Reviews: The Shed

The Shed,
Directed by Frank Sabatella,
Starring Jay Jay Warren, Cody Kostro, Sofia Happonen, Frank Whaley, Timothy Bottoms, Siobhan Fallon Hogan

I’m pretty sure we’re all familiar with the monster in the closet, or under the bed, or the basement. Sabatella’s Indy horror moves the monster action to the most innocuous of domestic locations, the garden shed. There’s no messing around, we are dropped right into things from the start with little preamble – a hunter, out in the woods with his rifle, is now the hunted, fleeing from something barely glimpsed, something his bullets will not stop. A vampire.

And not a pretty, sparkly Twilight vampire, or a swooning, handsome Anne Rice vampire, nope, this is a pretty horrible looking predator, a proper monster. And he catches his prey, but as he bites into the hunter (Bane, played by Frank Whaley, who you will doubtless recognise from a myriad TV and film roles, from Luke Cage to Pulp Fiction) he realises he’s made the classic bloodsucker mistake – he’s stayed out too late. The rising sun pierces the forest canopy and burns him; staggering back in pain from his prey, he’s exposed to direct light and then it’s time for ashes, ashes, we all fall down…

Given our monstrous vampire has just been introduced and then dispatched in the opening few moments, where is The Shed going from here? Well our now dusted vamp had bitten Bane before his severe sunburn got the better of him, but he didn’t finish off the fleeing hunter. Wounded, Bane tries to rise, still shocked from the realisation that vampires exist and he had just been attacked by one – and survived. Or has he? His arm enters a shaft of light breaking through the treetops, and he too burns. Looking at the pile of smoking ash that had been the fearsome vampire, he realises what has happened to him, and that if he doesn’t want to die the same way, he need shelter from the daylight.

It really is a remarkably efficient and swift setup – this opening takes only a few moments and already we’ve had a vampire attack, Bane infected, then having to make a run for shelter, finding the tool shed in the garden of Stan’s house (Jay Jay Warren), an orphan living with his grandfather (veteran actor Timothy Bottoms). There’s even a nice little nod to Katherine Bigelow’s classic vampire Western, Near Dark, as the unfortunate Bane grabs an old blanket to wrap around his head as he has to dash across the open ground in full sunlight, before finding sanctuary in the shadow of the eponymous shed.

Stan’s life is not a happy one – his mother and father are dead (a dream sequence hints at illness and suicide), he’s spiralled into petty infractions of the law and is now living with his grandfather, Ellis, his last option other than Juvenile Hall. And to make it worse Ellis is the “you kids today are too soft, I was in the army being shot at when I was your age” kind of brutish, unfeeling man, totally unsupportive of his clearly emotionally damaged grandson. He and his best friend Dommer (Cody Kostro) have it no better at school either, both being at the bottom of the food chain, Dommer in particular a target for the bully brigade, and even Stan’s former crush, Roxy (Sofia Happonen) has joined the clique of the nasty kids.

Unsurprisingly both would love to be free of their tormentors and their situation, and when Stan first discovers Bane, now transformed into full, bloody-thirsty vampire mode, is hiding in his grandfather’s shed, Dommer sees an opportunity to turn the tables. What if they can lure the bullies here, get them close enough to the shed door to be grabbed and dragged inside? Stan is horrified at the idea – no matter how much he despises the bullies, feeding them to a monster is wrong. He wants to figure out a way to deal with this, while not letting the authorities know (with his record he worries he will take any blame), but Dommer, poor, damaged Dommer, has been beaten up and abused once too often, he wants them dead, and in as painful and terrifying a manner as can be managed.

While not spectacular, I think Sabatella and his cast and crew did a great job with limited budget and resources. Yes, there are some flaws (aren’t there always?) – dream sequences that get confused with reality are a bit over-used, for instance, but for the most part this melding of hidden, secret monster with the high-school as hell (complete with its own kinds of monsters) works well, and you feel for both Stan and the hard life he’s been handed (that kid needs to catch a break, opines Siobhan Fallon Hogan’s Sheriff early on), and Dommer’s revenge fantasies, fuelled into murderous rage by the appearance of the vampire, while wrong are also quite understandable given what he’s been constantly subjected to.

