about 40 minutes, logic flies out the window as the monster living in the marsh suddenly develops a taste for blood. It never says how long the three are there and if it did, I didn’t notice. However, they’re there for at least a few days. During that time together, a couple of shocking things happen but all are severely misplaced in the setting that they’re framed in.
Events such as love triangles and ghost stories occur at random intervals just for the sake of moving the film from point A to point Z. I feel that when they were crafting the storyboard, they didn’t know what to do. They wanted to explain the spirit haunting the marshlands and settled on a simple campfire legend that’s presented almost robotically.
There are moments where I thought I missed something. The characters speak to each other as if referencing past events that never occurred. I think Ben is meant to have romantic feelings for Pria but I honestly can’t tell. Ben and Pria are also meant to have known each other a while, but you can’t tell from their dynamic. The three interact like strangers at a potluck.
The Swagman
For a movie monster, the Swagman (Eddie Baroo) is about as one-dimensional as anyone can get. The story of the Swagman is that long ago (how long is never specified) he raped the wife of a Squatter. In retaliation, the Squatter followed the rapist into the marshland and drowned him. That’s as much backstory as we get, and apparently, it’s supposed to be enough, even though the spirit of the Swagman appears to be a cannibal.
Why is he a cannibal? Who knows. It’s not important. He appears and disappears throughout the beginning, haunting Pria’s dreams. There’s a moment where she runs from him (in her underwear) in slow motion and I couldn’t do anything but laugh. All attempts at suspense feel lazy, at least until the second half of the film where they go from 0 to 60 in the blink of an eye.
For the most part, nothing happens, until the characters are put into the marsh. Then things start happening rapidly fast, but I had a very hard time believing the suspense or feeling it. As they run from the Swagman, I didn’t feel their fear. I was just waiting for it to be over.
Verdict
Save yourself time. Don’t watch this. If you do and like it, then good for you, but it wasn’t for me.
Also, I have to bring up the editing and how God awful it is. Someone cut the scenes of this film as if they were Victor Frankenstein. Slicing and dicing every action sequence and then sewing them back together with only one hand.
(2 / 5)
All photos courtesy of Shudder and 28 Productions
Movies n TV
Evil: “F is for Fire” (S2E3)
“F is for Fire” is an episode of the supernatural drama, Evil. The assessors investigate a pyromaniac for potential demonic possession.
“F is for Fire” is an episode of the supernatural drama, 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. It originally aired under CBS before moving to Paramount+. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate a pyromaniac for potential demonic possession. David (Mike Colter) brings Sister Andrea (Andrea Martin) into his circle of trust. Ben (Aasif Mandvi) remembers old Islamic stories of jinn. Kristen (Katja Herbers) meets an incredibly hot and mysterious figure. Sheryl (Christine Lahti) finds a therapist to work out her problems.
What I Like about Evil: “F is for Fire”
“F is for Fire” improves on Evil’s special effects, showing a renewed focus and competency in the area. The last season would likely use a more comical design, favoring tone over haunting the viewer with its budget. It helps that the design holds a haunting element to its fiery creature.
This episode introduces something outside the Christian/Catholic depiction, specifically relating to the Islamic jinn. This new element creates an understandable friction for the Catholic assessors. As Ben was raised Muslim and David’s Catholic teachings don’t permit the concept of jinn, it challenges both outside their comfort zone. Perhaps more so for Ben, who prides himself as an Atheist.
Either through trauma or evil influence, Kristen seems changed and impulsive. Her passionate pursuit of risks makes the viewer wonder how far she plans on going. With the introduction of her mysterious stranger, it seems a darker turn will soon follow.
While far from the darkest or most haunting episode Evil put to the screen, “F is for Fire” does suggest an unsettling new norm for the team. The plot also introduces a new supernatural villain who seems to create tangible harm beyond most of season 1’s earlier supernatural creatures. The stakes are greater now than ever, and “F is for Fire” aims to prove this to the viewer.
Tired Tropes and Triggers
There’s a wider theological friction within this episode, which I’ve mentioned earlier. This difference focuses on Islamic and Catholic understanding of spiritual forces and exorcisms. I am not versed enough to pretend to know if these are accurate portrayals, but I will expand on this point.
