In addition to featuring tons of award winning shorts, Mile High Horror Festival also gives horror fans a chance to see new independent genre films.  I saw three new films, as well as two classics with Q&As from stars and filmmakers.

My All-Access Pass afforded me the opportunity to attend to incredible screenings.  On the first night, I was able to see a special 40th anniversary screening of The Exorcist.  Linda Blair was in attendance for a Q&A before the film and, although I had heard most of the stories she told before, it was cool just to be in the same room with her.  She donated her appearance fee to help local flood victims and spent several hours meeting fans and taking pictures.  The real treat was getting to watch the film with an impeccable sound system.  I also got to see the 35th anniversary screening of Dawn of the Dead, preceded by a Q&A with special effects artist Tom Savini and star Ken Foree.  They were very open to answering questions and seemed excited to be there, which made watching the movie all the more fun.  They’re both extremely gracious to their fans and spent the entire weekend talking to attendees and signing autographs.  If you’re local and planning to attend next year, I highly recommend getting the all access pass.  Pass holders got first choice of films, priority seating, and priority access for autographs – well worth the money if you’ll be there all weekend.  Alamo Drafthouse was awesome as well; the servers remained energetic and upbeat throughout the weekend and remembered returning attendees.  Several of my servers even offered free refills throughout the weekend that carried over from movie to movie.  I’m really hoping that they have the festival there again next year!

Now, for the part you’ve been waiting for – the movies!  I saw three new features – Haunter, Para Elisa, and We Are What We Are.

Haunter (2013)

Directed by Vincenzo Natali

Starring:
Abigail Breslin
Stephen McHattie
David Hewlett
SarahMannien

Lisa Johnson (Breslin) and her family repeat the same day over and over again.  While her family is oblivious, Lisa is quite aware of what’s going on and senses real danger when a pale stranger (McHattie) that only she can see begins to appear.  Lisa gets the feeling that she’s not alone and discovers evidence of horrible doings in her home’s past.

Haunter is a minor ghost story that borrows heavily from its predecessors.  The first third brings some interesting things to the table, and I really enjoyed the 80s aesthetic, but the film seems to fall apart a bit at the end.  The movie relies heavily on jump scares punctuated by loud audio cues and lots of CGI, but there’s only a few real frightening scenes.  It’s worth a Netflix or VOD watch, if you’re looking for a milder horror film.  Haunter will have a limited VOD release on October 18th.

Para Elisa (2013)

Directed by Juanra Fernandez

Starring:
Ana Turpin
Ona Casamiquela
Luisa Gavasa
Jesus Caba

Ana (Casamiquela) is determined to raise enough money to go on her senior trip.  After quarelling with her boyfriend Alex (Caba), she agrees to go to a job interview for a nanny position in a grand old apartment building across from an ornate cathedral.  Ana gets more than she bargained for when her prospective employer (Gavasa) traps her in the apartment as a plaything for her demented daughter Elisa (Turpin).  It will take everything Ana has to try to escape.

This film was vastly different than what I was expecting; I pictured something closer to The Turn of the Screw.  The creep factor is high with this one and Turpin turns in a harrowing performance as the violent and weirdly childlike Elisa.  It’s visceral without being overly gory and, like many foreign horror flicks, vastly different than anything that would play in American theaters.  Para Elisa doesn’t currently have a US release date, but is playing a number of festivals.

We Are What We Are (2013)

Directed by Jim Mickle

Starring:
Julia Garner
Ambyr Childers
Bill Sage
Michael Parks

The Parkers – Frank, Alyce, Iris, Rose, and Rory – are a devoutly religious and somewhat eccentric family living in a rural town besieged by a raging flood.  Alyce is killed when a medical condition causes her to pass out and drown, leaving the responsibility of providing for the family to the oldest daughter, Iris (Childers).  But, the Parkers have a dark secret that dates back to Frank’s early ancestors, one which the rising flood waters threaten to reveal to the entire town.

This film is more of reimagining than a remake of the Mexican film Somos Lo Que Hay.  I hadn’t seen the original, but from everything I’ve read, this movie is very different (other than having the same base premise).  We Are What We Are is dark and moody; a slow burn all the way to the incredibly shocking climax.  The atmosphere is helped by the near constant rain and the tortured performances of its stellar cast.  Everyone is amazing, but I was particularly impressed by Parks’ understated portrayal of the grieving Doc Barrow.  The soundtrack is killer, as well.  This film is a must see for horror fans and likely to become a classic in its own right.  It had a limited release on September 27th, but will hopefully be available on VOD soon.

