Family Review - A Darkly Beautiful Descent Into a Crumbling, Doomed Family - Dread Central
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Family Review – A Darkly Beautiful Descent Into a Crumbling, Doomed Family

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Starring Veronica Kedar, Tommy Baremboem, Eli Danker, Evgenia Dodina, Hen Yanni, Aryeh Hasfari

Directed by Veronica Kedar

Reviewed out of Utopia 2017


The third feature film from writer/director/actress Veronica Kedar, Family is a dark psychological drama that follows a young woman, Lily, who goes to her therapist to confess to the crime of killing her family. Instead of meeting her therapist, she begins pouring forth her story to her daughter Talia (Baremboem), a young woman approximately the same age as Lily who suffers from her own host of problems.

Family is a film that plays out in parts, each family member getting their own dedicated time. We meet Lily’s father (Danker), a man who has basically lost all love of his children, using them only to impress those in his work environment. There’s the mother (Dodina), who is constantly high on drugs and trapped in an unhealthy battle with Lily’s sister, Smadar (Yanni), who herself suffers from severe mental illness, depression, and manipulative mannerisms. Lastly, there is Adam (Aryeh), the brother who has a rather unsavory relationship with Lily.

As previously mentioned, we get to join Lily, magnificently performed by writer/director Kedar, as she takes us through each of these relationships, showing us why they must die, either by her hand or through her actions. We see how dysfunctional this family is and wonder how they ever survived through the years. Physical and mental abuse runs rampant as no one takes blame for their actions nor does anyone seem to accept their role in the greater problem. This is a family content in misery because they know nothing else, as evidenced by a scene where Smadar manages to escape her room, runs to the front door, throws it open, and then stands there, tears in her eyes as she realizes that she has no place outside the walls of her home. Even Lily, who takes matters into her own hands, admits to Talia that she feels nothing during her actions. This is a defeated family, one that had no intention of ever finding happiness or even attempting to do so.

Beautifully shot by cinematographer Christian Huck, the film exudes the darkness and claustrophobia of this family’s interactions. We truly feel like they can never escape one another for even a moment’s respite, the design of the house constantly pressing them against one another. Add in Daphna Keenan’s absolutely gorgeous yet undeniably melancholic score and you’ve got a film that oozes dourness in a truly magnificent manner.

While the film is deserving in this praise, it ultimately feels like somewhat of a moot journey. Talia has her own problems with her therapist mother, problems that never seem to reach any real solution. Lily’s murder of her family seems to bring her no comfort, no solace. We, the audience, follow Lily and feel terrible for her but there is also sadness for her family, who are so fucked up in their own ways that we can’t simply write them off heartlessly. At the end of the day, there is no one to blame but each other. Lily may be alive but does she deserve life anymore than Smadar or her mother? For as callous as he is, did the father deserve his fate? And even Adam, for as obviously twisted as he might be, he recognizes and owns his faults, telling Lily that he loves her, even if he doesn’t always show it in the right way.

Family is an emotional and difficult 100 minute journey. While there is much to celebrate in this film, I have issues trying to figure out its ultimate purpose. This isn’t a case where I’m wrestling with my thoughts for hours, if not days. Rather, this is a situation where I look at the film as the credits are rolling and say, “Hmm… What was the point?”

  • Family
3.5

Summary

Gorgeously filmed with absolutely stunning music, Veronica Kedar’s Family features exquisite performances but struggles to find a purpose in its story.
We the audience are left feeling almost as empty as this family’s relationship.

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The Midnight Man Review – Don’t Hate The Game, Hate The Players

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Starring Lin Shaye, Robert Englund, Grayson Gabriel, Emily Haine, Gabrielle Haugh, Summer H. Howell, Louise Linton

Written by Travis Zariwny

Directed by Travis Zariwny


Travis Zariwny’s The Midnight Man is largely a robotic hide-and-seek slog, yet if dissected in butchered chunks, smaller bites range from delicious destruction to utterly incompetent character work. Judging by the bloodthirsty opening sequence alone, you’d think Zariwny is about to blow our morality-siding minds. A sad misconception, I’m afraid. After our hopes skyrocket, mechanical plot devices are pinned to a storyboard with the utmost lack of exploration. The Midnight Man’s game is afoot, but these players would barely compete against an opponent crafted from brick and mortar. Can someone calculate a handicap for them, please?