It’s good to see vampires as proper monsters again too, instead of handsome, seductive or sympathetic beings (and no sparkles, thank goodness), an element I suspect many of my fellow horror fans will appreciate. There are also some nice touches, little homages and the like, thrown into The Shed for genre fans to notice, such as the aforementioned blanket over the head daylight run from Near Dark to even a quick reference to Ferris Bueller (as Stan has to run on foot to his house to beat the Sheriff there, cutting through gardens, running right behind her car before she notices). Some good, solid, enjoyable horror fun.

The Shed is available from Signature Entertainment on HD Digital from May 11th

Reviews: We Summon the Darkness

We Summon the Darkness,
Directed by Mark Meyers,
Starring Alexandra Daddario, Keean Johnson, Maddie Hasson, Amy Forsyth, Logan Miller, Austin Swift, and Johnny Knoxville

Another collaboration between Signature Entertainment and FrightFest Presents, We Summon the Darkness seems to be channelling some Old School 1980s and 90s teen slasher vibes. We have the good-looking young women and boys, all off the leash for a weekend of fun free of adult supervision, drink, drugs, music and sexual tension, and this all takes place against a background of a spate of serial killings across the state of Indiana, allegedly the work of a Satanic cult.

The media is loving this, of course, and is not just reporting on it, but clearly stoking a folk panic over the killings, and unquestioningly putting up evangelical preacher types who assert it is all the fault of the “demonic” rock music scene, as if they were speaking fact. Those of you of a certain age will likely see this as a wry commentary and throwback to some of the media frenzies, the so-called “Satanic Panic” tales the media pushed, which had terrible real-world consequences for local communities caught in them (normally once the hoopla died down and serious investigations took place they were found to be nothing more than rumours and outright lies). Knoxville plays against type as TV evangelist condemning the “corruption” of youth (and like most of these rich media preachers, you just know there are going to be skeletons in his closet).

It’s 1998, and three friends, Alexis (Alexandra Daddario), Valerie (Maddie Hasson), and Beverly (Amy Forsyth), are making a road trip to attend a large heavy metal concert, while snippets from the local news plays, condemning the concert and the kids who enjoy the rock scene as part of the problem that has created this alleged Satanic murder spree by leading the youngsters away from Jesus. On the road a pimped out van passes them and one of the boys aboard throws his milkshake out, across their windshield, nearly causing an accident. When they arrive at the concert venue, lo and behold, there is the same van, and it is obvious the occupants are in the back getting high, so Valerie decides on some payback by throwing a lit firecracker through their window.

After a little argument the boys – Mark (Keean Johnson), Kovacs (Logan Miller) and Ivan (Austin Swift) – seem to accept this prank was justified revenge for what they did earlier, and soon the youngsters are bonding over their love of rock, swapping concert-going stories. By the end of the gig they’re enjoying hanging together – three boys, three girls, all into the same music, all free for the weekend, it seems like the perfect opportunity for some fun, and Alexis invites them to join them at her father’s large mansion as he’s away for the weekend.

So far it’s all playing like you might expect an 80s/90s flick to play out – the young women and men are playing with rock music, drugs, booze, flirting with sex, all the usual transgressions that see nubile teens and twentysomethings punished in slashers of that period. But there is something else going on here, not all is as it appears, and much as I would love to talk about it, I can’t because it would blow some spoilers, so I must zip my flapping mouth closed.