Mile High Horror Festival was held at Alamo Drafthouse this year and it was AMAZING!  I loved getting to see the films in an optimum viewing experience, but my favorite part was getting to share them with fellow horror fans.  I love being part of the horror community.  We’re sometimes an misunderstood bunch, and it was awesome to see horror fans of all ages and from all walks of life.

Let’s get to the good stuff.  In my first post, I’m looking at the amazing shorts programs MFHH offered this year, specifically my top five shorts.  I love the shorts programs because they give the audience a wide variety of mini films from amazing upcoming filmmakers and there’s something for everyone.  I thought the festival did a great job of creating variety in the individual programs as well as the presentation of shorts as a whole.  Here are my top five choices for the best shorts:

5.  ”Abyssus Abyssum Invocat“ 

[For those interested, the title is a Latin phrase that means "deep calleth unto deep" or "hell calls hell" and is a quotation from Psalm 42.]  I was surprised at how much I loved this short.  It felt very Clive Barker-ish and the intricate stop motion put it miles away from everything else in that particular program.  I really like how lush and old school it was, and it sort of reminded me of this terrifying piece of stop motion madness.

A Belgium production directed by Alberto Lopez, “The Trap” reminded me of a condensed “Outer Limits” episode.  Wordlessly, the protagonist faces the horrible temptation of looking at something he’s expressly told not to, with dire consequences.  It was completely unexpected in a program of pretty heady mini movie-style shorts and refreshingly different.

Directed by Dominik Hartl, this short is darkly funny and just weird enough to fit in with the scarier stuff.  It had shades of the funnier “X-Files” episodes and I was impressed with how quickly Hartl is able to make us identify with and sympathize with Anna, the main character.

Directed by New Jersey filmmaker Murad Peret, this was one of the two shorts that I would have loved to see expanded into a full-length film.  Peret was in house for a Q&A session following the shorts program, and I wasn’t at all surprised to learn that it came from a fully formed idea – Peret’s short story of the same name.  This both seemed polished and like it had more to say, perfect for a really spooky feature.  I really loved the two child actors and thought they had a very real, natural sibling relationship.

(I was really hoping to find a trailer for this one because it’s so visually gorgeous, but I wasn’t able to find one.  Check out the pictures on the Facebook page in the above link.)

1.  “Ghoul School” (22 min)

This had everything I loved about 80s horror flicks and I had SO much fun with the film references.  (I think I spotted homages to Hello Mary Lou: Prom Night II, The Stuff, Poltergeist, The Breakfast Club, Monster Squad, etc.) This was another one I would totally watch as a full-length film.  In fact, I was bummed I didn’t get to see more.  Director Brook Linder had a Kickstarter to make the short and I’m hoping they go for the real deal, because I would fund the shit out of that movie.  (Also, if Adam Scott ever needs to find an actor to play a younger version of him, the lead in “Ghoul School” would be perfect.)

I had to include this one because it was so much fun and there’s a possible sequel in the works!  Director James Feeney was in house for a Q&A and he also mentioned a mobile game, which I will totally be buying if it becomes a reality.  Think Jaws with grocery carts.  Yeah, you know you want to see that!

Insidious: Chapter 2 (2013)
Rated PG-13 (for intense sequences of terror and violence, and thematic elements)

Directed by James Wan

Starring:
Patrick Wilson
Rose Byrne
Lin Shaye
Barbara Hershey

Director James Wan’s latest film is the follow up to the 2010 cult horror flick Insidious.  Widely regarded by genre fans as one of the best horror films in recent memory, Wan’s original left the next installment with some big shoes to fill. [WARNING: MILD SPOILERS for Insidious]

Chapter 2 picks up where the last movie ended, directly after the death of Elise (Shaye).  Josh (Wilson), Renai (Byrne), and the children move into Lorraine’s (Hershey) home temporarily as police investigate the death.  Renai senses that Josh is not himself and immediately begins to experience strange occurrences, while Dalton continues to astral project.  With the help of old friend and paranormal investigator Carl, Lorraine attempts to discover the history behind the old woman who has haunted her son since childhood in an effort to return him to normal and rid her family of the spirits who continue to haunt them.

