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The Taking of Deborah Logan is a 2014 found footage supernatural horror film directed by Adam Robitel. Distributors include Eagle Films and Millennium Entertainment. This debut film for Adam Robitel stars Jill Larson, Anne Ramsay, and Michelle Ang.

A camera crew decided to make Deborah Logan (Jill Larson from All My Children) the subject of their documentary. Cared for by her daughter, Deborah suffers from Alzheimer’s disease. But there seems to be more to Deborah Logan’s plight, something to do with her past and possible supernatural forces.

The Taking Cover
Cover (Jill Larson as Deborah Logan

What I Like

Part of the found footage genre depends on the realism of the camera concerning the supernatural. I would say that the film sets up this dynamic perfectly. While the documentary angle isn’t exactly new, it helps that the initial motive was never about the supernatural. It allows the horror to anchor itself in the real world.

I am always partial to horror that attaches supernatural elements in the real world, Alzheimer’s disease being the anchor in this work. There is a powerless horror about watching someone you know lose themselves. The demonic and supernatural in the film acts as an expression of this powerlessness. I wouldn’t say that the metaphor is perfect or committed to a hundred percent, but it is effective.

Mia Medina (Michelle Ang from “Fear the Walking Dead”) plays an effective opportunist, maintaining a narrow outlook challenged throughout the film. Most of the characters have this layer of complexity, none more so than Deborah Logan herself.

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The Taking of Deborah Logan
Michelle Ang as Mia Medina

What I Dislike

While I mentioned the premise allowing a convincing reason for the camera throughout, there are some points where suspension of disbelief is mandatory. This movie does good work in remedying what it can. I have yet to find the perfect reasoning to explain away the camera, so if you like the genre, this might not be an issue.

The ending lacks the ominous impact it tries to establish in the after interview. Most will get the implications after watching the film, but the ominous face that supposedly seals the deal feels a bit counterproductive. While I’m glad they didn’t spend money on over-the-top CGI to hammer the point, opting for a more subjective approach, it didn’t strike an unsettling cord as intended.

Zeth M. Martinez

Final Thoughts

For found footage fans, The Taking of Deborah Logan surpasses many of the marks. In general, the issues are minor and attached to the genre itself. While I wouldn’t say anything is particularly revolutionary, the movie is enjoyable. As a debut film, Adam Robitel should take pride.
4 out of 5 stars (4 / 5)

Zeth received his M.A in English with a focus in Creative Writing at CSU, Chico. As a human writer, he published in the 9th volume of Multicultural Echoes, served on the editorial board of Watershed Review, and is a horror reviewer for Haunted MTL. All agree he is a real-life human and not an octopus in human skin. Fascinated by horror novels and their movie adaptations, Zeth channels his bone-riddled arms in their study. Games are also a tasty treat, but he only has the two human limbs to write. If you enjoy his writing, check out his website.

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The Angry Black Girl and Her Monster (2023), a Film Review

The Angry Black Girl and Her Monster (2023) is an award-winning sci-fi horror film directed and written by Bomani J. Story.

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The Angry Black Girl and Her Monster (2023) is a sci-fi horror film directed and written by Bomani J. Story. Inspired by Mary Shelley’s Frankenstein, this unrated and award-winning film stars Laya DeLeon Hayes, Denzel Whitaker, Chad L. Coleman, Reilly Brooke Stith, and Amani Summer. As of this review, interested viewers can enjoy this film from Shudder with additional availability through purchase or rent.

After a sequence of tragedies and loss, Vicaria (Laya DeLeon Hayes) seeks to cure death. Despite her genius earning her a private school education, few take this ambition seriously. Those who see it think of her only as an example of a girl separated from reality. But all that changes when she has a breakthrough. Unfortunately for her, the systemic issues that oppress her neighborhood can’t be solved as simply as curing death.

A woman looks at something out of frame, a switch in her hand that she looks ready to press.
Laya DeLeon Hayes as Vicaria

What I Like about The Angry Black Girl and Her Monster and Recognition Earned

This film received nominations from four separate film festivals. It won Best Narrative Feature by the Calgary Underground Film Festival and Best Horror / Sci Fi from Jim Thorpe Independent Film Festival. In addition, it received nominations for Best Narrative Feature from the Atlanta Film Festival and a nomination from the SXSW Film Festival.

The beautifully shot scenes earn respect, and the cast remains strong throughout. While Laya DeLeon Hayes executes the most demanding role, Reilly Brooke Stith (Aisha) and Amani Summer (Jada) elevate their material.

The Angry Black Girl and Her Monster dips its commentary into several hot topics. While I would have liked to see further exploration, it deals with scientific responsibilities, systemic issues facing Black Americans, and more. Needless to say, this film has ambition.

