Primal is Another Nicholas Cage Camp Classic [Review]

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Wicked Horror is the author of Primal is Another Nicholas Cage Camp Classic [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Primal follows Frank Walsh (Nicholas Cage), an illegal poacher who hunts wild animals to sell them to the highest bidder. However, on his mission in Brazil, he finds a rare, all white jaguar, a very badly computer generated cat that promises a huge payday. However, while illegally moving the jaguar and the rest of his poached prizes onto a cargo ship, Frank runs into U.S. government agents and their crazed prisoner Richard Loffler (Kevin Durand). Early into the voyage, Loffler proves himself to be a threat to Frank and the other passengers, forcing them to deal with both him and a ship full of escaped wild animals.  Also see: Bloody Marie is Heartbreaking Fun [Review] Primal is an instant Nicholas Cage classic. Cage has become infamous for starring in bad movies, even achieving a level of fan admiration most actors don’t have. His face has been meme-d on clothing, odd scenes forever remembered, and his sometimes bizarre antics are beloved by millions. Primal is no exception and I was thrilled that this was the case. From the moment that Frank steps on the scene, I was hooked. Frank is an unlikable, irresponsible alcoholic, who freely admits he has no morals, and doesn’t really think of the consequences of his actions. His zingy one liners consist of drunkenly shouting, “What’s up Doc?” at a doctor, giving a government official the finger while saying, “classify this”, and “I know how faucets work you federal clown.” And they are all glorious. Nicholas Cage is a fantastic actor because (in spite of his propensity for scenery chewing) he can make people like Frank both charming and fun to watch.  However, despite Primal being a must watch for Nicholas Cage fans and those fond of bad films, the rest of the movie doesn’t match the brilliance of what I have just described. The plot is odd, to say the least, and after watching, I am still confused about what the hell I just saw. Frank’s story arc and character development are easy to follow, but Loffler’s purpose in the movie is just weird. He is a psycho bad guy that turns on the government after they train him, but he’s bad for no discernible reason…? At least Frank makes money, Loffler seems to kill for sport and has a weird complex about his military service, but his ‘going rogue’ mentality isn’t believable.  Despite this, Loffler is the best secondary character, as the rest of them have no personality and do not make any sense. Their only purpose is to die or to interact with Frank and it comes across as forced for the entire film. Some of them are supposed to be likable, but since they are not given enough character development it’s difficult to invest in them. Nevertheless, what the people in this film lack, CGI animals make up for in hilarious scenes where you can literally see the fuzz around the borders of the animals that was inserted as an attempt to blend them in. I get that using real animals was probably more expensive, but the results are pretty laughable.  Overall, if you are a Nicholas Cage fan or are in the mood for some hilarious shenanigans, Primal is perfect for you. But, if you are here for the scares, don’t bother. It will be available in theaters and on demand on November 8, 2019. WICKED RATING:  5/10 Director(s): Nick PowellWriter(s): Richard LederStars: Nicolas Cage, Famke Janssen, Kevin DurandRelease: Available in theaters and on demand on November 8, 2019.Studio/ Production Co:  Daniel Grodnik Productions, The Wonderfilm Media Corporation, Imprint EntertainmentLanguage: EnglishLength: 97 minSub-Genre: Action, Thriller Follow us on our social media! Twitter, Facebook, Instagram, or Youtube.

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Scary Stories to Tell in the Dark [Blu-ray Review]