Suffice to say that Darkness continues to plough the genre pretty well – I mean that in the good way, while it is using many of the tropes of the genre of the 80s and 90s, it is clearly doing so deliberately and with much love, in a way that I think most horror-hounds will enjoy and approve of. But it also happily subverts some of those generic elements as well, on who is truly the good and the bad, or delighting in playing with gender expectations. Yes, there are moments where some of this seems to be following a well-worn path, but it is doing so with deliberate intentions, partly for the love of the genre, and partly so it can then gleefully mess with some of those expectations. Get the beer out, pop the corn and enjoy some fun Friday night horror viewing for fans.

We Summon the Darkness is out now on Digital HD from Signature Entertainment and FrightFest Presents.

Reviews: Sea Fever

Sea Fever,
Directed by Neasa Hardiman,
Starring Connie Nielsen, Hermione Corfield, Dougray Scott, Olwen Fouéré, Jack Hickey, Ardalan Esmaili, Elie Bouakaze

After the film festival circuit – including a debut at the prestigious Toronto International Film Festival in 2019 – Neasa Hardiman’s Indy Irish horror movie arrives on DVD, Blu-Ray and on-demand from this week. Siobhán (Hermione Corfield), is a marine biology student, and one who really isn’t a people-person (as we see right at the start, as her classmates pause in the lab to celebrate a birthday, despite warm invitations to join in, she remains aloof). She is reluctant to undertake a required field work segment of her course, but her tutor tells her firmly she has to get out of the lab and get her hands dirty. To this end she’s booked aboard a trawler for a few days, to examine their catch, looking for pattens and irregularities in the marine life.

The ship is captained by the grizzled, taciturn Gerard (Scots actor Dougray Scott essaying an Irish accent), and owned by his partner Freya (Wonder Woman’s Connie Nielsen), and they are glad of the money the university contract brings – like many independent trawlers the wolf is never far from the door. There is some reluctance from the crew, partly at having someone onboard who isn’t a sailor, let alone experienced on the hard life of the trawler ships, and her stand-offish behaviour doesn’t help, nor does the fact she is a redhead (seen a bad luck on a ship, although interestingly I noticed there was no mention of the other old superstition of a woman being bad luck aboard – in fact with Hermione there are now three women on the ship).

The ship is warned by the coastguard that they cannot continue to the spot they originally planned to trawl, a potentially rich source of fish, that the area is currently off-limits as whales and their calves are in that zone. Unknown to the crew or authorities, Freya and Gerard make the decision to cut through this forbidden zone anyway. Of course any seasoned horror buff will know that going into a forbidden zone is the equivalent of leaving the path in the deep, dark forest in a fairy tale – you don’t do it, and if you do, expect trouble…

The trouble arrives fairly swiftly – something strikes the trawler, despite it being in deep ocean waters. And then they notice some very peculiar shapes forming on the planking of the wooden hull’s interior, deforming the thick wood, softening it – prodding it with a pencil, it goes right through, letting water in and revealing a glimpse of… something. Siobhán had planned a diving session as part of her field work, and at Gerard’s suggestions she reluctantly dives to investigate whatever has been striking the hull, finding something she never expected, an unknown creature, huge and glowing with bioluminescence, its long tendrils attaching to the hull. Is it attacking them, or has it just mistaken the ship for normal prey, in the way sharks sometimes bite surfers or divers, mistaking them for seals?

I thought this was the point where Sea Fever became far more interesting – especially given the situation we are all in at the moment, although that is just a lucky coincidence in timing – because until now it is giving the impression of a fairly standard monster movie. People go out on a normal, routine journey, encounter something unknown, it hunts them, they must fight to understand and survive. Except, no, it doesn’t go down that very well-worn route. Instead this becomes more about different types of life and their rights to exist, how they try to live (human and marine), and also, in what is now suddenly a very contemporary slant, about infection and controlling any potential spread from contact with unknown new organisms.

