Shudder Saturday: Founders Day (2023)

Here is another horror movie from brothers Erik and Carson Bloomquist (the former directing, both of the having written the screenplay together), and I think it's clear that they are only able to deliver movies that hang around the level of average. Look, that's more than I could do, and it's more than a lot of other people could manage, but it's a shame that nothing in their filmography shows a spark of something better.

Founders Day is a slasher movie. It's set in a small town as a local election looms, which means many of the residents are already viewing one another with some suspicion and bitterness as they clash over priorities for the community. One young woman (Allison, played by Naomi Grace) is traumatised by a murder that she witnesses, but she may feel worse before the final scenes, especially when it becomes obvious that the killer may have a special plan for her.

There are very small germs of decent ideas here, but none of them are developed in a way that makes them feel worthwhile. People becoming increasingly divided in this age of polarising political stances, politicians making use of any tragedy to spin their image into a more positive one, and a very Hot Fuzz narrative that shows how things are being done for the greater good ("the greater good"). These could have made for a decent little slasher, especially if there was a good sense of fun alongside the commentary, but it falls flat. The Bloomquists don't have any sharpness to their writing, and they also forget to make the kills fun and inventive enough to distract from weaknesses elsewhere.

Grace is pretty good in her role, but she's one of very few highlights. Olivia Nikkanen isn't bad either. Catherine Curtin and Emilia McCarthy are both underused, despite doing solid work, but I can't say I was very impressed by Devin Druid, William Russ, Amy Hargreaves, Jayce Nartok, Andrew Stewart-Jones, or anyone else. Not that they were bad (okay, maybe some of them were bad), but they're unable to do anything to improve upon dialogue that feels one foot away from tame TV movie stuff.

I admire the fact that people tried to make use of another calendar date for some masked killer shenanigans, and a good enough concept can keep me easily amused if enough little touches are sprinkled throughout to tie in with the central theme and iconography, but Founders Day probably wasn't the best event to try and liven up with a killing spree. Others might have done something better with it, but we're left with this . . . and this is about as much fun as standing in a polling booth and reading the list of candidates before finally using your pencil to mark down who is getting your vote. Okay, it's a BIT more fun than that, but not by much.

4/10

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Shudder Saturday: The Pale Door (2020)

The sophomore directorial feature from director Aaron B. Koontz, who has spent some time honing his craft with numerous shorts, including his segments in the mixed bag horror comedy anthology that is Scare Package, The Pale Door has a number of big names attached to draw horror movie fans to it. From producer Joe R. Lansdale to cast members Pat Healy and Noah Segan, there are plenty of names to prick up your ears. But try to ignore your ears.  This is not a terrible film, far from it, but it's nowhere near as good as it could be.

The plot is simple enough. An outlaw gang (headed up by Duncan) are planning a profitable train robbery. But when one of the gang loses out in a shoot-out, Duncan is reluctantly persuaded to use his younger brother, Jake. The robbery doesn't get too messy, but it turns out that the treasure being transported is a young woman named Pearl. Pearl convinces the gang to take her home, where they will receive a warm welcome and a reward. They'll receive a lot more than that, considering her town houses a multitude of dangerous creatures.

The biggest problem with the first half of The Pale Door is that it feels as if it is retreading material we already saw executed so well in Dead Birds. Unfortunately, the problem with the second half is that it becomes so predictable and dull that you wish it would get back to trying to emulate Dead Birds. The problem seems to lie with the script, co-written by Koontz with Cameron Burns and Keith Lansdale. The cast do what they can, but they're weighed down by the obviousness of the plotting, and also the moments that Koontz decides to drag out for what seems an interminably long time (seriously, the final scenes in this movie feel like they add half an hour to the whole bloody thing).

Knighton is good as Duncan, Devin Druid is your typical reluctant kid acting tough, and does well, and Bill Sage is a central part of the outlaw gang, and someone always willing to do whatever needs to be done to save their own skin. Stan Shaw and Pat Healy do solid work, Noah Segan is underused, as is everyone else playing a gang member. Natasha Bassett does well with her wide-eyed innocent character who we know has some dark secret to her character, and Melora Walters is a highlight as Maria, a matriarchal figure in the town who is very open about her true intentions quite early on in the proceedings.

There are some good little touches throughout (figures scrabbling across walls and ceilings to attack the main characters, a sequence involving people being manipulated while they try to stay sheltered in a small church), but not enough to keep things enjoyably varied. Once things go from relative normality to bullets vs. evil denizens then it all turns a bit dull. The editing could have been sharper, and maybe having so much happen in the space of 5-10 minutes in the middle of the film wasn't the best decision. Drawing things out a bit more, in the right ways, would have helped, while other scenes would benefit from being trimmed, or excised completely.

5/10

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