Review by Sean Boelman

The “killer clothing” subgenre of horror is rapidly growing, and honestly, there’s no reason to complain. Elza Kephart’s wicked horror-comedy Slaxx is both a darkly hilarious satire of consumerist society and a gnarly slasher flick, making it an all-around satisfying late-night genre treat.

The film follows the staff of a trendy clothing store who are locked in overnight in preparation for a massive sale, soon discovering that one of their hot ticket items is a possessed pair of jeans with a thirst for blood. On paper, this premise sounds absolutely ridiculous, and to an extent, it is in execution as well, but the world that Kephart and co-writer Patricia Gomez build is so tongue-in-cheek that it works.

It is clear from the opening moments of the movie that Kephart and Gomez have set their eyes on the hypocrisy of giant corporations as the target of their satire. Ultimately, a few of the twists end up being somewhat predictable because it’s obvious where they are heading with their “Big Business is evil” commentary, but the script comes from such a place of sincerity that it is refreshing nonetheless.

The film isn’t very long, and that definitely works in its favor. Once the mayhem begins, it keeps going, and there’s never a point in which the movie slows its roll. The laughs start early and come frequently, and the kill scenes are both shockingly brutal and impressively creative. It achieves that right balance between scares and humor to be a great horror-comedy.

And while the film may be a B-movie at heart, Kephart does a lot of interesting things with the visuals. The effects that were used for the kills are excellent. Copious amounts of blood and gore cement its campiness. And the use of spatial geography is strong as well, making the confined setting feel a lot more expansive than it actually is.

If the movie does come up short in one area, that is its character development, although the shallow nature of the characters is almost fitting. In a film that is all about superficiality, it makes sense that all of the characters are archetypes. Even the protagonist, a plucky virgin (in this case a new hire in the world of retail) is part of this material world.

The cast really gives it their all, though, giving performances that are gloriously hammy. Brett Donahue is probably the biggest standout as the flustered manager trying to keep everything under control, nailing the artificial smile that rules the service industry. Also great are Romaine Denis and Sehar Bhojani, who nail it as the heroes.

Slaxx revels in its absurdity, making it one of the most enjoyably zany horror-comedies of the year. Insightful despite its unabashed wackiness, this is a cult classic in the making and will certainly be a favorite of genre fans for years to come.

Slaxx screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which runs August 20-September 2. 

Rating: 4.5/5

Review by Sean Boelman

Most horror flicks that attempt to be an exercise in style-over-substance end up falling short, but that is not the case with Brian Bertino’s newest film The Dark and the Wicked. While it does leave a bit to be desired in a narrative sense, it contains some truly horrific imagery that could very well haunt viewers’ nightmares.

The movie follows a family who finds themselves tormented by an evil force as they mourn their dying father. In terms of the plot, it’s a very simple film that is really little more than a good old haunted house story. But the dark imagination which Bertino brings to these supernatural tropes creates a truly terrifying result.

If the movie does suffer from one thing, it is a lack of subtlety. In films that don’t have a strong plot, one expects there at least to be some thought-provoking content to draw things together. And while Bertino’s script does explore some ideas about grief and guilt, it’s often far too direct to be particularly profound.

That said, these themes do provide a necessary foundation for the characterization. It’s easy to get wrapped up in this family’s woes as their world is torn apart by supernatural and psychological powers. Although the family dynamic definitely could have been more prominent, the anxieties of each of the characters on an individual level are clearly sympathetic.

Marin Ireland gives an excellent performance in her leading role. In the past, she’s proven herself to be a really valuable supporting player, but it is evident from this that she has the ability to carry a movie. The rest of the cast is good too, but more often than not, this is Ireland’s show, and she earns that spotlight.

Viewers familiar with the genre will definitely be caught off-guard by the film’s aggressive pacing. This isn’t some slow burn psychological horror. The moments of brutality are short but intense, and there is this mounting anxiety of trying to figure out what is going to come next. Bertino doesn’t leave room for the audience to breathe, much less relax.

This movie wouldn’t be what it is without its disturbing imagery. And while Bertino is essentially using gore as a crutch, it’s so gnarly that it will elicit a guttural reaction. This is the type of film that, if it were to play to a full crowd, it wouldn’t be surprising to hear screams and gasps throughout… but it will be just as creepy at home alone.

Bryan Bertino’s The Dark and the Wicked is definitely flawed, but for those looking for a well-made and suspenseful horror flick, this is exactly what will satisfy that itch. It’s not often that a movie comes along that is this legitimately scary.

The Dark and the Wicked screened as a part of the virtual edition of the 2020 Fantasia Film Festival, which runs August 20-September 2. An encore screening (geoblocked to Canada) occurs on August 26 at 5pm.

Rating: 3.5/5

Review by Camden Ferrell

I Hate New York is a documentary from Gustavo Sánchez. The film had its premiere in 2018 at the Málaga Film Festival and has played other festivals since then. This film is also the directorial debut of Sánchez. The subject of this documentary is engaging and essential, but the film suffers from a lack of organization that muddles its message heavily.
 
This film focuses heavily on the underground scene of New York City, and it tells the story of four transgender artists and activists. The film is a result of ten years’ worth of footage shot by Sánchez of his four subjects and their roles in NYC’s underground scene. This is a fascinating subject for a documentary, and with ten years of footage, there is plenty of material that would have been amazing to see. However, the film doesn’t know how to always capitalize on the subjects’ captivating personalities.
 
Sánchez tells the story of four activists, and it’s very clear that he has his own artistic vision for the film. There are some visual quirks and directorial choices that are quite unique, but it is often misplaced and creates some lulls in the film or distracts from other aspects of the film.
 