I wondered at first if this change in tack was down to budgetary restraints – an Indy movie like this simply can’t afford numerous, convincing effects scenes a full-on monster movie would demand. But I don’t think that’s it, I think Hardiman is more interested in people and their web of relationships, their interdependencies, and the way all of the elements, such as the sea, and other life (the fish, the whales, the unknown creature), how they react under sudden stress. I think it doesn’t quite hit the high mark it is aiming for, although again I think that may be due to the budget limitations Indy movie makers labour under, but nevertheless I found this to be a more unusual and far more interesting slant on the horror movie than I was expecting, and well worth checking out.

Sea Fever is available from Signature Entertainment on DVD, Blu-Ray and on-demand services from this week

Kursk: the Last Mission

Kursk: The Last Mission,
Directed by Thomas Vinterberg,
Starring Matthias Schoenaerts, Léa Seydoux, Peter Simonischek, August Diehl, Colin Firth, Max Von Sydow, Bjarne Henriksen, Magnus Millang

The K-141 nuclear submarine Kursk was laid down in the early 1990s, but by the time she was fully commissioned the former Soviet Union had collapsed. She became part of the Russian navy’s Northern Fleet, a class known to worried NATO observers as the Oscar-II class, larger than her predecessors at some 154 metres, a truly massive beast, stealthy, hard to observe even with NATO’s sophisticated submarine detection equipment, and heavily armed (this class was designed to makes holes in entire enemy battle groups all by herself), with a hull and conning tower reinforced so she could even surface through the Arctic ice. But by the end of the last millennium, with Russia essentially broke, much of this once-huge and impressive fleet is lying at anchor, rusting in the sea air.

For all the power Kursk and her sister ships had, we see a sadly depleted, run-down force – as the film opens we follow a group of shipmates from her crew, lead by Mikhail Averin (Matthias Schoenaerts), desperately trying to raise money for the champagne for one of their fellow’s wedding reception; none of them has been paid in ages, a common occurrence during this part of Russia’s history, wages not being paid by the state, little money even for fuel for regular sailing patrols. They each barter their prized submariner’s watches with the quartermaster to get supplies for the wedding, a warm act of brotherhood for one of their own, an act which leaves the new bride in tears.

And the next day she sails into the frigid northern oceans – for the first time in years the run-down, post-Soviet Russian navy is holding a major exercise, and Kursk is joining it, tasked with launching sneak mock attacks on several of the surface vessels. Despite the lack of pay and resources this crew was still reckoned to be one of the best in the submarine fleet, and their ship a tremendous achievement of engineering and power. As we see her leave her base, watched by their families, the gargantuan scale of this ship is quite clear, and you understand the pride her crew have in sailing on such a vessel. Sadly, of course, for those of us familiar with recent history we know this will be Kursk’s final voyage. On the 12th of August, 2000, an explosion was detected beneath the waves around the exercise fleet. The worst had happened.

You may ask what mileage there is in a disaster film based on real history, when we all know what the outcome is, and it is a legitimate question. I have to say it entered my mind early on, but Thomas Vinterberg crafts his film in such a way that you get to know the men and their families. We see their strong bonds at the start as they try to find supplies for their crewmate’s wedding, we see their families, we see a group of elite sailors who live and work in close quarters at sea and whose families live next to one another on shore, they are all one extended family, and it is clear they would do anything for one another. As we get to know the men on the ship and their families back home we become enmeshed in their lives – I found myself wanting, against the odds, against real history, for some of them to make it, even though I know that all of her crew perished down there, in the deep, cold northern waters, far from the light. But Vinterberg made me want that to happen, his Kursk really does pull you in emotionally to this desperate struggle for survival.

The explosion destroys the forward compartments of the ship – it is generally believed that a badly-made torpedo leaked the unstable hydrogen peroxide fuel (similar to that used in some rockets), causing an explosion, which in turn lead to a bigger explosion as it set off some of the other torpedoes. You can imagine the devastation this wreaks on the stricken ship. The crewmen we follow survive only because they were in the rear section. They are now stuck on the bottom of the sea in the last few sealed compartments, water leaking in, air thinning, waiting, hoping, praying for rescue. But the cutbacks in the Russian fleet have also affected their search and rescue teams – the British Royal Navy (in the shape of Colin Firth’s Commodore David Russell) and Norwegian navies monitor the situation and offer their own far better technical resources to rescue the men they think may be trapped aft, but a proud and suspicious Russia refuses the offers of help, until it is too late.

