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Film Review: 'Oddity' is a Little Chiller That Shows a Lot of Atmospheric Promise – Awards Radar

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Film Review: 'Oddity' is a Little Chiller That Shows a Lot of Atmospheric Promise – Awards Radar
IFC Films

Dread is a great tool for horror. Even if nothing overtly terrifying is happening on screen, if there’s an element of dread on hand, you’re primed for anything. Horror uses it better than any other genre, so a good genre filmmaker can go to town. Oddity is a solid example of this, as a horror movie bathed in dread. It’s nothing like the recently released Longlegs, but then again, what is? Taken on its own, this is an effective little fright flick.

Oddity is the sort of film that works best as a calling card for its director. Beyond that, the atmosphere on display is worthy of praise. The story itself is a bit on the light side, but it winds up coming together in a pretty interesting way. If you like smaller horror films, then this is one to check out, as it delivers far more than it doesn’t.

IFC Films

One year after Dani (Carolyn Bracken) has been brutally murdered at the home in southwestern Ireland she shared with physician Ted Timmis (Gwilym Lee), the latter is still living there. He claims it’s because it’s close to his job at a nearby psychiatric hospital, though others think there’s more to it than that. Ted’s former patient Olin Boole (Tadhg Murphy) has been pegged with the slaying, though again, not everyone thinks that was the case, especially when Olin was savagely killed shortly thereafter. When Dani’s blind twin sister Darcy (also Bracken) shows up on the one year anniversary of the murder, she startles Ted and his girlfriend Yana (Caroline Menton). Darcy is a medium and has a gift for him, one that he’ll wish she had not brought with her.

From here, the supernatural begins to rear its head. Darcy has a wooden mannequin for Ted, which belonged to her and Dani’s mother. He’s not interested, while Yana is hugely put off by her and the doll, but they want to be polite. The longer Dani is around, and the more trance-like she gets, the more scared Yana gets, eventually with very good reason.

IFC Films

The cast lends an effective seriousness to the proceedings, even if no one here outright blew me away. The main trio of Carolyn Bracken, Gwilym Lee, and Caroline Menton anchor things with a quietness that is almost more befitting a drama. Bracken gets to do some interesting things later in the game, while Menton gets to be effectively frightened, but they’re all in service of their director’s vision. In addition to Tadhg Murphy, the supporting cast includes Jonathan French, Joe Rooney, Steve Wall, and more.

Filmmaker Damian Mc Carthy should have a nice future in horror, given his sense of atmosphere. He utilizes dread and some occasionally gnarly visuals to good effect. His direction is ahead of his writing, as the pacing is a bit slow, but it eventually comes together. Oddity lives up to its name, but it does feel longer than it’s under 100 minute running time. Once Mc Carthy tightens things up a bit, his next work will not just be good again, but almost assuredly great. I’m bullish on his talent, that’s for sure. At a certain point, you’re stressed at the horrific possibilities, which is huge within the genre.

Oddity never ascends to the next level, but as a small fright flick with some strong atmosphere, it works. The sense of dread and potential for terror is there, so when Mc Carthy makes another genre effort, I’ll be there. He’s got the goods.

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SCORE: ★★★

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Movie Reviews

Dallas King’s ‘SWAP’ (2024) – Movie Review – PopHorror

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Dallas King’s ‘SWAP’ (2024) – Movie Review – PopHorror

Swap, written, directed, and starring Dallas King, is a new film that has turned the tables on typical vampire movies. It could easilyhave been a trashy romance novel. Swap is a modern-day 70s exploitation film.

Check out the trailer below, then read on for the review!

Synopsis

New couple, Rad (James Eastwood) and Kyla (Jessica Lelia Green), are invited by Glory (Erin Anne Gray) to celebrate her engagement to Angelo (Dallas King), her mysterious new boyfriend. At Angelo’s secluded house, Rad discovers that Glory and Angelo are swingers looking to swap partners. When Rad tries to persuade Kyla to leave, her curiosity leads to a steamy encounter where she learns that Angelo is a 500-year-old vampire with sinister intentions.

Dallas King, Jessica Lelia Greene, and Erin Anne Gray

I don’t watch many vampire movies but this one kind of stuck with me and left me confused. I couldn’t relate to the story because, in all honesty, it was a little repetitive to me. There are a great moments however. The story is different than your typical vampire fare. The acting is also pretty strong. You can tell everyone put their heart into making this. And there are moments int he film that really made me think.

Sexy vampires isn’t a bad theme, but I’m also very timid. I think the sex overpowered the film, and while the sex story sells to a lot of people, for me, it’s not so much. It’s a love-it-or-hate-it type of movie, although a slight grey area is locked deep away, and I found it. I wanted to see the bright side. I just couldn’t.

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I enjoy a good horror movie sex scene that gets you killed by a slasher. With Swap, however, I felt like I was watching a Misty Mundea film. I felt like I needed a shower after because that’s how down and dirty it is.

To Be Fair…

I am a fair guy; I’ll give everything a watch one time. I am not big on modern horror outside of a few franchises. Maybe that was my problem with this, or maybe it was all the sex. Unfortunately, for whatever reason, it lost my attention. This is all just my opinion; as I said, everyone should give it a shot at least once. It may not be my cup of tea, but it will sell to fans who know what they like, and I can commend the hard work everyone put into this film.

James Eastwood and the ladies

In The End

I have no interest in sex horror. To me, this movie had so much potential, but just went in a weird direction. I’ll stay in the gray area for a while because, though the story was interesting enough, it made me feel awkward watching it. But in the end, this movie is going to be fantastic to a lot of people, and that’s perfectly fine.