One of the terrifying spirits in Insidious 2.

The aptly named Insidious: Chapter 2 is heavily dependent on the first film, and while it gives viewers the highlights, the mythology only really makes sense if you’ve seen the original Insidious.  Wan and Whannell took a chance intertwining the two films so intricately, but the fanbase was definitely there for a second film.  On one hand, I was excited to see what happened to the Lamberts after Josh and Dalton returned from the Further, but by exploring the old woman’s backstory, she lost some of her intensity and didn’t seem as frightening as she did in the first film.  The movie had some genuine scares, particularly since I watched it in an empty theater, and all of the elements I loved about the first film are present in the second.  The cinematography, set dressings, and scares are nods to classic horror, which the fangirl in me adored.  Chapter 2 isn’t as cohesive and tightly woven as Chapter 1; the emphasis was definitely heavier on the jump scares than expanding the story in an original way.  Some of it does feel like a rehash of the first film, and the old woman’s back story is a bit cliched, but the film as an entire package worked for me as a dedicated supernatural horror fan.

Specs and Tucker check out a haunted house.

The first Insidious shouldered Byrne with much of the heavy lifting, but it’s Wilson who does most of the work in the latest film.  His character has a deeply menacing edge that’s present from the beginning and steadily grows of the course of the film.  His performance reminded me of Jack Nicholson’s in The Shining and it was a really nice change from the fringe character he played in the original flick.  Lin Shaye, as always, is amazing.  (If I was a casting director, I would cast her in everything.)  Byrne seems a little bit wasted, but if you view the two films as a full story, both of the main actors get their chances to shine.

Josh Lambert (Wilson) isn’t himself since coming back from the Further.

If you’re a supernatural horror fan, I highly recommend watching both Insidious films.  They have a great classic haunted house feel, in the vein of movies like The Shining, The Sixth Sense, and Poltergeist.  They’re also proof that PG-13 films can be insanely scary using tracking shots and suspenseful music.  Chapter 3 has just been announced, and it will most likely follow Elise’s assistants Specs and Tucker as they help another family escape the clutches of otherworldly spirits.

The World’s End (2013)
Rated R (for pervasive language including sexual references)

Directed by Edgar Wright

Starring:
Simon Pegg
Nick Frost
Martin Freeman
Rosamund Pike

Shaun of the Dead and Hot Fuzz fans rejoice as the Cornetto Trilogy comes to its inevitable conclusion with The World’s End.  Director Edgar Wright and stars Simon Pegg and Nick Frost give us their take on the sci-fi genre, but as with their previous two films, there is plenty of drinking, ice cream, and geeky pop culture references.

Three Flavors of Doom by cabinboy100 [click through for source]

The New Haven boys reunite: Oliver, Steven, Gary, Andy, and Peter

As with other Cornetto films, Wright’s latest flick references well-known genre pieces, including Invasion of the Body Snatchers and the 1977 B-movie End of the World.  The first half of the film works as a by-the-numbers buddy comedy, a premise that’s turned on its head once the sci-fi elements appear.  The genre tropes are the candy coating on the real meat of the story – the struggles of growing up and settling into middle age.  A perfect mix of Wright’s trademark quick-witted comedy and fast-paced action keeps the movie from being too heavy handed, however, and the ending is the ideal button on a story about the classic Man Child faced with his own advancing age.  Familiar Cornetto tropes appear, including the recurring fruit machine jingle, the garden fence gag, and, of course, the classic British ice cream reference that gives the trilogy its name.  As an added bonus, the movie has an excellent soundtrack, led by its defacto theme song, The Soup Dragons’ 90s cover of “I’m Free” by The Rolling Stones.

The guys try to avoid by suspicion by acting normal.

Like the other films in the trilogy, The World’s End features an exemplary cast of British actors.  It’s refreshing to see Frost and Pegg do a role reversal, with the usually straight-laced Pegg playing the habitual screw up and the normally more bumbling Frost playing the straight man.  I loved getting to see Frost as the bad ass, especially since he often ends up as the side kick.  Freeman was wonderful as well, playing the group’s resident WASPy douchebag.  Having most recently seen him as John Watson in BBC’s “Sherlock”, I almost forgot his amazing comedic timing.