We’ll never know for sure now if those twenty three men surviving in the aft compartments could have been rescued if Russia had accepted that help more quickly. One officer there made a list of the surviving men, so we know they were there for some time after the explosion, hoping for a rescue that came far too late (Firth has his British officer down perfectly, the obvious despair and resignation mixed with that classic stoic and professional in public persona we expect of an RN officer). The rescue attempts by the Russians, the help offered by the British and Norwegians, the cutting back and forth from the slowly filling compartments of survivors to their frantic families on land, demanding information and being given little by the authorities, all builds to a tremendous if tragic emotional climax. This is all handled in a very realistic, down-to-earth manner, a million miles from the action of the likes of Hunt For Red October, in many ways it has the feeling of one of those classic WWII submarine films, when all the men can do is wait in their ship, deep below the surface and hope.

Yes, we know the outcome here – this event only happened nineteen years ago, we all saw it on the news, we all heard of the Royal Navy’s offer of help, the standard forgetting of enemies when in trouble at sea, because then all sailors are fellow sailors and the code is always to help, and the wait to find out that it was all too late. And yet Vinterberg’s film draws you into the desperate emotions of these men and their families so effectively you find yourself longing for a Hollywood happy ending that you know never happened and cannot be, but he ensures these men are not just some stereotypes, he gives them depth, families, makes us emote with them until we feel their struggle. And he gives them honour, heroism and professionalism as they face their end together.

Kursk: the Last Mission is released by Signature Entertainment in cinemas and on Digital HD from July 12th

The Accountant of Auschwitz

The Accountant of Auschwitz,
Directed by Matthew Shoychet

The Nuremberg Trials, which put many Nazis in the court for crimes against humanity, took place some three quarters of a century ago now, but the echoes of those trials, of the legal precedents they tried to establish (that those who committed horrendous crimes like genocide would be held accountable) and the vile deeds they sought to punish have echoed down through the twentieth and twenty-first century, as we’ve seen more and more genocidal slaughters such as Rwanda or the murderous “ethnic cleansing” in the former Yugoslavia (and the trials in the Hague that followed years later). When it comes to the almost unbelievable crimes of the Holocaust though, we are very nearly out of the range of living memory, fewer and fewer who were there (survivors or perpetrators) are with us each year.

As such it becomes all the more important that we have documentaries like the Accountant of Auschwitz, which records events around what may well be one of the last such trials of a Nazi for crimes committed during the Second World War, in this case a seemingly normal, frail old man, Oskar Gröning, the eponymous accountant. Looking at footage of this 94-year old man it is hard to picture him as the young man he once was, more than seventy years ago, let alone as a black-garbed officer of the SS working in one of the notorious death camps (one commentator noted seeing such a frail old man enter the court she felt sympathy. But then she recalled what he and his comrades had done, and that sympathy evaporated). But he did, and after a long, long time, justice finally reached out for Gröning.

Hate is a powerful weapon. And it was in the Second World War and it is today.”

Rainer Höss, anti-fascist activist and grandson of Rudolf Höss, commandant of Auschwitz told the film-makers, adding that the trial was important, not just to try and enact even belated justice, but to remind the newer generations of the horrors that went before and can happen again far too easily (we only need to look at the appalling rise in hate crimes in many countries to see how easily we can start down that road again). Höss also remarked that Gröning’s trial was important because it heard a lot of testimony not just from survivors of the camps, but from the perpetrator. When we have groups who wilfully ignore the huge amount of evidence and still try to claim there was no Holocaust, or that it was exaggerated, the importance of this becomes clear, and some credit must be given to Gröning himself who makes clear that yes, these things did happen, he was there in his SS uniform. And if he says that it is just that bit harder for the modern neo-Nazis to continue their Holocaust denial.