What promised to be different was run-of-the-mill, in my opinion. It’s not that I wasn’t interested, but there was more sex than story, This is just one opinion, I always let people enjoy things; just because you have an opinion, it isn’t a rally to not watch this movie. See it for yourself.

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Movie review: 'Gladiator II,' same story 24 years later

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Movie review: 'Gladiator II,' same story 24 years later

This page may contain affiliate links. If you choose to purchase after clicking a link, we may receive a commission at no extra cost to you.

Mild spoilers ahead (though nothing the trailers didn’t already reveal).

I recently rewatched the original “Gladiator” to set myself up for success when going to the theater for its long-awaited sequel. Instead, I found myself wondering what happened to director Ridley Scott. The original “Gladiator,” released in 2000, is a borderline classic that stands the test of time. In contrast, some of Scott’s most recent work seems uninspired and grasping to be something it’s not. I’m specifically referencing “Napoleon,” “House of Gucci,” and now “Gladiator II.”

Gladiator II poster

While “Gladiator II” has its grand moments that get you all giddy in your seat because the action is so epic, I mostly found myself bored in the “between” parts of this 150-minute movie. This film has pacing issues. “Gladiator II” ebbs and flows between one set-piece sequence to the next with no regard to the audience. A few of the story moments around the identity of Paul Mescal’s character, “Lucius,” specifically feel as if the writers thought they need to hold the audience‘s hand to the reveal, despite the trailers and all marketing material already revealing who he is. 

Paul Mescal, Gladiator IIPaul Mescal, Gladiator II

On top of the pacing issues of the film, I never fully bought into the other story points around “Gladiator II.” Some narrative moments feel like a lazy retelling of the first film while others seem shoehorned in order to give the high-paid actors something to do. 

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The Bouncer (2024) – Movie Review

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The Bouncer (2024) – Movie Review

The Bouncer, 2024.

Directed by Massimiliano Cerchi.
Starring John Ozuna, Costas Mandylor, Rosmary Yaneva, Vincent Rivera, Nick Turturro, Gerald Okamura and Tayah Kansik.

SYNOPSIS:

In Romania, fugitive Frank Sharp takes a job as a bouncer. Saving a woman from abuse, he discovers she’s trafficked. They escape together but are relentlessly hunted.

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Opening with Frank Sharp (John Ozuna) starting his new role as a nightclub doorman in Romania, The Bouncer wastes no time in setting its story into motion. Sharp has barely started his job before we get a sense of his moral fibre as he struggles to standby when the crime boss, Kane is using his hands to discipline his girlfriend, Silvia (Rosmary Yaneva). Despite his cohort’s warnings to turn a blind eye, Sharp inevitably can’t and when he does intervene he and Silvia (who has been trafficked) go on the run with a criminal organisation on their tail. Fight scenes and car chases ensue.

If it all sounds familiar, it’s because The Bouncer takes a tried and tested formula that feels like the kind of film that was almost limitlessly turning up on the shelves of your local Blockbuster or Ma and Pa video store back in the 90s. Where we get a little variation is that Ozuna, whilst playing a character haunted by a troubled past, isn’t a dark, brooding and flawed hero. He has a strong moral code, drawn to help the good folk overcome their evil oppressors. That’s not to say he takes the softly softly approach, because Sharp (with help from Ozuna’s martial arts background) delivers no shortage of double dick punch beatdowns. 

Ozuna has enough sincerity and humility to make Sharp likeable and he’s backed by a solid cast. Mandylor always relishes playing the villain and is suitably gruff and menacing as Kane, whilst Turturro (as always) brings his A game in a small role as a Doctor. Then there’s the always-welcome presence of the inimitable Gerald Okamura whose inclusion definitely makes this feel like a lost video action special from the 90s (which is obviously a good thing). Prolific producer/actor, Simon Phillips also pops up as Ozuna’s fellow bouncer who helps him along the way. Phillips has also just unleashed one of the barrage of Mickey Mouse-themed public domain horror riffs racing to get to audiences first. The Mouse Trap managed to get over the line first. 

Massimiliano Cerchi has been there, done it and got the T-shirt (and the gold chain, which he dons in an enjoyable director’s cameo). The budget leaves it rough around the edges in places but Cerchi manages to bring it on home and unlike all too many action films these days, keeps things lithe with a runtime that comes in at comfortably under 1 hour 20 minutes. As said, there are some refreshing touches laced throughout thanks to Adrian Milnes’s script that doesn’t retread that tired miserable (anti-)hero trope (as seen with Jean-Claude Van Damme’s jaded and broken anti-hero in Darkness of Man) that every film of this ‘Taken style’ ilk seems to follow.

One other pleasing aspect here is the use of Romania as a location. 20 years ago it was a staple of the DTV action realm with the likes of Van Damme, Seagal and Lundgren virtually residents they made so many films in the country. Of late, Romania doesn’t seem to be as frequently used. Here we get a nice mix of cold modern streets, grimy back streets and remote buildings as Sharp and Silvia try to stay ahead of their enemies. Those action scenes set within the Romanian locales are nicely put together but have a ceiling due to budgetary restrictions. The car chases are short and to the point but perhaps leave you longing for a car flip or explosion here or there. You can’t have it all, I guess and having worked in low-budget cinema I know all too well how difficult it is to eek out every cent to deliver bang for the buck. 

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Overall this is a simple but enjoyable action film that delivers what audiences expect and yet still manages to lace in some fresh touches. It doesn’t resort to being relentlessly dour, or overly wise-cracking, striking a good middle ground that not many sit within nowadays. It doesn’t reinvent the wheel, but this motor definitely has a smooth ride. 

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★

Tom Jolliffe

https://www.youtube.com/watch?v=embed/playlist

 

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