Pegg plays against type as the shiftless, self-destructive Gary

The World’s End is a fitting conclusion to the Cornetto Trilogy and a love letter to the fans who have supported Wright, Pegg, and Frost since their work on “Spaced”.  While it is hilarious and well-crafted on its own, it works best when seen in context of the other two films.  I loved picking out the running gags and cameo roles that connect the movies and I’m eagerly anticipating a collector’s edition box set!  If you’ve enjoyed any of Pegg and Frost’s previous work, you won’t need much convincing – see The World’s End with friends, preferably in a theater that serves alcohol for the full pub crawl experience!

The Conjuring (2013)
Rated R (for sequences of disturbing violence and terror)

Directed by James Wan

Starring:
Lili Taylor
Ron Livingston
Vera Farmiga
Patrick Wilson

James Wan’s latest foray into supernatural horror is The Conjuring, a 70s throwback to haunted/possessed house flicks.  The film is based on the personal accounts of the Perron family about experiences in their haunted farmhouse and the involvement of famous demonologist/medium couple Ed and Lorraine Warren, detailed in Andrea Perron’s memoir House of Darkness, House of Light.

Lorraine (Farmiga) explores a child’s music box left in the Perrons’ home by previous owners.

Carolyn (Taylor) and Roger Perron (Livingston) move their five rambunctious daughters into a large farmhouse, hoping for a fresh start.  Almost immediately, the family begins to have disturbing experiences – the family dog refuses to enter the house, they find a boarded up basement filled with the possessions of previous owners, and Carolyn wakes up with severe unexplained bruises.  Eldest daughter Andrea smells something fetid in her room, but the odor dissipates by morning.  All the clocks in the home stop at 3:07 AM and Christine feels someone tugging at her leg in the middle of the night, despite her sister Nancy being fast asleep in the bed beside her.  It quickly becomes clear that a supernatural entity is terrifying the family and Carolyn seeks the help of renowned paranormal investigators Ed (Wilson) and Lorraine Warren (Farmiga).

Ed (Wilson), Lorraine (Farmiga), and Roger (Livingston) look on as the demon’s power grows.

As he did with Insidious, Wan takes familiar horror tropes, particularly those dealing with ghost and exorcism movies, and pays them homage while adding his own clever twists.  If Insidious can directly trace its lineage to Poltergeist, The Conjuring is reminiscent of The Amityville Horror.  For good reason, actually.  Not only are both touted as “true” stories, the Warrens also investigated the claims of George and Kathy Lutz, owners of the Amityville home.  The marketing relies heavily on the “based on a true story” angle, but dwelling on it as a viewer can take you out of the film once you start to question the veracity (unless you’re firm in your belief of the supernatural).  As a skeptic, the movie worked much better for me when I decided to watch it purely as a straightforward horror film and that’s how I’m exploring it for this review.

Wan immediately begins with terrifying visuals as the film opens on the cracked glass eye of the most terrifying doll I’ve ever seen.  (This doll actually exists in the Warrens’ collection, but is decidedly less creepy in real life.)  He intercuts the Warrens’ lectures and home life with scenes of the Perron family adjusting to their new home.  Wan doesn’t waste time getting to the haunted house elements.  From the minute the family dog, Sadie, won’t enter the house, we know something is up.  The sense of dread increases as each night progresses, and Wan presents us with measured increasing steps of supernatural occurrences.  Traditional ghost scares abound – the family hears strange noises in the night and shadows permeate the darkness, but they take on an especially sinister feel as the ghosts use the Perrons’ favorite game, Hide and Clap, against them.  After the Warrens get involved, the scares move from familiar haunted house tropes to seriously disturbing visual frights.  (I spent most of the film with my hand clapped firmly over my mouth to keep from screaming.)