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Wicked Horror is the author of Scary Stories to Tell in the Dark [Blu-ray Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Scary Stories to Tell in the Dark finds a group of teenage friends discovering a book of terrifying tales in an abandoned mansion. The tome preys on your greatest fears. The book belonged to a woman named Sarah who tragically took her own life years prior to the events unfolding in the film. If the friends cannot uncover the mystery behind the book’s power, they will be forced to live out their worst nightmares, perishing at the hands of a vengeful spirit.  When I first heard this project announced, I naturally assumed that it would employ the anthology route, perhaps taking place at a summer camp with children sitting around a campfire telling ghost stories. That strategy has worked well in the past (Campfire Tales) but Scary Stories to Tell in the Dark took an unexpected approach to the narrative and it pays off in spades. Also See: Campfire Tales is an Unexpectedly Great Anthology (That No one Remembers) Guillermo del Toro and Dan and Kevin Hageman’s screenplay (Marcus Dunstan and Patrick Melton get a ‘story by’ credit) wisely goes in an unexpected direction and incorporates several of the familiar tales from the terrifying children’s book series into a traditional narrative. I love a good anthology but defying expectations and opting for something less expected is to be commended and it definitely paid off here.  I was also pleased by the decision to set the film in a time long before the advent of Internet. Not only does that eliminate the ever present question of ‘why don’t you just use your cell phone to call for help?’ it also gives the protagonists fewer resources at their disposal and makes the book at the center of the action that much more important.   Since the story focuses on the same group of characters for its entire runtime, we get to know the characters and warm up to them, rather than being introduced to a new set of players every thirty minutes. And on that note, I am pleased to report that the key players are all relatable and likable. Zoe Margaret Colletti (Annie 2014) is pitch perfect as main character Stella. Her backstory is compelling and her sense of insecurity and tendency to blame herself for circumstances beyond her control makes her easy to relate to. Michael Garza (of TV’s Wayward Pines) does a terrific job of portraying a Latinx character in a time (1968) where racism was (arguably) even more prevalent and widespread than it is today. Garza plays Ramon as compassionate and understanding person, in spite of being faced with hatred and vitriol from people he’s never even met.  While Garza and Colletti were the two standouts for me, the entire cast delivered strong performances across the board. Each character was smartly written and brought to life in a believable and sympathetic way.  Up-and-coming director André Øvredal (Trollhunter) has created a visually stunning and terrifying world with his latest effort. Guillermo del Toro’s presence as a producer is noticeable but Øvredal makes the film his own. It is scary, atmospheric, and compelling. The tension is masterful. The scene where Auggie eats the stew against his friend’s warnings not to do so is absolutely horrifying. Øvredal made me feel like I was right there with Auggie.  Øvredal’s use of a muted color palette is reminiscent of the black-and-white drawings in the Scary Stories to Tell in the Dark books I grew up devouring. And it serves to make things that much creepier.  On the subject of the original illustrations, I am happy to say that the monsters look an awful lot like they jumped off the pages of the original short stories. Much care and attention to detail was put into brining these creatures to life. And that was so nice to see. This felt very much like a film that was made for people like myself who grew up daring themselves to turn the next page and find out what horror would befall the characters in any given story.  One thing that I really dug about Scary Stories to Tell in the Dark is that it contains a poignant message about the evils of treating someone poorly just because they look or act differently than what is perceived as normal. Sarah, the author of the book (within the film) serves as a great example of someone who has been badly damaged by people who should have been protecting her. Another thing I dug was that the film didn’t have an ending that neatly tied everything up. It left a glimmer of hope and hinted that there may be more scary stories to be told but it didn’t insult or talk down to its audience by waving a magic wand and fixing all of the harm the book (within the film) had done. There is (sometimes) a trend in horror geared toward younger audiences to neatly restore order at the end of the film so everyone can walk away with a smile on their face but life isn’t like that and one of horror’s most appealing qualities is that it recognizes that the world can be an ugly place and doesn’t try to convince us otherwise.   The effects that were accomplished practically are masterful. But, unfortunately, some of the CG effects are a bit lacking. The spider sequence was simply bad. However, the scenes that are a mix of practical and CGI work well, for the most part.  My only other criticism with the film is that it’s a bit formulaic and predictable at times. While I absolutely commend the writers for opting not to tell the stories in anthology format, I did find that some of the decisions made by the cast and some of the consequences were glaringly obvious and lacking in creativity.  All in all, Scary Stories to Tell in the Dark is a scary, fun, and enjoyable ride that must be experienced. It is now available on DVD, Blu-ray, 4K, and DigitalHD.  WICKED RATING: 8/10  Director(s): André ØvredalWriter(s): Guillermo del Toro, Dan Hageman, and Kevin HagemanStars: Zoe Margaret Colletti, Michael Garza, Gabriel Rush, and Austin AbramsRelease: November 5, 2019 (Home Video) Studio/ Production Co: CBS Films, LionsGateBudget:   $25,000,000 (estimated)Language: English Length: 1 Hour and 48 Minutes Sub-Genre: Supernatural 