The subjects themselves are very fascinating, and they are the best part of the movie. Amanda Lepore, Chloe Dzubilo, Sophia Lamar, and T De Long are all very talented women that deserve to have their stories told. They are models, singers, rappers, and so much more, and it’s really interesting to hear these charismatic artists talk about themselves and how they fit into the underground scene in New York.

The music in this movie is also pretty decent. What the movie lacks in coherence, it almost makes up for it with its great needle drops and really jam-packed soundtrack. While the music is just there to supplement the material, it is easily one of the best parts of this documentary.
 
The main problem with the film is with how it doesn’t organize the subjects in the most coherent way. It jumps around a lot with its subjects and themes, and it all gets muddled in the madness, and it undermines the emotional power and energy that these stories have. It just seems there was a lack of essential foundation in this documentary which ultimately is its downfall.
 
Despite its flaws, the film does highlight some highly essential stories that speak volumes about the trans community. Even if it isn’t the most captivating film, these are four fantastic activists who deserve to tell their stories because they’re important for this exact moment in time.
 
I Hate New York isn’t the riveting exploration of trans activists in New York’s underground that it could have been. Even with fascinating subjects and great music, a lack of structure prevents this movie from finding sure footing as it aims to tell these stories.
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I Hate New York is available on VOD September 1.
 
Rating: 2.5/5

Review by Sean Boelman

One would be hard-pressed to find a celebrity death that affected such a wide range of generations as that of Robin Williams, who was (and still is) an icon for fans young and old. Offering a different side to the story of the time leading up to the actor’s passing, the documentary Robin’s Wish hopes that it will help people so that they don’t have to suffer in the same way.

In the film, people who knew and were close to Robin Williams reflect on the actor’s life and how he brought joy to them and others before he began to suffer from Lewy body dementia, ultimately leading him to take his own life. The movie captures really well the feelings that many likely have about Williams’ passing, both celebrating the tremendous body of work he left behind and mourning the talent that was lost.

This really is a fitting tribute to its subject, as it effectively captures a lot of what made him so beloved in the first place. By allowing those who were close to him to relive their anecdotes and memories of him, the film really shows how Williams was able to touch so many people through his actions and his work. 

And those contributions still keep going today, even with this documentary. The movie’s title purports that Williams would have wanted his death to mean something, and by bringing greater awareness to the disease which ailed him in his later years, maybe someone else can get the help they need.

The film features a great deal of interviewees, from medical experts discussing the dangers of Lewy body dementia to directors who worked with Williams or his family members, and everyone adds their own piece of the story. It’s a pretty comprehensive look at how Williams was a light in the life of everyone around him.

Of course, it’s a heartbreaking story, especially if one is among the people who grew up watching Williams’s work. And it’s sad to think that, with the right medical assistance, he still could have been with us today. But this documentary is also hopeful in that it really focuses on how one person can have such a positive impact on the world.

In terms of execution, the movie is pretty traditional, but the story is so effective on its own that it doesn’t need to resort to flashier elements to have an impact. There is a lot of power in watching these people talk about their memories of Williams, and filmmaker Tylor Norwood recognizes this, often taking time to linger on their emotions.

Robin’s Wish uses its subject to talk about an issue that isn’t as well-known as it probably should be. Offering both a heartfelt eulogy and scientific information, this feels, as the title suggests, very much like what the beloved star would have wanted.

Robin’s Wish hits VOD on September 1.  

Rating: 3.5/5

Review by Sean Boelman

Ayumu Watanabe’s new anime Children of the Sea is without a doubt one of the most gorgeous animated films of the year. Unfortunately, a script that is somehow both needlessly convoluted and riddled with cliches lacks the same sense of wonder that runs through the movie’s wonderful visuals. 

The film tells the story of a young girl who befriends a pair of brothers who were raised at sea, soon discovering that they share an unexpected connection with the marine world. This is essentially a rather basic coming-of-age tale, with a bit of cosmic mystery thrown in for good measure, but the movie all too often doesn’t make sense.

One of the most frustrating things about the film is that it doesn’t really explore the mythological aspects of its story particularly well. The movie teases some cosmic implications but never really builds that world in a way that is particularly immersive. Instead, all of the leg work is left for the animation. 

There are some interesting ruminations here about what our place in the universe really is, but they are not enough to compensate for an otherwise extremely underbaked script. The film certainly isn’t empty, and it deserves points for that, but a series of poetic musings that never come together isn’t very satisfying either.

The aura of good-heartedness to the movie is infectious, but it too doesn’t save the film from feeling underwritten. The coming-of-age arc is compelling and sweet, but it is frequently overshadowed by the mystery elements. And the environmentalist message is undoubtedly well-intentioned, but delivered shallowly.

At nearly two hours, a lot of the movie’s problems can be attributed to the fact that it meanders. There are definitely some great moments, but there are long stretches that are aimless. There’s a lot of material to draw from — the manga by which the film was inspired has five volumes — so perhaps writer Hanasaki Kino struggled to decide what he wanted to include and omit.

That said, the movie’s style is its absolute highlight. The use of color here is spectacular. It can be easy to get mesmerized by the visuals to a point of zoning out of the story, which is fine because the story isn’t particularly impressive anyway. The way in which the animators were able to capture the majesty of the ocean is truly magical.

Children of the Sea is a disappointment on a narrative level, but the film is such a beauty to look at that it may be worth a watch anyway. That said, it will definitely find its fans for the right reasons.

Children of the Sea hits VOD and home media on September 1.

​Rating: 3/5