The Conjuring has garnered a lot of positive reviews, but critics seem to be taking issues with the “unoriginal” elements in the film, which I think is a bit unfair.  Wan and the other filmmakers are drawing from a source, an allegedly true account that happened to a real family.  That account is the basic framework for the story and Wan builds from that.  Many stories of “real” hauntings recall consistent elements.  It’s also obvious, from this film and Insidious, that Wan is a huge horror fan and as a fellow horror fan, I really appreciate the nods to previous classics.  Beyond the obvious connection to The Amityville Horror, I saw elements of The Haunting (1963), The Sixth Sense, and even The Evil Dead (1981).  I also loved the throwback feeling of the flick.  Everything, from the title card to the expert costuming, was pure 70s without feeling like a period piece.

Taylor does a wonderful job at conveying the absolute terror her character experiences.  She is an amazing and underused actress who often gets relegated to the “quirky best friend” role (you may know her as Julia Roberts’ marriage-wary friend Jojo in Mystic Pizza or John Cusack’s boyfriend-obsessed best friend Corey in Say Anything), but she has great range and works really well in this film as a warm, loving mother.  Farmiga is not as effective as Lin Shaye was in Insidious, but I always appreciate her ability to convey quiet fragility; she and Taylor had a great empathetic chemistry, even in their brief scenes together.  The male figures are less defined.  Livingston isn’t given much to do, mostly because the spirits focus on Carolyn and the girls, but it works for the most part because his job as a truck driver puts him on the fringes of the hauntings.  Wilson is good, but is mainly used as the catalyst for Lorraine’s powers, so his character (and his relationship with Farmiga) doesn’t have the same kind of resonance portrayed in Insidious.

Carolyn (Taylor) and Christine (Joey King) are terrified by demonic spirits.

I definitely enjoyed the growing sense of impending dread created by the steadily ramped up scares, but the exorcism portion of the film felt a bit glossed over and unfinished.  I got the impression that Wan was much more interested in the haunting aspect (as was I, actually) and not as fascinated with the possession.  The things I enjoyed about Insidious are echoed in The Conjuring, and while I feel that the previous film was more consistent, Wan’s latest effort definitely delivers on the terror.

Evil Dead (2013)
Rated R (for strong bloody violence and gore, some sexual content and language)

Directed by Fede Alvarez

Starring:
Jane Levy
Lou Taylor Pucci
Shiloh Fernandez
Jessica Lucas

Five people meet at a remote cabin in an effort to help Mia (Levy) detox from her heroin addiction.  Her estranged brother David (Fernandez), his girlfriend Natalie, close friend and registered nurse Olivia (Lucas), and David’s former best friend Eric (Pucci) have all come together to support Mia’s effort to get clean, but Olivia and Eric have done this before and insist that they will not let her leave – no matter what happens.  The family cabin seems like it was broken into by rowdy teenagers, but a horrible smell seems to indicate something much more serious.  When they decide to investigate the cellar, they discover the cabin’s terrible secret and something that has the potential to unleash hell on Earth.

When I heard about plans for a remake, my reaction was an instant and violent “Hell no!”, but I learned that Raimi and Campbell were heavily involved and I decided to give it a chance.  The original Evil Dead and Evil Dead 2 are among my very favorite horror films and any chance of my being objective flew out the window in the first five minutes of the remake.  I think I can safely say without spoiling the film that I liked the first version better and if you are a serious fan of the original, you definitely will too.  The effects in the new version are done very well and there are a lot of intensely gory scenes, but it’s not especially scary and the overall experience is not as good, especially not for a diehard fan.  There are several homages to the source material, including camera work and props, that will make your fanboy or fangirl heart giddy, though.  These and a small post-credits scene were enough to make it worth seeing in the theaters for me!

If you somehow haven’t seen the original Evil Dead/Evil Dead 2, I would absolutely recommend watching the new version first and then watching Raimi’s 1981 and 1987 versions.  You’ll understand what Raimi and Campbell were trying to do effects-wise and you’ll be pleasantly surprised by the camp of the original and its hilarious initial remake after seeing the more straight forward gorefest that is Evil Dead (2013).  [For a well-written and very fair review of the new film, go here.]

“We can’t stop here! This is spoiler country!” [ie: Final warning, guys!]

Raimi and Campbell decided to produce the new Evil Dead to show off the kind of effects they wanted to include in the original (but couldn’t because of budget restraints), and if you see it in that spirit, it’s worth a trip to the theater.  If you’re a gorehound, you’ll love all the blood and guts, but if you’re looking for genuine scares, it doesn’t have many too offer.  Alvarez’s version is stylish and very technically well made, but it just can’t live up to the creativity and sense of fun delivered by the original trilogy of films.

