Tag: Andrew Buckner

The 15 Best Short Films of 2024 (So Far)

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By Andrew Buckner 

*Please note that the inclusion of the short films on this list is based on the criteria of an official 2024 release date.

15. “Laundry Man”

Director: Laura A. Garcia

14. “Do You See What I See?”

Director: Vance Malcom Osteen

13. “Late Sleeper”

Director: Peter Morris Hardy

12. “Operation”

Director: Bailey McDonald

11. “She”

Director: Jesse Lowell Anholt 

10. “Eve Valentine” 

Director: Dean Midas

9. “Bonding”

Director: Luke Rex

8: “Strange Creatures”

Director: Nicholas Payne Santos

7. “Dream Skin Mask”

Director: Lindsay Nell Stidham

6. “Daughters of Evil”

Directors: Adam Taylor, Natasha Malone

5. “Static Cling”

Director: Steve Lifshey

4. “Poppy’s Saturn”

Director: Nicole Tegelaar

3. “You’re Dirty Now”

 Director: Christine Celozzi

2. “The House My Mother Left” 

Director: Kaylin Rizer Allshouse

1. “I’m Here Too”

Director: Gino Maria Pennacchio

ANDREW BUCKNER’S 50 FAVORITE FEATURE FILMS OF 2024 (SO FAR)

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By Andrew Buckner

*Please note that the inclusion of the feature films on this list is based upon the criteria of an official release date of 2024 in the United States.*

50. Wildcat

Director: Ethan Hawke

49. Out of Darkness 

Director: Andrew Cumming

48. The Beekeeper 

Director: David Ayer

47. You’ll Never Find Me

Directors: Josiah Allen, Indianna Bell

46. Stopmotion

Director: Robert Morgan

45. Abigail 

Directors: Matt Bettinelli-Olpin, Tyler Gillett

44. Irena’s Vow

Director: Louise Archambault

43. Gasoline Rainbow 

Directors: Bill Ross IV, Turner Ross 

42. Wicked Little Letters

Director: Thea Sharrock

41. The Taste of Things

Director: Tran Anh Hung

40. Infested

Director: Sebastien Vanicek

39. A Most Atrocious Thing

Directors: Christian Hurley, Ben Oliphint

38. Frogman

Director: Anthony Cousins

37. Land of Bad

Director: William Eubank

36. Bloodline Killer

Director: Ante Novakovic

35. In a Violent Nature

Director: Chris Nash

34. Freud’s Last Session

Director: Matthew Brown

33. Do Not Expect Too Much from the End of the World

Director: Radu Jude

32. Sting

Director: Kiah Roache-Turner

31. Kim’s Video

Directors: David Redmon, Ashley Sabin

30. Hundreds of Beavers

Director: Mike Cheslik

29. Challengers

Director: Luca Guadagnino

28. Drive-Away Dolls

Director: Ethan Coen

27. Lisa Frankenstein

Director: Zelda Williams

26. Spaceman

Director: Johan Renck

25. Ordinary Angels

Director: Jon Gunn

24. I Saw the TV Glow

Director: Jane Schoenbrun

23. The Greatest Night in Pop

Director: Bao Nguyen

22. The Book of Clarence

Director: Jeymes Samuel

21. Mars Express 

Director: Jeremie Perin

20. Power

Director: Yance Ford

19. One Life

Director: James Hawes

18. lo Capitano

Director: Matteo Garrone

17. Perfect Days

Director: Wim Wenders

16. God & Country

Director: Dan Partland

15. The First Omen

Director: Arkasha Stevenson

14. The Peasants

Directors: D.K. Welchman, Hugh Welchman

13. Monkey Man

Director: Dev Patel

12. Furiosa: A Mad Max Saga

Director: George Miller

11. Kingdom of the Planet of the Apes

Director: Wes Ball

10. Civil War

Director: Alex Garland

9. Protanopia

Director: Matthew Mahler

8. Sasquatch Sunset

Directors: David Zellner, Nathan Zellner

7. Love Lies Bleeding

Director: Rose Glass

6. Late Night with the Devil

Directors: Cameron Cairnes, Colin Carnes

5. Dario Argento Panico

Director: Simone Scafidi

4. Cabrini 

Director: Alejandro Gomez Monteverde

3. Origin

Director: Ava DuVernay

2. Ennio

Director: Giuseppe Tornatore

1. Ghostbusters: Frozen Empire 

Director: Gil Kenan

Runners-up:

Bob Marley: One Love

Director: Reinaldo Marcus Green

Dune: Part Two

Director: Denis Villeneuve

The Fall Guy

Director: David Leitch

Godzilla x Kong: The New Empire

Director: Adam Wingard

If

Director: John Krasinski

Mean Girls

Directors: Samantha Jayne, Arturo Perez, Jr.

