This
weekend saw the Celluloid Screams horror festival emerge from it's
crypt and shamble into Sheffield's Showroom cinema for 3 days of new
and classic scare flicks. I could only catch two this year, but both
are worth seeing.
Some
clearly marked spoilers for both films follow the basic reviews
below.
Sean
Byrne's The Devil's Candy follows unpleasant events a remote Texan
house. We open with middle aged manchild Ray blasting out some
distorted power chords in his room to drown out the Satanic voices
that are keeping him from sleeping (I've been there). After his mum
tells him to cut it out and warns him that he's going “back to the
hospital”, she's shortly done in by a Gibson Flying V to the back
of the head.
Post
credits the now empty (and cheap to buy) house is snapped up by heavy
metal loving struggling artist Jesse, his wife Astrid and tweenage (I
don't think she's 13 yet, her age isn't mentioned as far as I recall)
metalhead daughter Zooey. Jesse is reduced to painting twee butterfly
heavy commissions for a local bank because his shonky death metal
album cover artwork isn't exactly wowing the nearby art gallery
owners. The Hellmans (ha!) are convincingly shown to be an
unconventional if loving family and sympathy for them is effectively
built before shit starts to go massively wrong.
And
go massively wrong shit most certainly does. Ray, apparently still at
large after doing in the old dear, comes back to the homestead,
creeping out the adults but endearing himself to Zooey with their
mutual love of Flying Vs. To make matters infinitely worse, Jesse
starts hearing the same Satanic murmurings that Ray does, putting him
into an occasional trance but improving his artwork in decidedly
creepy ways.
The
Devil's Candy doesn't do much new but it is well written, acted and
filmed, with Byrne pulling off some nice compositions and the odd
creepy long shot. He doesn't go to the cheap jump scare well to often
and creates some memorably chilling and horrifying moments. A nice
touch is that the music and imagery of metal, so often a punchline in
films, is treated with respect and expertly woven into the plot. The
link between metal and horror is rarely made this explicit from the
film side of things.
Unfortunately
the good work earlier in the film is undone by a rote and overblown
ending which almost derails the whole enterprise. This coupled with a
lack of originality means it doesn't come fully recommended but is
worth catching if there's nothing else on. 3/5
Meanwhile,
Creepy sees Pulse director Kiyoshi Kurosawa return to the horror
genre with a similar sense of style to his earlier masterpiece. After
a post arrest interview with a “perfect psychopath” goes
catastrophically wrong, leading to his injury and two deaths,
Detective Takakura retires. He and his wife Yasuko (and their giant
floof monster dog Max) move to a properly dismal looking Japanese
town so he can take up a job as a university lecturer.
There,
a post grad student piques his interest in the mysterious
disappearance of a family in a nearby equally squalid post industrial
town (seriously, this vision of Japan is less “exotic neon
wonderland” and more “Asian South Yorkshire”, i.e. the one that
loads of people probably live in). This brings the attention of one
of Takakura's former colleagues and together three investigate
further, mostly by interviewing Saki, the hugely unreliable remaining
daughter of the missing household.
Equally
mysterious is the behaviour of Yasuko and Takakura's deeply odd new
neighbour Mr Nishino (a brilliant performance from Teruyuki
Kagawa, turning from aloof evasiveness to affronted
hostility
on a dime). Both of the couple (and Max) immediatley peg Nishino as
“a creep”, but he seems harmless enough and soon he and his
daughter Mio are coming round for dinner.
I'm
probably not spoiling much to say that both of these elements are
linked, but things do proceed in unexpected and deeply upsetting
ways. Creepy has an atmosphere and style that will be immediately
familiar to anyone who has watched Pulse. There is little in the way
of traditional scares, instead building an atmosphere of slowing
escalating dread and almost suffocating tension through
unsettling sound design, camera shots that are held slightly too long
and nuances of performance from his excellent cast.
Unlike
Pulse, the plot is
relatively straight forward
and there are rich veins of dark humour threaded throughout,
something the all pervading melancholy of the earlier film wouldn't
allow for. Creepy isn't as good as Pulse (because frankly few things
are) but is a haunting film that will remain with you for several
days after viewing. 4/5
Some fairly large spoilers for both films follow.
Both
of these films are essentially about serial killers, albeit of
different types. They both portray real life horror and evil in
separate ways.
The
Devil's Candy tries to make it ambiguous about whether Ray, who has
been killing children to feed to Satan as “candy” for years
thanks to the voices, is actually possessed. While this old trick is
generally fine with me, it's not one that Byrne pulls off especially
well. Despite Jesse also hearing the voices, nothing ever comes of
it. When evil is defeated at the end of the film, it is through
fairly conventional (if ridiculously overblown) means. Ray is clearly
severely mentally ill and Jesse could simply be coincidentally
hearing the voice and going to into his little art trances through
stress and listening to too much Darkthrone (not that he ever does
during the film, but you know what I mean). Ray is still terrifying,
a large, powerful man convinced that he's on a mission by his own
misfiring brain. It may be overblown, but people like that have
existed in real life.
Meanwhile
Nishino is a chillingly authentic portrayal of a strange, pathetic
little man using his odd knack for getting in people's heads to make
them commit terrible acts on his behalf. When forced to get his own
hands dirty he throws a petulant little sulk. He insists he is not a
criminal, despite having several deaths he is responsible for. In one
scene, when in physical danger, he scuttles around on his hands and
knees like a frightened animal, a grimace of fear on his face. He's
also absolutely terrifying, his utter sociopathic tendencies conveyed
convincingly in an amazing performance. While watching I was reminded
of the terrible crimes of real life Japanese serial killer Futoshi Matsunaga an arsehole of some magnitude. It added an extra layer of
quesy unease to already bleak film.
Not sure why the text goes black in the middle of the post. Don't seem able to change it.
ReplyDelete