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The Banana Splits Movie is Over-the-Top and Surprisingly Fun [DVD Review]

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Wicked Horror is the author of The Banana Splits Movie is Over-the-Top and Surprisingly Fun [DVD Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Are you in search for a horror movie with a tantalizing premise coupled with stellar storytelling? How about a movie with intelligent characters fighting a super scary villain? If that is what you’re in the market for then Danishka Esterhazy’s The Banana Splits is not for you. However, the film is so ridiculous and hilarious that you should give it a chance. Allow me explain. This over-the-top comedy gore-fest takes place in a world where The Banana Splits TV show was never cancelled. When a boy and his family attend a taping of the show, the fun quickly fades and the beloved characters embark on an unpredictable killing spree. It’s a weird premise. That goes without saying.  But it works. And it’s quite a bit of fun. This movie effectively layers light and dark themes with predictable but enjoyable results. I will readily admit that the script is a bit spotty, making some of the dialogue come off as a bit robotic. At times I got the impression that even the actors were unsure of the collective merits of their lines.  The film also suffers from pacing issues. That is most notable in the introduction of topics that exist strictly as filler and do nothing more than bolster the film’s running time. However, when one is watching a flick about killer characters from a children’s television series, one must not be too picky.  The hilarity The Banana Splits Movie offers certainly outweighs the issues one could nitpick. This flick makes for a light hearted, breezy watch with some unique moments of surrealism. It’s the perfect feature to throw on with a group of friends and a few beers. The actors are fresh and funny and their enthusiasm and willingness to be ridiculous makes up for some of the film’s shortcomings. Also See: Bloody Marie is Heartbreaking Fun [Review] The kills are a major highlight too. They’re almost as gruesome as they are funny. It’s clear that director Danishka Esterhazy was having a good time making this picture.   Branching off that I’d like to direct your attention to my favorite scene, linked below. I suspect that after you watch it, you’ll want to check out the whole film. Even if just out of morbid curiosity.  While this flick is lacking in substance, it still makes for a pleasant watch that doesn’t have the usual, cookie cutter, Hollywood ending. The Banana Splits Movie is far from perfect (by any standards) however it’s a very bearable film that deserves a watch. I’d advise downing a few cans of your favorite lager beforehand, though. It is now available on DVD.  Wicked Rating: 5/10 Director(s): Danishka Esterhazy Based on: The Banana Splits by Hanna-Barbera Productions Writer(s): Jed Elinoff and Scott Thomas Starring: Dani Kind, Romeo Carere, Steve Lund, Sara Canning, Eric Bauza, Finlay Wojtak-Hissong, Naledi Majola, Richard White and Maria Nash Studio/ Production Co: Blue Ribbon Content, Blue Ice Pictures Run Time: 86 min Language: English Follow us on our social media! Twitter, Facebook, Instagram, or Youtube. 

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Marla Makes IUDs Even Scarier Than They Actually Are [Review]