Slay

Director: Jem Garrard

The 10 Best Books of 2024 (So Far)

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By Andrew Buckner

*Please note that the inclusion of all the books on this list are based on the criteria of an original publication date in the first half of 2024.*

10. Camino Ghosts

By John Grisham

9. Extinction

by Douglas Preston 

8. Cringerotica

by Soli

7. Only Animals

by Chelsea Sutton

6. Melancholy Arcadia

by John Compton

5. Be a Revolution: How Everyday People Are Fighting Oppression and Changing the World– and How You Can, Too

by Ijeoma Oluo

4. Words Left Unspoken

by J. A. McGovern

3. Black Caesars and Foxy Cleopatras: A History of Blaxploitation Cinema

by Oldie Henderson

2. You Like it Darker: Stories

by Stephen King

1. Sociopath: A Memoir

by Patrick Gagne

Runner-up:

The Angel of Indian Lake

by Stephen Graham Jones

The Bad Weather Friend

by Dean Koontz

Protanopia (2024) – (Movie Review)

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By Andrew Buckner

Rating: ***** out of *****.

Protanopia (2024), the debut feature from writer-director-co-star Matthew Mahler, is a 73-minute masterwork of surreal, experimental horror. Opening with a quote from Leviticus 14:37-38 concerning the cleansing of a leprous house, the symbolism of which gives the following narrative even more of a potent punch, the picture immediately creates a sense of urgent unease. This is with its agile exploitation of noise distortion, creepy commencing credits, and various other unsettling elements. All of these components are incorporated within the first five minutes of the production. 

The use of a bright, bold red in these previously stated sections, as well as throughout the totality of the undertaking, cleverly and powerfully reflect the meaning of the title word (an inability to discern the aforementioned crimson color). It also becomes a glorious beacon for the incredibly memorable and haunting imagery utilized to chilling effect in Mahler’s offering. Most impressively, the piece never loses its natural ability to evoke a dread-infused atmosphere, to surprise, or to astonish from an artistic angle with its many stylish flourishes. This is once Mahler settles down to tell his tale after these striking early segments. 

Mahler’s plot involves a man, Luke (in an excellent portrayal from Anthony Carey), falling prey to bizarre dreams of an unfamiliar house once his sister, Mallory (in a wonderfully gripping depiction from James Chase), goes missing. What Luke is unaware of is that the strangely behaved Alan Roscoe, Jr. (in an ever-captivating turn from Timothy J. Cox, which ranks as one of the foremost performances from the always reliable actor) has just inherited the home after the recent passing of his father, Alan Roscoe, Sr. (in an eerie and endlessly watchable representation from John Mahler). Luke and Roscoe, Jr. will soon find their paths crossing. This is as Luke’s nightmares seem to bleed out into the open-eyed reality of his waking days. 

Concluding with a skillfully underplayed, but nonetheless impactful, finale, the meticulously paced project is a smartly written and deftly directed addition to Mahler’s filmography. It’s filled with contemplative yet organic dialogue and situations. Still, some of the avant-garde ingredients, such as the strobing lights and slow-motion shots, become less engaging the more often they are applied. This is especially true in the second half of the outing. Yet, the endeavor never loses its hypnotic, vice-like spell on its audience. Moreover, the inclusion of such frequently employed constituents as the poetic, ominous voice-over from Mahler, which contain the initial bits of speech heard in the enterprise, are perpetually operative.

