Showing posts with label alberto marini. Show all posts
Showing posts with label alberto marini. Show all posts

Saturday, 18 October 2025

Shudder Saturday: V/H/S/Halloween (2025)

Did I ever expect the V/H/S horror anthology series to become something of a tradition around this time of year? I did not. Am I happy enough with this development? I am. Which is why I was happy to get around to watching V/H/S/Halloween, despite being hugely disappointed by the previous entry in the series, V/H/S/Beyond.

It's the normal format. You get half a dozen stories with a wraparound tale interspersed between each one. Each story is distinctly pumpkin-flavoured this time around, and the wraparound tale - showing a group of people testing out a new fizzy drink on some unsuspecting subjects - is my favourite of the entire series.

Although the various segments vary wildly in tone, from the Willy Wonka surreal silliness and the body horror of "Fun Size" (my personal favourite, written and directed by Casper Kelly) to the very dark and disturbing "KidPrint" (written and directed by Alex Ross Perry), everything has a sense of belonging to the bigger picture. That's all thanks to the easy linking theme of Halloween, with many of the segments allowing the film-makers to simply revel in all of the seasonal atmosphere. Once Bryan M. Ferguson has set the tone with the first of the wraparouns sections, Anna Zlokovic starts things strong with the bonkers "Coochie Coochi Coo". Things then seem to settle down a bit with "Ut Supra Sic Infra" (co-written by Alberto Marini and director Paco Plaza), but there's an ending that delivers exactly what you expect from it. Then it's "Fun Size", perfectly placed in the middle of the movie. "KidPrint" comes along after that, one that some will find hard to stomach as things get worse and worse, before the whole thing ends in a double-whammy of the hugely entertaining "Home Haunt" (co-written and co-directed by Micheline Pitt-Norman and R. H. Norman) and a superb wraparound punchline.

There's not too much else to say about this though, and it can often be difficult to fully review and discuss anthology horror movies. The point of them is to draw you in and lead you to a great ending with every segment, which this does. To say too much about any one tale is to spoil the potential delight. Just know that this is a very strong entry in this series, and perhaps my new favourite. While everyone will inevitably react to the different segments in different ways, those who know the vibe and aesthetic of the films will be unlikely to be disappointed by this. The main concepts are often built around a great mix of fun and frights, the acting feels better than it has been in some of the previous instalments, and the end result is just a perfect horror "mix-tape" that will be even better to watch as you're sitting in the dark with the glow of a candle-lit pumpkin creating some lively shadows in the corners of the room. 

A huge turnaround from the last movie, although I may eventually rewatch that one and revise my harsh opinion of it, this not only kept me very entertained throughout, it had me wishing we could fast forward to next year and see what we'll get next in this series. I raise a hot cup of pumpkin-spiced latte to all involved.

8/10

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Saturday, 26 August 2023

Shudder Saturday: The Communion Girl (2022)

A Spanish horror film that will feel very familiar to those who have seen one or two movies about vengeful spirits, The Communion Girl has a lot going for it, and I suspect there may be a bit more to it than I even realised. For example, considering the themes being explored, I'm not sure why it was set in the latter half of the 1980s. The time period didn't seem to matter too much, but maybe that will be a bonus for people who know more about what may have been happening in Spain at that time. Or maybe it doesn't matter.

Carla Campara plays Sara, a relatively new girl in town. After a night of drink and drugs with her friend, Rebe (Aina Quiñones), things get a bit spooky. While being driven home by a couple of potential "bad boys", Sara thinks she sees a little girl in a communion dress crossing their path. Heading into some woods to find her, she comes back with nothing more than a grubby little doll. Hoping to reunite doll and owner, Sara takes the thing back home. And that's when things go from bad to worse, with Sara and Rebe, and one or two others, eventually having visions of a scary figure who seems to want to be saved from being lost, cold, and alone.

Directed by Victor García, who also directed the fun Return To House On Haunted Hill and the not-so-fun Hellraiser: Revelations, this is a perfectly enjoyable slice of spookiness that features a pair of decent main characters having to solve a mystery before it causes them to expire. Guillem Clau's script delivers just enough information and context throughout to keep them going on the right track while the exact details are suitably obfuscated until it's time for a last-minute reveal. It also shows Sara and Rebe dealing with a number of other factors - two very different family situations, interference from others ready to judge the company they keep and how they spend their time - as they try to focus their energies on an increasingly important investigation.

Campra and Quiñones are both very good in their roles, playing two different types of young women who complement one another nicely, and both Marc Soler and Carlos Oviedo are decent as the young men who end up unwillingly involved in a very scary situation. Aside from Olimpia Roch, playing Sara's little sister, Judit, and doing an excellent job of providing extra motivation for Sara to put an end to the danger that she worries will also affect others around her, I would also highlight the combination of physical performance and great makeup that brings "to life" one or two impressively unnerving spirits.

While there's nothing spectacular here, and nothing spectacularly original, this does everything you want it to do very well. The actions of the characters don't feel too illogical, the central mystery is put together reasonably well, and there's a dark undertone to a number of main sequences that highlight a deeper theme running through everything (again, the time period may also be a factor here, but maybe that was just used to omit the genre-spoiling likes of the internet and smart phones). Maybe not a film to revisit often, if at all, but it's a creepy little gem that horror fans shouldn't resent fitting into their viewing schedules.

7/10

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