Room 237 (2012)

Directed by Rodney Ascher

Starring:
Bill Blakemore
Geoffrey Cocks
Juli Kearns
Jay Weidner

Director Rodney Ascher and producer Tim Kirk, both huge Kubrick fans, became fascinated with the many theories surrounding the director’s masterpiece The Shining.  Room 237 is an exploration of those theories, which include ABC journalist Bill Blakemore’s belief that the film is an allegory for the genocide of the Native Americans, history professor Geoffrey Cocks’ assertion that it is an allegory for the Holocaust, and Jay Weidner’s claims that it is actually a confession to Kubrick’s involvement in faking the moon landing cloaked in author Stephen King’s source material.

On the one hand, Room 237 is about film appreciation, specifically the films of Stanley Kubrick with a strong emphasis on The Shining.  The interviewees talk about how Kubrick and his horror film changed their lives, but they also explore strange, extremely detailed theories about hidden meanings in The Shining.  Seemingly innocuous details are listed as proof for these various theories , but the common thread between them is centered on the director’s filmmaking genius and intense attention to detail, which the conspiracy theorists latch on to as evidence that Kubrick intended for these tiny details (some of which look more like continuity errors) to hint at their theories of choice.  Each of the theorists have looked at certain scenes frame by frame to isolate “blink and you’ll miss it” minutiae which they claim helps to prove their beliefs.  The problem is, of course, that not all of these theories can be right.  They vary so wildly while using many of the same scenes as justification that they essentially cancel each other out.

The most telling item of the film for me was the opening disclaimer, which asserts that no one associated with The Shining was associated with the documentary; none of these theories have been substantiated by Kubrick, his family, or his colleagues.  As a film nerd familiar with the director’s work, I think the most likely explanation for The Shining is Kubrick’s love of aesthetics.  He was a slave to detail, but not because he was trying to present a deeply hidden subtext about the genocide of Native Americans or faking the moon landing or the Holocaust.   He wanted the film to be beautiful and as close to perfect as possible.  Like many masterful directors, he had a vision and he executed that vision through his lush sets and amazing prop work, choosing the props, lighting, and set pieces that would look best on camera.  The most fascinating portions of Ascher’s documentary, particularly for Kubrick fans, deal with Juli Kearns’ carefully crafted and annotated maps of the Overlook Hotel, which allow the viewer a geographical context for the film’s events and beautifully illustrate Kubrick’s attention to detail.

Ascher allows each theorist to explain their ideas in their own words, using footage from Kubrick’s films and brief cuts to related pictures and video corresponding with the various theories.  There is no commentary from the documentary film makers and the audience is left to draw their own conclusions from the information being presented.  The cuts and edits feel very organic and Ascher is careful to help the audience catch the small details pointed out by the theorists.

I would definitely suggest this film for my fellow film nerds – maybe not for theater prices, but definitely via Video On Demand or Netflix.  Even if you don’t agree with any of the ideas presented by the interviewees, getting to see a gorgeous two hour smash cut of Kubrick’s most famous scenes is worth it and it made me want to watch many of his films again in their entirety to appreciate their aesthetic beauty.  Room 237 is available in a limited theater released and on most Video On Demand platforms.

Side Effects (2013)

Directed by Steven Soderbergh

Starring:
Rooney Mara
Jude Law
Catherine Zeta-Jones
Channing Tatum

After her husband Martin (Tatum) returns from a stint in minimum security prison, Emily Taylor (Mara) slips into a deep depression.  A serious suicide attempt connects her with Dr. Banks (Law), a psychiatrist who is eager to find a medication that will work for Emily despite her long history of depression.  After a suggestion from her former psychiatrist, Dr. Seibert (Zeta-Jones), he prescribes Ablixa, a brand new anti-depressant.  The drug seems to be effective, but comes with a serious side effect – sleepwalking.  This side effect leads to a tragic event that will send the lives of Emily and Dr. Banks into a tailspin, and it will be up to Dr. Banks to discover exactly how Ablixa was involved.