Much of the visual strength of the article comes from Mahler’s evocative cinematography. The color palette chosen for the photoplay alternates between foggy gray and a plethora of far more vibrant shades. All of which marvelously fit the sharply honed ambiance of the proceedings. It also gives the presentation the look of both a giallo by Dario Argento and a prototypical 1970’s grindhouse flick. Furthermore, Mahler’s implementation of appropriately moody music, proficient editing, and his stellar illustration of Jack continually enhance the quality of the fabrication. 

Correspondingly, the entire cast is first rate. Paula and Barbara Mahler are terrific as Janice and Gladys, respectively. Ross Mahler is outstanding as Jim. Andrea Norell fares just as well as Vanessa. John Heerlein’s rendering of Detective is spellbinding. 

Protonapia is daring and ambitious yet credible and grounded. It also demonstrates sufficiently developed yet enigmatic enough to be intriguing characters. Its themes of service, ritual, and routine are quickly established. From herein, they are woven to dramatic, bloodcurdling, relatable, and all around superb consequence. 

Boosted by a remarkable exhibition of sound from Nick Bavaro and Carey, the Ronkonkoma, New York-filmed, $2,000-budgeted exercise is an intense, imaginative, and finely crafted venture. It is one that should prove inspiring to aspiring filmmakers and cinephiles alike. Mahler’s latest proudly stands alongside Cameron and Colin Cairnes’ brilliant Late Night with the Devil (2024) as a top-tier genre effort. It is also one of the ten best movies of the year so far.

The 105 Best Feature Films of 2023

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By Andrew Buckner

*All of the feature films included herein are done so based on the criteria of an official theatrical or premiere streaming release date in the U.S.A. of 2023.*

105. Onyx the Fortuitous and the Talisman of Souls

Director: Andrew Bowser

104. The Boys in the Boat

Director: George Clooney

103. The Inventor

Director: Jim Capobianco

102. Milli Vanilli

Director: Luke Korem

101. American Symphony

Director: Matthew Heineman

100. May December

Director: Todd Haynes

99. Dream Scenario

Director: Kristoffer Borgli

98. Silent Night

Director: John Woo

97. Sly

Director: Thom Zimny

96. Shelter in Solitude

Director: Vibeke Musaya

95. Rub

Director: Christopher Fox

94. Candy Land

Director: John Swab

93. Bloodthirst

Director: Michael Su

92. Resurrected

Director: Egor Baranov

91. Brooklyn 45

Director: Ted Geoghegan

90. Good Boy

Director: Viljar Boe

89. The Devil on Trial 

Director: Chris Holt

88. Unwelcome

Director: Jon Wright

87. Ferrari

Director: Michael Mann

86. Thanksgiving

Director: Eli Roth

85. Unicorn Wars

Director: Alberto Vazquez

84. John Wick: Chapter 4

Director: Chad Stahelski

83. Sharksploitation

Director: Stephen Scarlata

82. Dicks: The Musical

Director: Larry Charles

81. Living

Director: Oliver Hermanus

80. Sakra

Directors: Kai-Wai Kam, Donnie Yen 

79. Slotherhouse

Director: Matthew Goodhue

78. Blackberry

Director: Matt Johnson

77. Godzilla Minus One

Director: Takashi Yamazaki

76. King on Screen

Director: Daphne Baiwir

75. Totally Killer

Director: Nahnatchka Khan

74. Suitable Flesh

Director: Joe Lynch

73. Shin Kamen Rider

Director: Hideaki Anno

72. Huesera: The Bone Woman

Director: Michelle Garza Cervera

71. The Angry Black Girl and Her Monster

Director: Bomani J. Story

70. Aristotle and Dante Discover the Secrets of the Universe

Director: Aitch Alberto

69. V/H/S/85

Directors: David Bruckner, Scott Derrickson, Natasha Kermani, Mike P. Nelson, Gigi Saul Guerrero