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While particular elements vary in execution, this remains a unique approach to the dehumanization of these racist and systemic issues while telling an engaging story in the process. While I wouldn’t consider this an arthouse film, it dips into that category in many ways.

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Disclaimer Kimberley Web Design

Tired Tropes, Trigger Warnings, and Considerations

For a better viewing experience, don’t take the film with the utmost realism in mind. An example of what I mean is how easily and unnoticed bodies are moved and hidden. As a metaphor or motif, it works better to serve the overall message.

As mentioned, many systemic issues come to light within the story, with varying levels of depth. Some examples include racial profiling, police violence, and microaggressions that stretch the “micro” aspect of the word. I also want to clarify that the film focuses on Vicaria’s personal story, using these experiences when applicable to the plot.

Drug addiction and gang violence play prominent roles in the plot. As mentioned above, The Angry Black Girl and Her Monster addresses many of the systemic issues that make a thriving drug industry as opposed to dehumanizing those participating in it.

The titular Monster evokes levels of realistic body horror. While it’s not particularly extensive, the rot remains present and vivid. Partly related, the film creates a surprisingly gory story.

A man looks out of the screen. The lamp and the couch in the background suggest he is in a house.
Chad L. Coleman as Donald

What I Dislike about The Angry Black Girl and Her Monster

Several plot points remain underdeveloped or underexplored. This choice might indicate sequel material, but I don’t think that’s the case here. For example, viewers hear about a “body snatcher,” but the narrative doesn’t build the mystery until the end. Perhaps this requires a slightly longer run time, but it also could be cut with some edits to the script.

Her Monster didn’t particularly evoke fear. The rot evokes disgust but not terror. The Angry Black Girl and Her Monster remains more focused on the story than the horror.

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Final Thoughts

For those looking for horror rooted in real issues but not afraid to delve into the absurd, The Angry Black Girl and Her Monster remains a strong choice. While it might not evoke the terror and haunting we horror fans hope for, the bittersweet film certainly provides many reasons to give this film a view.
4 out of 5 stars (4 / 5)

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Blood Flower (2022), a Film Review

Blood Flower (2022) is a Malaysian supernatural horror film directed by Dain Said. Originally titled Harum Malam.

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Blood Flower (2022) is a Malaysian supernatural horror film directed by Dain Said. Originally titled Harum Malam, the film stars Idan Aedan, Bront Palarae, and Remy Ishak. As of this review, the film is available on Shudder and AMC+ with additional availability for rent or purchase.

After a family tragedy, Iqbal (Idan Aedan) has trouble finding focus as an apprentice healer. His family remains in shambles, and Iqbal struggles to find a purpose in the wake of this change. As his father (Bront Palarae as Norman) finds temporary work helping a family friend, a terrible horror becomes unleashed. Now, Iqbal must overcome his internal turmoil or lose even more.

A young man stands before two older men. A giant flower in bloom to his left side. Underneath him reads "Harum Malam" written in red.
Blood Flower (Harum Malam) Original Cover

What I Like in Blood Flower

The horror evoked here has some elements of fabulism with a heavy emphasis on the supernatural component. In general, I like the established world and how this supernatural element connects to the characters’ development.

Throughout Blood Flower, the acting remains consistent and engaging. The relationship between Norman and Iqbal, which provides the heart of the film, remains a particularly well-executed point. Even when the writing falls short, the acting wins me over more often than not.

The film builds up its horror, which elevates the execution and overall effect. I won’t claim that the horror truly haunts the viewer, but it remains unsettling and, even uncomfortable, throughout.

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As for the design of the monster, it works. There are points that remain strong, forcing a rather uncomfortable visual or experience that provides an effective execution of Blood Flower’s vision. One especially effective choice is including stop motion in some of the scenes. This visual creates a somewhat jarring feel to the supernatural entity that still lingers in my mind.

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

Tired Tropes and Trigger Warnings

Blood Flower includes sexual assaults that remain clunkily included in the plot. When dealing with such material, especially when it remains essential to the story, the execution makes or breaks the quality. Unfortunately, the execution feels rushed and more for the shock of the reveal.

Possession-assisted suicide remains an element within the film. While I think the distance between such harm and the context of the film doesn’t rise above confusion, it deserves a mention in this section.

There are general decisions made for the sake of the plot. While this can fall into the dislike section, it’s within a range so as to not completely distract or undermine the viewing experience.

If any of these are deal breakers, then Blood Flower might be a skip.