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Wicked Horror is the author of Marla Makes IUDs Even Scarier Than They Actually Are [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Marla, aka Marla Mae, is the definition of a woman’s film. Directed, written by, and starring Lisa Van Dam-Bates (who also takes a credit for special FX, in which he’s worked extensively), its premise is based around, well, a killer IUD. Let’s face it, you don’t get much more female than a story focused on a woman’s issues with her birth control implant. And, hey, even without the horror element, this would be a pretty scary story. In keeping with the female energy of the piece, the first face we see onscreen is indeed Marla’s, following a prologue where something is built especially for her that looks a bit like a computer part (See? Scary). She’s a waitress, living a relatively simple, easy life in Washington. Her boyfriend, a sweet, heavily tattooed bartender (there are lots of tattoos in this movie, which is always nice to see), is also her boss (Travis Johnny Ware, who’s like a dark Michael Cera), which isn’t as complicated as you’d think. After being contacted by an old family friend now working as a gynecologist and offered a free IUD, Marla takes him up on it and, in the process of getting the spiky cervical implant, makes a new friend along the way, Jules (Katie Hemming, wearing way too much eyeliner). The two are soon living together, which is handy when Marla’s IUD goes completely haywire, albeit not at all in the expected manner. Before any of that happens, though, a sub-plot is introduced regarding a serial rapist (who looks like Daniel Bryan at his hairiest) in the locality. Indeed, as Marla walks home alone after a long shift, the camera lurks behind in the shadows as though someone, or something is watching her. Moments like this capture the innate fear of walking home, or indeed anywhere, alone as a woman. Only a female filmmaker could present them this effectively. Likewise, the process of actually getting an IUD (the doc offers her a free smear test too — handy!) is horrifying enough as it is without any kind of supernatural add-on. In this way, the mood of Marla is similar to the films of Joe Begos, or even his frequent collaborator, Graham Skipper’s, directorial debut, Sequence Break. It’s based around regular people going through something strange while just trying to…exist. The red stuff flows, of course; first when Marla is bleeding so much after her procedure she needs to insert a tampon. Then, without spoiling too much, in the shock death of someone by snoo snoo, as it were, which involves the kind of gruey, crunchy SFX that only exist in low budget fare made by people who genuinely care how gross it looks. Once Marla realizes her IUD is, er, one hell of a contraceptive, she sits for days caked in blood, unable to process the gravity of the situation. The aftermath is more realistic than usual in these kinds of movies, as Marla tries to piece her life back together while simultaneously dodging a nosy police officer intent on linking what’s happened to her with the other horrific crimes in the area. Marla is a little rough around the edges, much like its protagonist, but the concept is strong and well-considered. A good ol’ retrowave score keeps the atmosphere intriguingly difficult to decipher, while the performances, although not exactly peerless, are fully committed across the board. Killer vaginas have been a thing before, of course, as with the bizarrely overrated Teeth, but here the focus, thankfully, isn’t on “scary” female body parts. Van Dam-Bates herself is terrific as Marla, imbuing the character with sensitivity and grace. She might take a clearly dodgy doctor up on his offer without completely thinking it through, but Marla is just trying to take control of her reproductive health with what little resources she has at her disposal. The situation might turn crazy, but her predicament is very real. Marla lags a bit in its final moments, possibly because Van Dam-Bates wasn’t quite sure how to end it, and a final act reveal feels tacked on and clunky. However, prior to that, it’s quite a bold climax boasting an amazing shot of the lead actress, writer, and director that’s irresistibly Carrie-esque (except, in this case, her actions are deliberate). Even if it’s a bit awkward in its execution at times, Marla is a hugely impressive debut for Van Dam-Bates, in all the roles she occupies (and, considering this is a small movie, she likely did a whole lot more than she’s taking credit for). Beautifully shot and crisply edited, it tells the kind of horrific, based in reality, story only a woman could tell while also staying true to its genre trappings. WICKED RATING: 7/10 Director(s): Lisa Van Dam-Bates Writer(s): Lisa Van Dam-Bates Stars: Lisa Van Dam-Bates, Travis Johnny Ware, Katie Hemming, Jason Strange, Palmer Chase Release date: November 5, 2019 (Digital and DVD) Studio/Production Company: Cut Publishing Language: English Run Time: 92 minutes Follow us on social media: Twitter, Facebook, Instagram, and Youtube

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Viewers Beware: Shudder’s Creepshow is Returning for a Second Season!