68. Air

Director: Ben Affleck

67. A Man Called Otto

Director: Marc Forster

66. Inside

Director: Vasilis Katsoupis

65. Bottoms

Director: Emma Seligman

64. A Haunting in Venice

Director: Kenneth Branagh

63. Beneath Us All

Director: Harley Wallen

62. One Bullet to Bedlam

Director: Eric Hand

61. Pinball: The Man Who Changed the Game

Directors: Austin Bragg, Meredith Bragg

60. Infinity Pool

Director: Brandon Cronenberg

59. The Last Voyage of the Demeter

Director: Andre Ovredal

58. Birth/ Rebirth

Director: Laura Moss

57. No One Will Save You

Director: Brian Duffield

56. When Evil Lurks

Director: Demian Rugna

55. Mission Impossible – Dead Reckoning, Part 1

Director: Christopher McQuarrie

54. Shin Ultraman 

Director: Shinji Higuchi

53. Hell House LLC. Origins: The Carmichael Manor

Director: Stephen Cognetti 

52. Horror in the High Desert 2: Minerva

Director: Dutch Marich

51. Saw X

Director: Kevin Greutert

50. Back to the Drive-in

Director: April Wright

49. Saltburn

Directors: Emerald Fennell

48. Hollywood Dreams & Nightmares: The Robert Englund Story

Directors: Christopher Griffiths, Gary Smart

47. Napoleon

Director: Ridley Scott 

46. Barbie

Director: Greta Gerwig

45. The Killer

Director: David Fincher

44. Priscilla

Director: Sofia Coppola

43. Chevalier

Director: Stephen Williams

42. Wham!

Director: Chris Smith

41. Past Lives

Director: Celine Song

40. Still: A Michael J. Fox Movie

Director: Davis Guggenheim

39. Sam Now

Director: Reed Harkness

38. Sanctuary

Director: Zachary Wigon

37. Smoking Causes Coughing

Director: Quentin Dupieux

36. The Blackening 

Director: Tim Story

35. The Raker House

Director: John Covert

34. The Quiet Girl

Director: Colm Bairead

33. Suzume

Director: Makoto Shinkai

32. Evil Dead Rise

Director: Lee Cronin

31. EO

Director: Jerzy Skolimowski

30. Malum

Director: Anthony DiBlasi

29. Lola

Director: Andrew Legge

28. Polite Society

Director: Nida Manzoor

27. Asteroid City

Director: Wes Anderson

26. A Thousand and One

Director: A. V. Rockwell

25. El Conde

Director: Pablo Larrain

24. Are You There God? It’s Me, Margaret.

Director: Kelly Fremon Craig

23. The Caine Mutiny Court-Martial

Director: William Friedkin 

22. The Outwaters

Director: Robbie Banfitch

21. Sisu

Director: Jalmari Helander

20. Enys Men

Director: Mark Jenkin

19. Skinamarink 

Director: Kyle Edward Ball

18. Living With Chucky

Director: Kyra Elise Gardner 

17. Toga

Director: Shaun Rose

16. The Color Purple

Director: Blitz Bazawule

15. Divinity

Director: Eddie Alcazar

14. The Boy and the Heron

Director: Hayao Mayazaki

13. The Wheel of Heaven

Director: Joe Badon

12. The Eternal Memory

Director: Maite Alberdi

11. Anatomy of a Fall

Director: Justine Triet

10. Filmmakers for the Prosecution

Director: Jean-Christophe Klotz

9. Gods of Mexico 

Director: Helmut Dosantos 

8. A House Made of Splinters

Director: Simon Lereng Wilmont 

7. All the Beauty and the Bloodshed

Director: Laura Poitras

6. The Holdovers

Director: Alexander Payne

5. Beau is Afraid 

Director: Ari Aster

4. Killers of the Flower Moon

Director: Martin Scorsese

3. Holy Spider

Director: Ali Abbasi

2. Oppenheimer

Director: Christopher Nolan

1. Poor Things

Director: Yorgos Lanthimos

Runners-up:

Cocaine Bear

Director: Elizabeth Banks

The Conference

Director: Patrik Eklund

The Creator

Director: Gareth Edwards

A Good Person

Director: Zach Braff

Guy Ritchie’s The Covenant

Director: Guy Ritchie

Influencer

Director: Kurtis David Harder

The Iron Claw

Director: Sean Durkin

Knock at the Cabin

Director: M. Night Shyamalan

Leave the World Behind

Director: Sam Esmail

Maestro

Director: Bradley Cooper

M3GAN

Director: Gerard Johnstone

Missing 

Directors: Nicholas D. Johnson, Will Merrick

Of an Age

Director: Goran Stolevski

Paint

Director: Brit McAdams

R.L. Stine’s Zombie Town

Director: Peter Lepeniotis

Sister Death

Director: Paco Plaza

Teenage Mutant Ninja Turtles: Mutant Mayhem

Directors: Jeff Rowe, Kyler Spears

They Cloned Tyrone

Director: Juel Taylor

Wonka

Director: Paul King

The 25 Best Books of 2023

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By Andrew Buckner

*The inclusion of the books in this list are done so based on the criteria of an original publication date of 2023.*

25. Ghost Riders in the Sky and Other Lines

by Laughton J. Collins, Jr.

24. Don’t Fear the Reaper

by Stephen Graham Jones

23. Holly 

by Stephen King

22. Dead Mountain: A Nora Kelly Novel

by Douglas Preston, Lincoln Child

21. Making Nothing at the Age of 20

by Rolfe Kanefsky

20. The House at the End of the World

by Dean Koontz

19. The Lost Tomb: And Other Real-Life Stories of Bones, Burials, and Murder

by Douglas Preston

18. 40 Cult Movies: From Alice, Sweet Alice to Zombies of Mora Tau

by Jon Towlson

17. The Beast You Are: Stories

by Paul G. Tremblay

16. Mothered

by Zoje Stage

15. The Shards

by Bret Easton Ellis

14. The Donut Legion 

by Joe R. Lansdale

13. Feast

by Ina Carino

12. All That’s Grotesque & Fancy Like 

by Jennifer J. Prescott

11. Doppelganger: A Trip into the Mirror World

by Naomi Klein

10. Determined: A Science of Life Without Free Will

by Robert M. Sapolsky

9. Not Forever, But For Now 

by Chuck Palahniuk

8. Looking Glass Sound

by Catriona Ward

7. Becoming the Boogeyman

by Richard Chizmar

6. How to Sell a Haunted House

by Grady Hendrix

5. Still Life at Eighty: The Next Interesting Thing

by Abigail Thomas

4. 50 Movies Made: Lessons Learned on a Filmmaker’s Journey

by Jared Cohn

3. The Creative Act: A Way of Being

by Rick Rubin 

2. Poverty, by America

by Matthew Desmond 

1. The Curse of the Marquis de Sade: A Notorious Scoundrel, a Mythical Manuscript, and the Biggest Scandal in Literary History 

by Joel Warner

Runner-up:

After Death

by Dean Koontz

Bridge

by Lauren Beukes

The Only One Left: A Novel

by Riley Sager

The 35 Best Albums/ EPs of 2023

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By Andrew Buckner

*The inclusion of the albums/ EPs on this list are done so based on the criteria of an original release date of 2023. *

35. Faith is a Rock

by MIKE, Wiki, The Alchemist

34. Tortures of the Damned

by Mr. Hyde

33. The Aux

by Blockhead

32. Integrated Tech Solutions

by Aesop Rock

31. Some Like it Hot (EP)

by Wynne

30. JFKLAX (EP)

by Kxng Crooked, Joell Ortiz

29. Blood on Da X

by Onyx

28. Tech N9ne Presents: NNUTTHOWZE – Signaling the Siqly (EP)

by Tech N9ne, Zkeircrow, and Phlaque

27. Michael

by Killer Mike

26. To What End

by Oddisee

25. MellowLOvation Music

by Rittz

24. College Park

by Logic

23. The Patience

by Mick Jenkins 

22. Dear California (EP)

by Crooked I

21. HGG2

by Bizarre, Foul Mouth

20. Won’t He Do It!

by Conway the Machine

19. And Then You Pray for Me

by Westside Gunn

18. So Many Realities Exist Simultaneously

by Atmosphere

17. Bliss

by Tech N9ne

16. Magic 2

by Nas

15. To See a Sunset

by Kotah the Friend, Statik Selektah 

14. In the Beginning (Vol. 3)

by Madlib, Declaime 

13. Anthology II (Movie Themes 1976-1988)

by John Carpenter

12. Round Trip

by Statik Selektah

11. Sardines

by Apollo Brown, Planet Asia

10. Period.

by Paradime

9. The Mind of a Saint

by Skyzoo

8. Maps

by Billy Woods, Kenny Segal 

7. Goon Mode

by Snowgoons, Lingo, Ayok

6. God’s Carpenter

by Chino XL, Stu Bangas

5. Liberation 2

by Talib Kweli, Madlib

4. Vedic Vape Room

by Killah Priest

3. Glorious Game

by Black Thought, El Michels Affair

2. Magic 3

by Nas

1. New Blue Sun

by Andre 3000

Runners-up:

Blockbusta

by Busta Rhymes

The Curse of the Inevitable III: Pieces of My Pain

by Lloyd Banks

Flying High, Pt. 2

by The Alchemist

A Gradual Decline in Morality

by Kim Dracula

Halloween Havoc IV: The 72nd Hr

by Lloyd Banks

Illdren

by King Iso

18159 Stout

by Bizarre

The Spoken Word

by Jason Henderson

Voir Dire

by Earl Sweatshirt, The Alchemist

World Take Over

by Onyx

“Soul Mates” (2023) – (Short Film Review)

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By Andrew Buckner

Rating: ***** out of *****.

“Soul Mates” (2023), from director Michelle Tomlinson and screenwriter and co-star Jim Sea, is a gentle, honest, clear-eyed contemplation of the undying nature of love. The 12-minute short drama is an intimate character study that admirably takes a remarkably grounded approach to the ambitious concept at its core. Such a notion, which is briefly discussed early on but only fully showcased in an uplifting and touching manner that doesn’t defy the credible and sensitive nature of the piece in its extended concluding sequence, is as thought-provoking as it is heartwarming. Keeping in mind the perfect symmetry of strong, straightforward storytelling, sharply developed leads, and the underlying emotional intensity resonating from every frame of this exercise, such a climactic bit makes this compact four-course cinematic meal evermore brilliant.

The narrative revolves around Sean and Abby (Sea and Kristine Isom, respectively).  After Sean imparts the news of a fatal sickness he just received upon Abby that only gives him six months to live, the couple decide to catch up on all the places they wanted to visit and things they have wanted to do in this lifetime. Before making these long standing dreams a reality, Sean and Abby have a conversation. It is one which presents a chance for eternal happiness amid Sean’s recent heartbreaking diagnosis. When Nigel and Poppy (Josh Horton and Sydney Carvill) meet one another in the climactic stretches of the outing and an all-too-familiar discourse blooms among the duo, Sean and Abby’s conviction in trying times is reaffirmed. 

From this powerful springboard, the undertaking heightens its impact with a small, but well chosen, cast. All of whom memorably deliver in their individual roles. Chief among these presentations are the turns from Sea and Isom. They are as genuine, candid, and relatable as they are vulnerable. The energetic portrayals from Horton and Carvill, along with Ian A. Hudson as Jaime, are just as finely tuned. The often fleeting, knowing, and occasionally cryptic dialogue Sea offers these fictional entities, like the intelligent and superbly crafted script itself, is so impressively delivered that it further elevates the already high quality of these depictions.

Moreover, the overall guidance of the endeavor from Tomlinson is terrific. There are enough flashes of style for the composition to be both commendable and visually striking. Still, these elements don’t intrude upon the most pivotal aspect of the attempt: the tale itself. In particular, the deeply human personas who populate the confidently paced effort. 

Adding to the technical mastery found within Tomlinson’s latest configuration is the dazzling cinematography from Orlando Skidmore. Continually, the editing from Tom Ragan is just as noteworthy. The production design from Carma Harvey, set decoration from Jacqueline Harvey, makeup, sound, and visual effects are all top-notch. This can also be said of the soul-stirring music from Jason Wolf. Wolf’s sonic implementations splendidly punctuate the sentimental beats of the creation to phenomenal effect.  

Though the inclusion of Sean’s ailment to set forward the oft-utilized ticking clock motif is an overdone plot device, “Soul Mates” remains an invigorating, challenging, and endlessly engrossing configuration. Boosted by tried-and-true themes that are simultaneously timely and timeless, the venture plays beautifully upon the harp strings of the spirit. This is without ever manipulating it for its own gain. Quietly symbolic and philosophical, mature, and immersive, Tomlinson’s construction is one of the best films of its type this year.