The film doesn’t just focus on this one trial, however, it attempts to place the proceedings into a much longer sequence of events, from the post-war Nuremberg trials to the quite shameful blind eye the new, post-war West German government turned to the many former Nazis who were allowed to go free and live a good life (indeed many ended up in charge of government, industry, the judiciary, so became the class that sets the rules and laws for such investigations and trials), and how the way the law was worded only allowed for very specific, hard to prove charges to be brought (such as a specific act of a specific person killing another during the Holocaust), which allowed many to escape any consequences for their actions.

There was also some element of collective guilt – how many fathers, uncles and grandfathers took part in these events? How much guilt by association does that create for the rest of the country trying to move on and rebuild? The few trials that did happen in Germany rarely convicted and those that did often gave remarkably lenient sentences (a soldier responsible for putting the Zyklon B gas into the fake shower rooms to gas victims to death got only three years). The Demjanjuk case, which some of you may remember from the news some years ago, helped to bring a change in the attitude in Germany. He was found guilty in an Israeli court where witnesses were sure he was “Ivan the Terrible”, but records found after the fall of the Berlin Wall revealed that he was not (although it transpired he had much other guilt, which he pretended ill-health to try and avoid answering for). Laws were altered to allow for trials that relied on more data and less on witness testimony (which had proven so unreliable in his case), and for those who may not have killed personally but were there supporting the whole process to also be held liable (such as Gröning, who rifled the belongings of those marked for death for valuables).

D-Day veteran Benjamin Ferencz is also interviewed – Ferencz was one of the chief prosecutors of the notorious Einsatzgruppen at the Nuremberg trials. They knew they could never hold every single person who contributed to the death camps to account – they numbered in the tens and hundreds of thousands, they would still be holding trials today, as Ferencz put it. Instead his idea was that they would set a legal precedent with the trials, to show that any country that committed such horrible acts would, sooner or later, be brought to justice and individuals responsible would face trial and judgement. The idea was not just to punish these vile crimes but to put fear into future evil-doers that they would always, sooner or later, be brought to account for their disgusting, inhuman actions (think of the vile Ratko Mladić finally brought to trial in the Hague).

Vengeance is not our goal, nor do we seek merely a just retribution. We ask this court to affirm, by international penal action, man’s right to live in peace and dignity.

Ferencz spoke these words at the opening of the Nuremberg trials, and the film-makers cut between this now frail, elderly but still strongly motivated man discussing his role and starting to recite his opening speech, which cuts to the archive footage of him in the courtroom in the 1940s, a nice touch. Alan Dershowitz, a former special prosecutor at the US Department of Justice who was involved in modern trials of historic war criminals, also gives some legal, historical and moral context to the trial of Gröning.

The trial itself is fascinating but also, as you can imagine, disturbing – some testimony is beyond comprehension, such as the cold-blooded murder of an infant in front of the mother, something Gröning witnessed a comrade do. I imagine most viewers will realise this horrific details is unavoidable, given the subject matter, but as with the powerful Night Will Fall documentary a couple of years ago (reviewed here), despite that I still commend viewing to people, because, dammit, we’re still seeing the sort of raw hatred of those judged to be “different” and where it leads, and we really, really need to be reminded of it, to learn from it.

The testimony of those who were there, whose ranks thin further each year, is vital, but also the film’s placing the events and their impact into legal and moral context for modern society, and, importantly, for future generations (and possible future perpetrators of such horrors) is extremely important, not only in making sense of it all, but in reminding us that we all, collectively, have to try to learn, to be better, and if and when some of us fail that others can and will deliver justice on them.

The Accountant of Auschwitz is released on DVD and Digital by Signature Entertainment from Monday 15th April