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Since its highly anticipated release back in September, Shudder’s anthology series Creepshow, based on the 1982 movie of the same name, has been nothing short of a smash hit. This Halloween thus became a bittersweet event for gore-hounds everywhere as it marked the end of Creepshow’s first season. But fret not! The Creep you all know and love will be back soon enough. In an offical statement, Shudder announced that Creepshow has already been renewed for a second season! “For me, Creepshow has been a true labor of love,” said showrunner, Greg Nicotero. “To be able to pay tribute to George A. Romero’s visionary project and have the show so embraced by fans everywhere is humbling to this horror kid from Pittsburgh. I couldn’t be more pleased and look forward to continuing the series with more ghoulish delight.” What an exciting advancement! This is all we have for the moment. But we’ll be sure to update you with any new info! And be sure to binge all of season one on the Shudder app now.

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Back to the ’80s: Dario Argento’s Inferno

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Wicked Horror is the author of Back to the ’80s: Dario Argento’s Inferno. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to Back to the ’80s. This recurring feature aims to take a look at the good, the bad, and the ugly from horror’s most beloved decade. Regardless of which category a particular film falls under, this segment will spotlight films that horror fans can appreciate for one reason or another. We will look at how some of these flicks have stood the test of time and others have not aged quite so well. Regardless of what they look like today, these efforts from the 1980s laid the groundwork for the horror genre as we know it today. In this installment, we will be taking a look at Dario Argento’s Inferno. Dario Argento’s Inferno is the second film in the Three Mothers trilogy. The first entry is Argento’s 1977 masterpiece Suspiria. While not originally conceived as a trilogy, the three pictures in the series are each linked by one of the aforementioned “mothers” or witches. Inferno follows new characters and different settings; however, thematic elements reveal the 1980 feature as an almost spiritual sequel to Suspiria. The colors, music, and overall suspenseful atmosphere stylistically link the two films. The trilogy concluded over two decades later with Mother of Tears. During its initial release, Inferno was overlooked by American audiences. But in the years since, it has become retrospectively regarded as one of Argento’s best works. Rose Elliot (Irene Miracle) is an inquisitive poet living in New York City. Her curiosity leads her to a book detailing the history of a coven known as “The Three Mothers.” Rose begins to investigate her own apartment building after recognizing clues that the structure possibly belongs to one of the mothers. As her fixation on the witches dissolves into fear, Rose reaches out to her brother Mark (Leigh McCloskey) for help. Meanwhile, Mark is studying abroad in Italy. After his own strange experience, he heads to New York to reconnect with his sister. Related: Back to the ’80s: Dario Argento’s Phenomena Opening the film is a narration revealing the story’s context. This narration gives the audience the impression that they are entering into a dark fairytale. At the same time, this voiceover answers some of the lingering questions from Suspiria. The viewer follows Rose’s initial intrigue of the Three Mothers and is guided through one of Argento’s finest introduction sequences. Rose is compelled down into the cellar of her apartment building. Once there, she comes upon a narrow opening in the floor leading into a grand underwater ballroom. After a cringe-worthy moment where Rose drops her keys into the pool, the audience is torn between wanting to know what is down there and screaming for Rose not to go in. These moments are characteristic of Argento’s style. Strange passageways and hidden rooms are to be found in the majority of the director’s work. In Opera (1987), Betty (Cristina Marsillach) finds herself escaping through her building’s air-conditioning vents and Jennifer (Jennifer Connelly) inadvertently stumbles into an underground torture chamber after following a telephone cord in Phenomena (1985). The underwater ballroom is only the first of Inferno’s hidden secrets within the main building. Often, these passages seem arbitrarily added in Argento’s work; however, they offer a fun layer of mystery for the viewer. The introduction also reveals the first of many surreal images in Inferno. Another trademark of Argento, each scene appears incredibly dreamlike and unreal. The vibrant Technicolor homage is thematically continued from