Gabrielle Haugh stars as Alex Luster, a caring granddaughter to Nana Anna (Lin Shaye). One night, upon the request of her not-always-there relative, Alex rummages through attic trunks for a silver-backed hand mirror. Instead she finds a nondescript wrapped box with what appears to be a game inside. Her crush Miles (Grayson Gabriel) has arrived by now, and after an incident where Anna requires medical attention from house-call doctor Harding (Robert Englund), the two friends begin playing whatever it was that caused Anna to screech in disapproval. You know, the only rational decision.

At the risk of sounding like a smug CinemaSins video, The Midnight Man would surely bomb any horror IQ test. Zariwny’s *first* piece of introduced information after discovering Midnight Man’s altar is quite simple – DANGER. DO NOT PLAY. IT JUST CAUSED A WOMAN TO FAINT. Nevertheless, our braindead sheeple follow careful rules to summon Mr. Midnight Man into their house – because, as horror movies have proven, tempting occult fates is buckets of fun! At least the characters don’t confess romantic feelings and makeout while another friend who joins the game late – “Creepy Pasta” obsessed Kelly (Emily Haine) – could already be in the Midnight Man’s clutches, that’d be – oh, right. That happens.

Senile Anna is another story altogether – Zariwny’s grey-haired red herring in the worst way. Lin Shaye injects so much destabilized madness into this energetic, midnight-perfect role, elevating herself into a stratosphere well above The Midnight Man itself. Whether she’s screaming about Alex’s disgusting blood, or ominously whispering dreadful remarks through a housewide intercom, or beating Robert Englund to a pulp with wide-eyed psychosis – well, if you’ve seen Dead End, you *know* the kind of batshitery Shaye is capable of. Her genre vet status on display like a damn clinic here.

Shaye – and even Englund – aside, scripting is too procedural to salvage any other performances. Kelly doesn’t even deserve mention given her “bring on death!” attitude and enthusiastic late entry INTO AN URBAN LEGEND’S DEATHTRAP – a poorly conceived “twist” with less structure. This leaves Grayson Gabriel and Haugh herself, two thinly-scripted cutouts who couldn’t find a more repetitive genre path to follow. There’s little mystery to the gonigs on, and neither actor manages to wrangle tension (even when staring our Midnight friend in the face…thing).

Scares are hard to come by because Zariwny opts for a more “charismatic” villain who talks like Scarecrow and appears as a dyed-black, cloaked Jack Skellington. He can form out of clouds and is a stickler for rules (candles lit at all times, 10 seconds to re-ignite, if you fail he exploits your deepest fear). Credit is noted given this villain’s backstory and strict instructions – which does make for a rather killer game of tag – but the need to converse and expose Midnight from shadows subtracts necessary mysticism. He’s a cocky demon with masks for each emotion (think woodland death imp emojis), but never the spine-tingling beast we find ourselves hiding from.

This is all a bummer because gore goes bonkers in the very first scene – with underage victims no less. One young player gets decapitated, another explodes into a red splattery mess (against fresh snowfall), but then a vacuous lull in process takes hold. It’s not until Alex’s fear of blood and Miles’ fear of pain that we get more eye-bulging squeamishness, then again when Kelly’s bunnyman appears. A no-bullshit, bunny-headed creature wearing a suit, which plays directly into Kelly’s deepest fear. When Zariwny gets sick and surreal, he scores – but it’s a disappointing “when.”

I take no pleasure in confirming that any small victory The Midnight Man claims is negated by kids who should’ve been offed for even thinking about a quick playthrough of Anna’s old-school entertainment. Invite him in, pour your salt circles and try to survive until 3:33AM – sounds easy, right? If the demon plays fair, you bet! But why would ANYONE trust a demon’s word? Makes sense given Alex and Miles’ ignorance of more red flags than a Minesweeper game, and a thrilling chase these bad decisions do not make.

  • The Midnight Man
2.5

Summary

The Midnight Man begins by striking a meteoric horror high, only to plummet back down towards repetitive genre bumbling once the game’s true – and less enticing – plot begins.

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American Psycho Meets Creep – Strawberry Flavored Plastic Review

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Starring Aidan Bristow, Nicholas Urda, Andres Montejo

Directed by Colin Bemis


Recently I wrote up an article here on Dread Central which was basically an open letter to anyone who was listening called “I Miss Found Footage.” Well, it seems like someone WAS listening, as I was then sent the link to an all-new found footage film called Strawberry Flavored Plastic from first-time writer-director Colin Bemis.

