The Ranger (U.S.: dir. Jenn Wexler)
Director/co-writer Jenn Wexler pits a pack of post-adolescent punk rockers (led by Chloe Levine) against a deranged park ranger (Jeremy Holm, who’s recently done turns on House of Cards and Mr. Robot) in her feature début. Wexler shifts between two different approaches here: the first posits the titular Ranger as a campy slasher who quotes Park Service regulations at his victims; the second explores the twisted psychological relationship between the Final Girl and her nemesis. Sadly, Wexler never balances the two approaches so that they feel like they belong in the same movie. On the plus side, Levine delivers a bravura performance, Holm both amuses and menaces, and I liked the effects work, so it’s not an entire wash.
Larry Fessenden appears in flashbacks as Levine’s uncle, kicking off my traditional genre festival Larry Fessenden Watch. My very first film brings Cinepocalypse 2018’s Fessenden Count to 1.
The Devil’s Doorway (Ireland: dir. Aislinn Clarke)
The found-footage trend has (mercifully) passed, but you can still find the occasional movie made in the format. Writer-director Aislinn Clarke sets her stab at it in Sixties Ireland, putting the camera—stocked with actual film, natch—in the hands of a pair of priests investigating an apparent miracle at a “Magdalene house” (a church-run workhouse for unwed mothers and promiscuous young woman—think Philomena). The story itself is a factory-standard demonic-possession narrative featuring two priests (one old, one young; one a true believer, one a skeptic), steely, cruel nuns, an innocent victim suffering the tortures of the damned, and enough secrets to fill an abbey. But Clarke makes The Devil’s Doorway worth watching by emphasizing the thick Irish-gothic atmosphere.
Hover (U.S.: dir. Matt Osterman)
Set in an ominous near-future world of assisted suicide machines, AI-driven security drones, and slabs of thick plastic doubling as tablet computers, Hover practically begs comparisons to Black Mirror. Unfortunately for director Matt Osterman and writer/star Cleopatra Coleman, that comparison wouldn’t be a favorable one. The premise is sound, but the execution is faulty; the world-building is weak, the characters thinly-drawn and forgettable. (Even the script forgets about the protagonist’s incompetent trainee, abandoning her mid-film until the story requires a shock reveal at the climax.) You can pretty much guess every twist before it happens, most of the performances are lackluster, and even the effects are shitty. And there’s gotta be a more efficient way of killing vermin than exploding their heads with microwaves. It’s probably possible to make a good movie with this premise; but Hover sure ain’t it.
Await Further Instructions (U.K.: dir. Johnny Kevorkian)
If you’ve recently found yourself thinking, “Gee, we sure could use a Videodrome for the Trump/Brexit/Fox News era,” director Johnny Kevorkian and writer Gavin Williams have the answer to your prayers. Await Further Instructions seals the fractious Milgram family (if you know get that reference, that’s your first clue) in its home at Christmas, their only contact with the outside world a series of increasingly bizarre instructions delivered by some unknown force through the television. Long-simmering familial resentments boil over in the form of a vicious power struggle as the paranoia and the craziness escalate, and everything culminates in a climax I could not have seen coming in a million years. Add brilliant performances (especially from Grant Masters and living legend David Bradley, aka Argus Filch, Walder Frey, the creepy guy from the first series of Broadchurch, and the third First Doctor Who), a light touch of throwback (note how all the TVs are CRTs), and some brilliantly original effects sequences, and you get something really special.
What Keeps You Alive (Canada: dir. Colin Minihan)
Canadian writer/director Colin Minihan—one-half of the Vicious Brothers team responsible for the Grave Encounters series, Extraterrestrial, and It Stains the Sands Red—strips human conflict down to basics in this survival-horror exercise. Hannah Emily Anderson and Brittany Allen star as a married couple celebrating their first anniversary at a remote lake house, but a chance encounter triggers a series of events, culminating in a devastating betrayal. Minihan doesn’t develop the narrative as thoroughly as I would have liked—took me far too long to suss out a couple of major clues, so maybe it’s just me—but he makes the most of his beautiful remote locations, and Anderson and Allen both deliver strong performances. You like your horror intense? Here’s your movie.