Suspiria. In fact, Argento has completely found his groove with this style in Inferno. The colors are hypnotic and are utilized to sedate the viewer before turning into nightmarish situations for the main characters. The audience is satiated by what this experience makes him or her feel as the narrative is often incredibly thin in an Argento flick. The director does provide a cathartic experience; however, this release is closer to the sensation of jolting awake after a fragmented nightmare rather than inspiration from a character’s completed journey. Characters are, of course, important to the overall feature. The acting in Argento’s work is frequently misunderstood because the main characters are typically disjointed from a normal reality. Still, the main cast in Inferno fulfills their purpose. As a whole, they never come together as an ensemble; however, working independently they each succeed in generating a thrilling experience. Irene Miracle does not have an abundance of dialogue as Rose. She does, luckily, conjure enough presence and vulnerability that we become invested in her curiosity. As Mark, Leigh McCloskey finds the right balance of confidence and confusion. He strives to be the hero but soon discovers he is in way over his head. Also See: A Beginner’s Guide to Dario Argento As siblings, the two leads do a sufficient job of portraying the “normal” people accidentally landing in the strange world Argento has created. Meanwhile, the supporting cast are handed the more interesting roles to play. Sacha Pitoeff is a cantankerous bookstore owner feeling overwhelmed by the neighborhood feline population. Unfortunately, he learns a painful lesson that cats are a better alternative to rats. Eleonora Giorgi maintains a successful level of suspense while temporarily taking over the movie’s action. The Nurse (Veronica Lazar) and Professor Arnold (Feodor Chaliapin) are an effectively bizarre duo with a few powerful secrets of their own. Two recurring Argento “company members” make an appearance. Alida Valli portrays a malicious and greedy concierge. While not as potent as her unrelated role in Suspiria, Valli is still given a few scenes to chew on. And, in addition to being his former real-life partner and co-creator of Suspiria, Daria Nicolodi appears as Elise De Longvalle Adler. Ever the chameleon, Nicolodi always shows up completely new and fresh. Her repertoire as an actress for Argento has revealed everything from an aggressive villain to a carefree assistant. As Elise (which is one of my favorite of the actress’ performances), she evokes a certain pathos and refined delicateness. Also See: Script to Pieces: Argento and Nicolodi’s Mother of Tears Ultimately, all of the performances take a backseat to the overall horror and thrills of Dario Argento’s Inferno. Perhaps, not as realistic as one would find in the assemblage of today’s horror; however, Argento is rarely unable to discover original and inventive ways to scare the audience. At least, during this time period. Suspiria did have a particular shock quality that is missing in Inferno. Nevertheless, Inferno brings to the table a more flattering essence of Suspiria’s style. What Argento discovered in the former piece is now refined by Inferno. He builds upon his work to create sequences in the sequel that are as cohesive as they are horrifying. Some of the more memorable moments include a rat-infested sewer opening, a claustrophobic cat-attack, and an ill-advised trip below an Italian library. Like the ingredients from a witch’s potion, Argento uses the lighting in combination with an operatic soundtrack to generate a grand and ominous atmosphere. The director amplifies the tension he realized in Suspiria by combining all of these elements with a more seasoned vision. While neither subsequent film in the Three Mothers trilogy is as revered as Suspiria, Inferno deserves to be recognized as one of the better entries in 1980’s horror. And, certainly in Argento’s catalogue. Even as a sequel, Inferno delivers a style one can only find from the 1980s. A style that is lacking in contemporary horror. In particular, the works of Argento from this time do not seek to be realistic in their delivery, but instead, focus on the artistic possibilities of horror. As though one is falling under a witch’s spell, Inferno catches the viewer by manipulating his or her senses. The music is utilized to bombard the audience with operatic warnings while the colors help to subdue one into a false sense of relaxation. Argento builds Inferno piece by piece using all the best of his trademark elements. This film follows a nontraditional path as far as sequels go, but the ride is certainly worth it. Slowly but surely, Dario Argento’s Inferno is becoming rightfully remembered as one of the best the 1980’s had to offer to horror audiences.

