You are about to enter a world of hatchbacks, tracksuits, graffiti, and bad hairstyles, because the year is 1994 and the city is Glasgow, where the only good system is a sound system, and ecstasy is more than just a feeling. This coming of age story marches to the beat of its own drum machine, and even though it may follow a familiar rhythm, it still takes enough deviations to make it fresh for jaded ears.
With such a strongly characterising title as Satan’s Slaves you would be forgiven for assuming that Joko Anwar’s film is just another generic horror at the bottom of the bargain bin, but instead it possesses both subtle and effective scares more in line with the likes of It Follows, and House of the Devil, than any Rob Zombie gore-fest.
Frances is a girl with aspirations larger than her family, and a temper hotter than the fires that they warm themselves around in the evenings, entertaining each other by singing haunting renditions of traditional Irish songs. Her universe is small, contained, and safe, until one fateful afternoon when local law enforcement delivers a sharp uppercut to her childhood, shaking Frances’ life to the core.
Embodying traditional detective drama with existential reflection, Carol Morley’s Out Of Blue truly is a combination of contrasts, red and blue, right and wrong, sober and drunk, because what may be perceived to be reality might not actually be the case in this multiverse.
It’s difficult to think of a country more entrenched in history, magic, and legends, than Ireland. Add to that a population with more than it’s fair share of literary horror talent, and it is frankly amazing that we don’t have more of a horror film lineage. So with the impending release of Irish horror; The Hole in the Ground, I waited with baited, but cynical breath.
When you dance a dance of another, you make yourself in the image of its creator.
Words of guidance uttered by Madame Blanc to Suzie Bannon, which I hope Luca Guadagnino intentionally included as the perfect tongue-in-cheek nod in his homage to Dario Argento’s (1977) Suspiria. Guadagnino made his stab at the cult horror classic after his Oscar winning triumph; Call Me By Your Name, so not only did he make quite a surprising shift of genre, but he took a risk in his choice of film to “remake”; Argento’s Suspiria is synonymous with 1970’s Italian Horror and quickly became a cult classic for any cinephile worth their salt. If someone were to mention to me that they had not seen it, I would gleefully take the chance to scathingly inform said individual that they should of course watch it, while adopting the appropriately patronising tone. But having said that, if you actually haven’t seen the original, cancel tonight’s plans, close the blinds, screw in the red lightbulb, get into that taxi, and prepare for a surreal journey like no other. I give away no spoilers in this review, so it’s safe to read on….