Showing posts with label christopher jolley. Show all posts
Showing posts with label christopher jolley. Show all posts

Tuesday, 16 December 2025

Granny Krampus (2024)

If you look through the respective filmographies of writer Christopher Jolley and director Jack E. Bell then you will see many choices that make it inevitable that they could work together on a film like Granny Krampus. And if you have seen any of the (many) other cheap Krampus movies we've had over the past couple of decades then you should know what this delivers.

Lea (Jodie Bennet) and Ashley (Poppy Castleton) are two sisterns who visit their gran (Hilary Burns) after the death of their mother. There's some tension in the air, considering how the family members have been estranged from one another for so long, and there's also a family secret due to be revealed. One that, given the title, you won't be surprised to find out involves a Krampus figure, known as Frau Percht. Charlie (Mark Rush) and Daniel (Tom Marchant) turn up in time to be endangered as things build towards a very "bah, humbug!" final act.

This isn't good. But many people who have already viewed many other Krampus movies will already know that. It's not actually terrible though, and certainly not as bad as I expected it to be. I don't want to spend too much time being impolite about the cast members, but most of the acting here is sub-par. That's one of the main aspects of the film that constantly reminds you of the low budget. Rush and Marchant benefit from being given some fun lines in the weak screenplay, but Bennet and Castleton have no such luck, and Burns is, there's no nicer way to say it, frankly awful.

Unlike other films that make use of the K-word in their title though, this actually gives a decent bit of screentime to the featured creature, and there's at least an attempt to make it look better than just someone in a cloak and cheap mask, even if it still may actually BE that, in essence. There are individual moments that are shot decently, considering Bell is trying to deliver some thrills while also hiding some of the many shortcomings just out of frame. It's not enough to make this worth recommending to those after some full-blooded holiday horror, but I appreciate that some effort has been made. It's more than can be said for many other movies in a similar vein.

As much as people may refuse to believe it, despite me saying it often enough, I always try to remain optimistic as I start watching any film. I even approach every independent Krampus-centric horror movie with the hope that it could be the one independent Krampus-centric horror movie gem that makes up for the sewage I have had washing over my eyeballs during past holiday seasons. This is not a gem, but it's also not a complete turd. And sometimes I feel that my optimism is rewarded if I've miraculously avoided another complete turd. 

I debated rating this lower because of the acting, but I decided to be relatively generous, considering the careless and lazy trash this could have been. 

4/10

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Saturday, 28 September 2024

Shudder Saturday: The Price We Pay (2023)

It's a pretty standard horror movie trope to put some bad people in a place where they end up being the lesser of two evils. The worse the people, the worse situation they can find themselves in. The Price We Pay, written by Christopher Jolley, developing a story co-created by himself and director Ryûhei Kitamura, makes use of this trope. It has a decent cast to work with, but there's nothing much else brought to the table.

Alex (Emile Hirsch), Cody (Stephen Dorff), and Shane (Tanner Zagarino) burst into a pawn shop to commit a violent robbery. At least one person is killed, and the men flee with a hostage (Grace, played by Gigi Zumbado). Making use of Grace's car, which doesn't look as if it can drive on for many more miles, they end up reaching a farm in the middle of nowhere, somewhere they figure that they can hide out for a while. And that's when things start to go off the rails.

While I have enjoyed the work of both Hirsch and Dorff in many other movies, they're unable to do anythng here that distracts from a weak and tired screenplay. Zumbado is also just as hampered, but has the benefit of not having to go through the standard crime movie grimacing and circular arguments. Zagarino makes much less of an impression, due to his role being "the wounded one" for most of his screentime, but at least viewers get a supporting role for Vernon Wells, which should be enough to make up for some of the failings elsewhere. Tyler Sanders isn't too bad as an apparently timid young farmhand named Danny, and Erika Ervin gets to have fun underneath some face-altering make up.

It's easy to see where this went wrong though, even if you like the cast as much as I do (and I appreciate that many others won't). Jolley is one of those people who has become quite prolific over the past decade, aiming for quantity over quality as he moved from gangster and hooligan movies towards more and more horror project. I can easily imagine him pitching this idea to Kitamura, probably not believing his luck when the director decided to take on the project. While he can deliver great horror fare (the last feature that I enjoyed from him was Downrange, back in 2017), he seems unable here to find a way to twist and freshen the material, leaving him at the helm of a disappointingly dull affair.

It's coherent enough, and it all seems fairly logical (for the premise), but there's nothing to really enjoy here. None of the nastiness is impressive, nor is it presented in a way that could make the gleeful sadism of some of the main characters more fun, relatively speaking, and the technical side of things is what you might call perfunctory. Thankfully, if you watch this on a streaming service, as I did, then the price to be paid for watching The Price We Pay is only the 86-minute runtime, instead of any monetary amount. That may still feel too pricey for some.

3/10

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