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Bloody Marie is Heartbreaking Fun [Review]

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Wicked Horror is the author of Bloody Marie is Heartbreaking Fun [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Bloody Marie opens with the titular Marie (Susanne Wolfe) at what should be rock bottom. Directors/writers Lennert Hillege and Guido van Driel take us through a day in Marie’s life. She dances alone at a club in the morning before getting into a heated argument with the other barflies. After, she goes to a tennis court and enthusiastically pantomimes the players actions between swigs from a bottle. She briefly stops by her apartment to find that despite being a successful graphic novelist, she can’t break through her block and draw. She goes down to the liquor store and the owner refuses to sell to her, saying, “You should probably stop drinking.” The sequence ends with her stalking her neighbor, Dragomir (Dragos Bucur) through the alley leading to his apartment. She calls out to him, and offers to pay him for a sip of the bottle he’s holding. He agrees, but he doesn’t want money. Instead, he trades for her shoes.  Things shouldn’t be able to get worse, but for Marie, they do. The next night, she sees her shoes on Dragomir’s roof. Though, as she later puts it, she’s “Drunk as a skunk,” she lays a ladder between their roofs and attempts to climb over. The film spirals from there, intertwining her world with Dragomir’s.  While Dragomir seems nice when they first meet, he’s abusive toward the group of sex workers he oversees for a violent organization. Dragos Bucur plays the role with a great vulnerability, which separates it from the Eastern-European monster trope that typically gets slotted into this role in films like Taken. Dragomir seems to actually care for his workers, bringing Iliana (Alexia Lestiboudois) to Marie to see if Marie can find a publisher for Iliana’s art. It’s a small step he’s taking to make her life better, but it separates the film from the cartoonishly bleak life of other fictional sex workers.  RELATED: Truth and Fiction Aren’t Identical in David Cronenberg’s Dead Ringers As good as Bucur is, everything in Bloody Marie takes a backseat to Susanna Wolfe’s electric performance. Wolfe brings a manic energy to everything she does while Marie is drunk that feels authentic. More importantly, her performance is absolutely captivating. Wolfe plays an entire emotional register, mixing in Marie’s grief over her mother’s death into every decision while also capturing the character’s frenzied approach to life.  Hillege and van Driel show flashes of Marie’s inner-life by including shots of her artwork. All of it is gorgeous, and images like her dog Lieze on top of a coffin in a field give viewers a glimpse into what Marie’s processing.  Lieze plays a huge role in the film. He follows Marie everywhere around an extremely dog-friendly Amsterdam. Like most movie dogs, he is incredibly well behaved, almost never leaving Marie’s heel and not barking once. In contrast, my real dog barked at the empty McDonald’s bag that blew by the window during the movie until it was long out of sight before alerting me each time a doorbell rang in the film.  Lieze, despite his supernaturally good behavior, offers us an insight into Bloody Marie’s theme.The previously mentioned argument at the bar in the opening of the film starts when Marie takes umbrage with two men talking about how, “Nature knows no morality.” She fires back that there’s a tenderness to the natural world. She challenges them, and by extension viewers, asking, “Why do you have to prove your masculinity?”  That question of whether the world is amoral or tender echoes through Bloody Marie. It’s what Bucur brings into his performance as Dragomir and Wolfe into Marie. It’s on the page each time the camera passes over Marie’s artwork. And it’s in Lieze’s—the film’s representation of nature—behavior.  Bloody Marie should be heartbreaking—the story of a woman sick with alcoholism, grieving the loss of her mother—but it’s more fun than it has any right to be.  Wicked Rating – 8.5/10 Directors: Lennert Hillege, Guido van Driel Writers: Lennert Hillege, Guido van Driel Stars: Susanne Wolff, Dragos Bucur, Alexia Lestiboudois Release: November 1, 2019 (theaters), November 11, 2019 (VOD) Studio/Production Company: Family Affair Films, Bulletproof Cupid, Vrijzinnig Protestantse Radio Omroep Language: Dutch, English Length: 87 minutes Sub-Genre: Thriller/Drama Follow us on our social media! Twitter, Facebook, Instagram, or Youtube. 

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