“Bloodthirst” – (Movie Review)

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By Andrew Buckner

Rating: **** out of *****.

Bloodthirst (2023), from director Michael Su and screenwriter Adrian Milnes (from a story by Massimiliano Cerchi), is an immensely entertaining, 88-minute mix of blood-drenched vampire tale, Mad Max (1979)-style post-apocalyptic action picture, and old-fashioned western yarn. It gleefully utilizes these categorical elements, which have been woven together on various occasions beforehand, into a briskly paced endeavor. It is one which rarely lets up in terms of its 1980’s grindhouse-influenced brand of brutally fun excitement. This is while sharply developing its central figures. In so doing, audiences are immersed into the lives of both the on-screen protagonists and antagonists, which prove relatable, engaging, and easy to root for in all arenas. It’s this impressive blend of compelling leads and situations which assist Su’s latest configuration in becoming so immersive and effortlessly enjoyable. I just wish the themes were richer and the plotline wasn’t so familiar and routinely structured.

The narrative revolves around John Shepard (in a bravura performance from Costas Mandylor that plays like a unique spin on Clint Eastwood’s pairing with director Sergio Leone in 1964-1966’s Dollars Trilogy). He is a vampire hunter who is tasked with a seemingly impossible errand. Shepard must find and kill the Vampire Queen (in a fantastic enactment by Tara Reid, who is clearly relishing her role). Led by the Vampire Master (in a commanding turn from Robert LaSardo), a coven of these immortal fiends begin terrorizing and transforming the locals into an undead brood. With the lives of these citizens at stake, Shepard must think and act as quickly as possible to complete his assignment.

Bookended by an appropriately thrilling opening and closing fifteen minutes, Bloodthirst also offers standout depictions from Elissa Dowling and Sarah French as Elena and Brooke Thompson, respectively. Bishop Stevens is just as memorable as Torque. What is just as noteworthy is that, despite a larger than usual cast (all of whom are terrific in their corresponding representations), the feature is equal doses intimate and ambitious. The sparse yet imaginative use of locations, efficient runtime (with not an excess scene in sight), and deft editing also helps matters.

Though the dialogue is at times difficult to discern, the venture is still competent in this field. Said speech is consistently natural and ominous in both sound and delivery. Additionally, these interchanges recall to grand consequence the most endearing traits of the previously-stated sub-genres from which they derive motivation. The commencing narration is where such an observation is most readily apparent. These virtuoso facets are complimentary of both the high-caliber on-screen portrayals as much as they are Milnes’ gripping, smartly penned script.

Moreover, the makeup and special effects, particularly the gore, are never overdone. They impeccably suit the intended tone of the exercise. This is also true of the skillful, focused, and captivating orchestration and breathtaking cinematography from Su. His output in these individual departments makes the simultaneously brooding and classically diverting atmosphere of the undertaking evermore proficient. The grounded yet stirring sequences of combat and gothic horror are where these attributes are most evident. 

From Mahal Empire Productions, Bloodthirst stands alongside Andre Ovredal’s brilliant, well-mounted adaptation of the seventh chapter of Bram Stoker’s Dracula (1897), The Last Voyage of the Demeter (2023), and Harley Wallen’s thoughtful and character-driven Beneath Us All (2023) as a triumphant example of the lingering power of the cinematic vampire saga. Guided by tense and emotive music from Scott Glasgow, Su’s composition, like Ovredal and Wallen’s above-stated work, is considerate of time-tested genre idiosyncrasies. This is while feeling wholly fresh and new.  Like Su did with recent outings such as the exhilarating, pleasantly straightforward zombie opus Bridge of the Doomed (2022) and Death Count (2022), which was inspired by Saw (2004), he delivers exactly what spectators demand from his movies. Because of this, Su frequently provides engrossing, endlessly rewatchable material. Bloodthirst is no exception. 

Beneath Us All – (Movie Review)

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By Andrew Buckner

Rating: ****½ out of *****.