The film follows the “still-at-large crimes of Noel, a repentant, classy and charming serial killer loose in the suburbs of New York.” Basically, you could think of the flick as American Psycho meets Mark Duplass and Partick Brice’s Creep. That, or you could think of it as “Man Bites Dog in color!” However you choose to label Colin Bemis’ psychological thriller, just make sure you check out the film once it hits in the future.

As I alluded to above, the film is basically a found footage version of American Psycho. But that said, the film sports a twist on the charming serial killer subgenre that I have yet to see play out in any of the above-mentioned classics. I’m not going to go into spoiler territory here, but I will say that the film introduces an element to the tale that spins it into much more of a character drama than a straight horror film. Not that there is anything wrong with that!

Truth be told, the film’s turn from serial killer flick into a layered character study might have been its kiss of death, but this slight genre switch is rendered a minor issue as the film’s central narcissistic antagonist is played by Aidan Bristow. Bristow is an actor you may not have heard of before this review, but you will hear his name more and more over the years to come, I promise. The guy gives (no pun intended) a killer performance as the film’s resident serial killer Noel Rose, and time after time surprised me with how chilling, charming, or downright vulnerable he chose to play any given scene.

Bristow’s performance is, in the end, the major element the film has going for it. But that said, as a fan of found footage, I was smiling ear to ear at first-time director Colin Bemis’ understanding of what makes a found footage suspense sequence work.

In Strawberry Flavored Plastic director Colin Bemis is confident and content to allow full emotional scenes to play out with the camera directed at nothing more than a character’s knees. Why is this so important? Because it keeps the reality of the film going. Too many found footage directors would focus on the actors’ faces during such emotional scenes – no matter how contrived the camera angle was. In this film, however, Bemis favors the reality that says, “If you were really in this emotional state and holding a camera, you would let it drop to your side.” I agree, and it is small touches like that which make the film feel authentic and thus – once the shite hits the fan – all the scarier.

On the dull side of the kitchen knife, the film does feel a bit long even given it’s short running time, and there doesn’t seem too much in the way of visceral horror to be found within. Again, graphic blood and gore aren’t a must in a fright flick, but a tad more of the old ultra-violence would have gone a long way in selling our main psychopath’s insanity and unpredictability. But all the same, the film does feature a rather shocking sequence where our main baddie performs a brutal home invasion/murder that puts this film firmly in the realm of horror. In fact, the particular POV home invasion scene I’m talking about holds about as much horror as you’ll ever wish to witness.

In the end, Colin Bemis’ Strawberry Flavored Plastic is a must-see for fans of found footage and serial killer studies such as American Pyscho, Creep, and Man Bites Dog. I recommend giving it a watch once it premieres. If only to be able to point to Aidan Bristow in the near future and tell all your friends that you watched (one of) his first movies.

Until then, check out the film’s trailer HERE, and follow the movie on Facebook.

  • Strawberry Flavored Plastic
3.5

Summary

Lead actor Aidan Bristow turns in a star-making performance in Colin Bemis’ Strawberry Flavored Plastic, a found footage film that plays out like Man Bites Dog in Color before introducing a new element to the charming-serial-killer subgenre and becoming more character study than a straight horror. Think American Psycho meets Creep.

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Who Goes There Podcast: Ep 148 – Inside (2017 Remake)

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We’ve all heard the old saying, “in this world nothing can be said to be certain, except death and taxes.” Well, I’m here to tell you that’s only partially true. It seems there is a third certainty that had been omitted from the original quote, “It is certain, if you enjoy a movie, at some point someone will remake that movie.” Now is the time when one of my favorite movies gets reimagined, “for an American audience”.

In the late 2000’s an explosion of “French extreme” horror films was released. Martyrs and or High Tension can often be found on any number of lists of the “most fucked up horror movies ever”. Unfortunately, the vastly superior Inside is often forgotten (as well as Frontier(s), but that’s a whole ‘nother rant). Now, ten years after it’s initial release, Inside has been Americanized. Don’t worry, we watched it so you don’t have to. You’re welcome.

Mommy says you’re not dead. Is that true? It’s the Who Goes There Podcast episode 148!

If you like what you hear, please consider joining our Patreon subscribers. For less than the cost of a beer, you get bonus content, exclusive merchandise, special giveaways, and you get to help us continue doing what we love.

The Who Goes There Podcast is available to subscribe to on iTunes right here. Not an iTunes user? You can listen on our Dread Central page. Can’t get enough? We also do that social media shit. You’ll find us on FacebookTwitterInstagramTwitch, and YouTube.

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