A large flower with a giant column in the center
The Real Blood Flower, or amorphophallus titanum

What I Dislike in Blood Flower

Where this movie falls short is building up some of its elements to their conclusion by the end of the film. The previously mentioned sexual assaults make for a strong example, but another remains the human villain. As they are the reason for the monster, I am surprised by the general lack of attention and presence the character receives.

Iqbal unlocking his power feels underwhelming and lacks any real visuals or style. We have magic and special effects, but his power consists of holding out his hand. The issue lies in the execution, not the actor, as Idan Aedan does everything he can with the given command.

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Going into the previous points, a spiritual master helps Iqbal train to become a healer. This person isn’t the one who unlocks their power. I still wonder why so little development on this important point remains in the film.

Final Thoughts

Blood Flower, or Harum Malam, remains an interesting supernatural horror that drops its execution towards the end. It provides a unique viewing experience with equal parts ingenuity and creativity to provide an effective horror. But it remains a flawed work with some wasted potential. Still, it earns its runtime for those interested in Malaysian horror.
2.5 out of 5 stars (2.5 / 5)

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Night’s End (2022), a Film Review

Night’s End (2022) is a supernatural horror film directed by Jennifer Reeder and written by Brett Neveu, starring Geno Walker.

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Night’s End (2022) is a supernatural horror film directed by Jennifer Reeder and written by Brett Neveu. The cast of this film includes Geno Walker, Kate Arrington, Felonious Munk, Lawrence Grimm, and Michael Shannon. As of this review, this film remains accessible to Shudder and AMC+ subscribers.

Recently divorced and looking to start anew, Ken Barber (Geno Walker) passes the time by making YouTube videos. It soon becomes apparent that one of his videos catches something strange. The further he investigates this mystery, the more aggressive this phenomenon becomes. Despite making him an online sensation, it forces him to acquire help from unlikely sources.

A humanoid creature opens the door. An upside down head acts as the background as "Night's End" stands at the center
Night’s End Alternative Cover

What I Like about Night’s End

Night’s End provides the innovation and execution of a film on a tight budget and clear message. It brings out all the best qualities of a B film that understands what it wants to do. The setting remains a perfect example of this ingenuity, containing itself within Ken Barber’s apartment and using Zoom calls to add additional cast members.

Unrelated to the horror, I like the chemistry between Kate Arrington (as ex-wife Kelsey Dees) and Geno Walker. It’s not often we find an ex-wife depicted as a good person character, and when that does happen, it’s usually because he will win her over by the end of the story. This film doesn’t fall into these tropes. A similar point applies to the new husband, Isaac Dees (Michael Shannon).

There’s a psychological component to the horror, which improves the supernatural elements. While it does linger on Ken Barber’s ongoing battle with mental illness, Night’s End doesn’t exactly use this as an excuse to undermine what the viewer sees.

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While there are some execution issues I will discuss, Night’s End provides a tight script and quality performance from its cast. Geno Walker’s Ken Barber requires a believable and complex performance for success, and the actor rises to the challenge.

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Disclaimer Kimberley Web Design

Tired Tropes and Triggers

The biggest disclaimer remains the character’s mental health struggles. While I believe the film refutes many of the dangerous mentally ill tropes, it still allows for some degree of gaslighting. I also think it hints at a few potential issues without exploring any with greater depth. I noted potential alcoholism, OCD, and agoraphobia. But none of these are given too much attention, for better or worse.

Some minor body horror moments might be difficult for squeamish horror fans. However, it hardly makes it a proper introduction to the niche.

If these are deal breakers, perhaps Night’s End won’t satisfy your viewing needs.

A man looks behind him as he sits on a desk. Something looks to be near him
Geno Walker as Ken Barbe

What I Dislike about Night’s End

Night’s End goes so far in strategically applying its budget but provides a few scenes with bad CGI. If it had more style, I’d give it a B movie pass. But it’s just not substantive enough for that pass. While some CGI and special effects remain better than others, the film leans on lower quality.

Toward the end of the film, the characters allow the villain to do some random and weird things with little pushback. Only one person consistently pushes back against the growingly strange requests and receives so little screen time. Some of these people are supposedly experts in supernatural affairs or amateur enthusiasts. Regardless, anyone should have issues with some of these requests toward the conclusion.

While the film remains scary at points, it doesn’t terrify its audience. While the final moments pay off the build-up, we don’t particularly linger on the ramifications.

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Final Thoughts

Night’s End provides a charming but not horrifying supernatural thrill. Ken makes a unique protagonist, struggling to overcome his issues as others seek to exploit him and bring about chaos. It remains an uncommon viewing experience but lacks the weight of a haunting horror.
3 out of 5 stars (3 / 5)

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