Steven Soderbergh is well known for making complex, unflinching thrillers and the first half of Side Effects is no exception.  Much like his 2o11 film Contagion, it is clinical and spare; a look at the life of a depressed young woman juxtaposed with the medical profession’s dependence on pharmecutical treatment.  Dr. Banks has his patient’s best interest at heart, but he is limited by the scope of what anti-depressants can do, and Soderbergh accurately shows that not everyone responds to the drugs available.  After Emily’s sleepwalking results in tragedy, however, the tightly woven plot starts to unravel and the focus shifts to shocking the audience with various twists and turns.  By the time we get to the ending, Soderbergh and screenwriter Scott Z. Burns rely on tropes that manage to be salacious AND boring because of their overuse.  I was disappointed with the turn the story took, particularly since I felt that there could have  been an interesting story, even with the twist and the final reveal felt unnecessarily complicated.

[[Visit blog to check out this spoiler]]

Soderbergh’s films often have large, sprawling A-list casts, but he wisely chose to keep the cast of Side Effects to a minimum.  Law and Mara carry much of the film; Tatum plays a minor role in the beginning of the film and Zeta-Jones figures into the movie’s denouement.  Mara is heartbreaking as the fragile Emily and Law’s understated performance portrays Banks as a well-intentioned but imperfect doctor with several professional and personal distractions.  Zeta-Jones and Tatum are cast in familiar roles – the imperious female authority figure and affable, well-meaning significant other respectively.

Side Effects is a visually gorgeous film and, while initially compelling, I found the ending disappointing.  It is worth a Netflix or Redbox rental, but if you want excellent examples of Soderbergh’s directing or Mara’s acting ability, I would suggest rewatching Contagion (Soderbergh) or The Girl With the Dragon Tattoo (Mara).

Mama (2013)
Rated PG-13 (for violence and terror, some disturbing images and thematic elements)

Directed by Andrés Muschetti

Starring:
Jessica Chastain
Nikolaj Coster-Waldau
Megan Charpentier
Isabelle Nélisse

After his brother kills several people and flees with his two young daughters, Lucas (Coster-Waldau) spends most of his time and all of his money searching for his missing nieces.  They are discovered, by chance, in an abandoned cabin five years after they went missing. Along with his rocker girlfriend Annabel (Chastain), Lucas agrees to live with the girls in a rural home to allow their psychiatrist to continue monitoring them while still giving them a normal life.  The girls are nearly feral; Victoria (Charpentier) is older and better able to adjust to regular life, but Lily (Nelisse) has only known life at the cabin and clings to the seemingly imaginary mother figure the girls have created – Mama.  When strange noises and shadows arise, the adults carrying for Annabel and Lily begin to discover that Mama may not be so imaginary after all.

Mama displays the best and worst of supernatural horror.  The plot is predictable (up until the weird ending, that is) and many of the plot points are contrived and patently unbelievable.  The film seems to borrow from every other previous flick in the genre – The Ring, The Blair Witch Project, The Grudge, just to name a few – but, there are genuine scares.  Based on the director’s Spanish-language short of the same name, “Mamá” was produced by Guillermo del Toro and shares many common themes with del Toro’s films, especially his most recent film, Don’t Be Afraid of the Dark.  In both films, emotionally disturbed children are uprooted and find solace in supernatural figures that seem benevolent, but are actually menacing.  There is an unprepared mother figure that the children don’t trust initially, but who seeks to protect them from the monsters.  Mama is a far more effective film, however, because the monster is truly terrifying.  We see Mama almost right away, but Muschetti builds the terror by making her more and more grotesque each time she appears on screen.

The adult actors are fairly lackluster.  Coster-Waldau’s character is almost completely unnecessary and the best part about Chastain’s performance is her punky rocker look (drastically different from all of her other roles).  We do see glimmers of her acting ability when she begins to connect with the girls, but she’s clearly outshone by her younger costars.  Charpentier is solid and very empathetic, but Nélisse is amazing.  She’s more creepy than cute (she was almost as scary as Mama!) and her physicality was pretty mind blowing.

Muschetti clearly has talent and as a first film Mama is a good effort, but with so many great movies out right now, I would recommend waiting to see this one on Netflix or OnDemand.  It’s definitely worth a watch, particularly if you’re a horror fan, but not inventive or interesting enough to pay theater prices.  The plot is pretty weak, but if you’re there for the scares, it won’t matter much.