Beneath Us All (2023), from director/co-star Harley Wallen and screenwriter Bret Miller, is another tremendous showcase of Wallen’s transcendent knack for relatable, smartly character-oriented, and topically relevant horror pictures. It operates just as successfully as an effective exercise in classic genre situations and atmosphere. Wallen’s latest development is also noteworthy for its ambition. Such a trait is instantly perceptible from the tense, compelling, Scandinavia 912 AD set opening sequence, which is nearly five minutes in length. 

This bit immediately draws attention from its viewers with its rich, beautiful, earthy cinematography by Alex Gasparetto. It erects supplemental inquisitiveness with its gripping and ominous melodies, Viking songs, and in its era-appropriate dialogue. The violent scenario that unravels in this commencing passage sets the engrossing, if occasionally predictable, plot on its course in stalwart fashion. Wallen’s fabrication also ends in a similarly strong, surprising manner. It is one that is, like everything that came beforehand in the venture, commendable for its grounded, organic, quietly menacing, and consistently well-made nature. In this sense, the smoothly paced 91-minute undertaking stands alongside the likes of Andre Ovredal’s recent adaptation of the seventh chapter of Bram Stoker’s novel Dracula (1897), The Last Voyage of the Demeter (2023), as an example of the lingering power of both the prototypical, hair-raising vampire chronicle and of patient, confident, foreboding storytelling in modern cinema.


Advantageously carrying on Wallen’s recurring theme of dysfunctional families, Beneath Us All weaves a versatile tale of metamorphosis. It primarily concerns Julie (in a spellbinding turn from Angelina Danielle Cama), who is on the verge of her eighteenth birthday. She is in a constant state of fear and loathing towards her abusive foster father, Todd Gibbs (in a captivating depiction from Sean Whalen that is equal doses uncomfortable, absorbing, and authentic). While trudging through the woods one day, Julie unearths an ancient beast, Frey (in a sinister, mesmerizing rendering from Yan Birch). Despite Todd’s warnings to not bring outsiders in the house with her, Julie allows Frey to hide within the Gibbs’ property. As Frey begins to mentally manipulate Julie and his nightly feedings transform into rumors of assaults from local critters, an opportunity unfolds for Julie to gain control over Todd in a way the cruel man would never expect. 

This engaging narrative foundation is made ever-sturdier by an exceptional enactment from Maria Olsen as Julia’s foster mother, Janelle Gibbs. Correspondingly, Wallen is a commanding presence as Detective Donovan Booker. Julie’s younger foster siblings, Stephen (Malachi Myles), Erica (Emilia Wallen), and Sarah (Hanna Wallen), are all superbly portrayed. A subplot involving a social worker named Rebecca (Kaiti Wallen) is another illustration of the magnificent performances unveiled in the enterprise. The inclusion of this element also attaches auxiliary depth and dimension to the dramatic aspects of the outing. Additionally, the segments of raw terror, especially in the fog-laden second half of the endeavor, are top-notch. They call to mind the immersive gothic horror of Hammer Film Productions from both the 1960’s and the 1970’s. Namely, Terence Fisher’s brilliant Dracula: Prince of Darkness (1966) and Alan Gibson’s outstanding The Satanic Rites of Dracula (1973). 


Skillfully guided by Wallen, the project is deftly penned by Miller. The script, though routinely structured, utilizes enthralling, sharply developed lead personas, believable interchanges, and an admirable balance of sensitivity and shock. All of this is heightened immeasurably by the all-around stupendous music from Firoze and Kaizad Patel. Moreover, the editing from Johnny Flynn is seamless. The makeup, cleverly and sparsely used effects, and costume design all help craft a technically muscular backbone to this already Herculean construction.

Ultimately, Beneath Us All is as spectacular as Wallen’s previous features Ash and Bone (2022) and The Devil’s Left Hand (2023). It’s efficient in runtime and haunting despite its familiar touches. The thoughtful yet unnerving work is further proof of why Wallen is such a terrific filmmaker. Low on gore but high on enigmatic trepidation, Wallen’s excursion is a marvelously realized lesson in the tried-and-true theory that what remains understated, especially when spied through an unflinchingly human lens, is often the most dynamic in the realms of visual apprehension. With Beneath Us All, Wallen has once again unleashed one of the best movies of its type this year.