While not given much attention or focus, a demon sexually assaults a male character. Again, this lingers on the subjective state, but we know demons exist in this show by now, so the assaults feel less speculative and more real.
This episode continues flirting with infidelity that might irk some viewers. While nothing comes of this plot yet, the implications seem to suggest something will happen.
What I Dislike about Evil: “F is for Fire”
Sheryl’s attempted manipulation of another character seems awkwardly unnecessary and overly dramatic. I assume this act intends to show her manipulative character, which “F is for Fire” certainly adds to, but it does look like an attempt to connect two characters to fill time.
The jinn description is so minute that I don’t see how Ben came to any conclusion outside of a typical demon. A more detailed description might make Ben’s conclusion more reasonable to the viewer.
David’s claim that jinn are not of God and thus can’t exist which isn’t exactly true. From my understanding of Muslim lore, angels, jinn, and humans are of God and capable of good and evil. Perhaps a more accurate claim might suggest things outside the bible cannot exist.
Final Thoughts
“F is for Fire” tempts the assessors in new ways, sparking some unsettling weaknesses for Evil to rise. It continues layering the overarching plot and building the personal trials facing each character. While not the most haunting episode, “F is for Fire” nurtures a coming flame by building atop tension.
(3 / 5)
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)
We’ve reached episode five of Marvel’s Agatha All Along. And after last week’s bombshell reveal, I expected some serious answers.
I’m happy to say we got them.
The story
We begin our episode again on The Road. But now, for the first time, the coven is not alone. They’re being hunted by a terrifying group of witches called the Salem Seven. Trapped, they craft brooms and take off into the air.
This only allows them to escape for a few moments, but a few moments is all they need to get into the relative safety of the next challenge house.
There, they find themselves in a sleepover. This is Agatha’s challenge. And of course, Agatha’s challenge is that she has to face the ghosts of her past—the literal ghosts, including the ghosts of her mother and her son.
While they do get out of the challenge, they leave someone behind. Agatha, having shown her true colors again, reveals that she knows who Teen is finally.
And by the end, so do we.
What worked
I want to begin by talking about The Salem Seven. Because they are creepy as hell.
The way they move is fantastic. Their strange, jerky movements are unnerving enough to get under just about anyone’s skin. But knowing who they are, and why they hate Agatha, lends an additional level of emotional trauma.
I also really liked that this challenge took place in a sleepover. Even better, a sleepover in the late eighties, early nineties. As anyone who attended a girl’s sleepover during that time will tell you, those got witchy even if no one at the party associated with being a witch. There were ouija boards. There was fortune telling. There was calling on evil demons, like Bloody Mary and Candy Man. I may or may not have been a part of a game of Light as a Feather, Stiff As A Board in which a friend was dropped on the concrete basement floor. The point is, sleepovers get witchy and I appreciate the acknowledgment. I also liked that the rules regarding the Ouija board were pretty well spot on.
And pretty well ignored as soon as Teen spoke them.
Speaking of Teen, he is just about done with everyone’s catty behavior. And I mean everyone, including Agatha. His opinion of her seems to have greatly changed since the beginning of this journey. And he has clearly had enough.
Rio and Agatha’s relationship has also changed. It’s fascinating to see Rio be so protective of Agatha, while at the same time still ready and raring to kill her. While I’m not sure that’s the healthiest relationship, it kind of seems to work for them.
What didn’t work
All of that being said, there was one glaring problem with this episode. And it is, unfortunately, Agatha.
We’ll recall that Agatha, at the start of this season, wasn’t a good person. She was not a good person in Wandavision, so that shouldn’t be surprising. I will again remind everyone that Agatha killed Sparky.
But by this time in the season, I would have expected her to have had some character growth. And that is not what we are seeing here. It appears that Agatha is just as selfish, just as fast-talking, and just as cruel as she’s ever been.
And that is just not what we wanted. If we get to the end of the season and Agatha hasn’t grown, then it’s going to feel like a cheat. While the adventures along The Road are fun, I don’t think that’s what we’re all here for. At least it’s not what I’m here for.
Let’s hope we start seeing some character growth next week. Otherwise, this whole journey is going to feel worthless.
(3.5 / 5)
