They Live Inside Us is a Nostalgic Little Thriller

Back in 2016, I reviewed a little anthology here by Witching Season FIlms. Michael Ballif and the team give a nostalgic nod to the halloween season by creating shorts of different genres and delighting fans with top-notch stories and editing. At the time of writing, there are five episodes available to peruse and enjoy, with rumors of a second season to come.

Ballif introduced his first feature, They Live Inside Us, this year - a full version of a previous award-winning short of the same name. The story follows a writer, Jake (James Morris), and his daughter Dani (Emily Broschinsky), who spend the night in a rumored-to-be haunted house to inspire lost creativity. The two are recovering from tragedy, and what better way to heal wounds than by opening dark, new, terrifying ones?

The film contains its own anthology of sorts while Jake spends his time trying to perfect his own story. He turns to a list of horror movie monsters and employs them in various stylized, vintage-esque vignettes throughout the film. Here we see the unnamed woman (Hailey Nebeker) running from the masked killer, haunted by the scarecrow, or followed by an unsettlingly effective evil clown. Morris really shines here as Choppy the Clown; not only does he play Jake, but each of the monsters, in turn. Wherever he might stumble in dialogue, he more than makes up for with facial expression. Also of note is the introduction of Broschinsky, who somehow steals each scene she’s in.

While definitely a slow burn, the film’s pacing never seems to suffer due to satisfying scares and atmosphere. Ballif’s greatest strength is his eye for detail and set design. Despite its more predictable turns, there is a kind of polish to the design one doesn’t expect from first time feature filmmakers. Another great feature is the sound and music, which adds greatly to the ongoing sense of dread and confusion the film employs.

Between Jake’s story, the real-life horror for him and Dani only grows. What is behind the locked door in the kitchen? What about the gurgling sounds coming from the bathroom? What really happened in this house, and what memories are still haunting it? As the night goes on, more questions than answers reveal themselves until the climactic conclusion.

Much like the original anthology, They Live Inside Us is full of nods to horror classics and familiar, comforting (for the freak in all of us) tropes. It’s easy to tell that everyone involved really loves horror, and loves working together to make something tangible out of that love and admiration for the genre. With an earnest effort given, They Live Inside Us is a promising start for what I hope is a long, burgeoning career for those involved.

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They Live Inside Us is available to watch on iTunes/Apple TV, Amazon, VUDU, Google Play, Microsoft (XBox), Redbox on Demand, Vimeo, and Youtube Premium.

Fear Itself

Here is what you should know about Fear Itself going into it. This is a documentary...with a twist. Two twists, actually: 1) There is a scripted, fictional narration over it. The woman speaking to the audience talks about how she recently underwent a trauma and has since become addicted to watching horror movies. As you maybe can guess, her dialogue revolves entirely around our relationship to fear and how the genre affects us. 2) The entire movie is made up of clips from other scary films. These range from the classic to the obscure, in English and otherwise.

Let’s start with the good stuff. I had a WONDERFUL trip down memory lane seeing clips from some of my most beloved movies. Nearly all the scenes chosen are those tension-filled moments before the monster, slasher, creature, or whathaveyou comes into the frame (and yes I do mean ‘nearly’, we’ll come back to that). A great number of those clips are from movies I’ve never seen. I was struck by how cool that was! Whilst watching, I actually started a list of scary films I want to track down ASAP.

I also want to commend director/writer Charlie Lyne for using this unfamiliar tactic of documentary/narrative. I can honestly say I’ve never watched anything with that structure. And yet...I have to be honest, that device did not work for me. It just didn’t. I realize it would have defeated the filmmaker’s whole point, but I really would have benefitted from multiple actors narrating the piece. A change in tone, inflection, pacing, or maybe even accent would have made me more engaged. When I could tune in for pieces of dialogue, I understood that the things she was saying were often interesting and insightful, but the nearly monotonous and unending stream of her voice made it extremely difficult for me to stay focused on what she was saying. I found my mind wandering to either reminiscing on the clips being shown, or thinking, “Oooo, I gotta see that one!” and scribbling the title down in my notebook.

Remember earlier when I said that "nearly" all the scenes were those tension-filled instances right before climactic moments? Well some of them gave away too much. In fact, they were downright spoilers. Just be warned about that going in. Perhaps more problematic than the above is this: what makes so many of those classic movie moments special is how engrossing or captivating they are. The last thing I want, while watching those pieces, is to hear someone speaking over them. No matter how intelligent, observant, or interesting the narration was, her words just couldn't compete with the powerful, frightening, and exciting images on the screen. Some of those visuals are so stunning, they’re what made many of us fall in love with horror. I like to think I can appreciate where Lyne was going with his vision, but it failed to hit the mark for me.

Fear Itself is available for streaming in the UK on BBC online.

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~ Sandra (@LilMsMnstr)

Witching Season Films - Horror Anthology

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Thanks to the success of such anthologies as Trick ‘r Treat, Tales of Halloween, and Southbound, horror anthologies don’t seem to be going anywhere. I’m pumped about that! Like hors d’oeuvres, they allow us to get a sample serving of delicious horror from all sub-genres; there’s always something for everyone. They also inspire wonderful conversations as the anthologies themselves are as unique as those who watch them. One that I want to talk about it in particular is available on YouTube called: The Witching Season.

The Witching Season describes itself as “a Halloween horror anthology series composed of short horror films that are presented on YouTube as a free web series. Inspired by classic anthology shows such as 'Tales From The Crypt', 'The Twilight Zone', and 'Are You Afraid Of The Dark?', The Witching Season delivers originally produced tales of terror, all set during the Halloween season. Fueled by nostalgia, the series pays special attention to the spirit of Halloween and reminds us of the magic that exists during that special time of year.”

The Witching Season brings you delightful self-contained episodes to startle your scary bone (I have a scary bone, don’t laugh) The first thing that stands out is the fantastic original music by Slasher Dave in the opening credits. It’s immediately reminiscent of 80s horror synth which always brings to mind the master of horror himself, John Carpenter. The music adds to the hype of what’s to follow, which is impressive production quality and dedicated actors. As each episode is a stand-alone and less than 20 minutes, it makes for a quick yet rewarding viewing. Childhood fans of Goosebumps and Halloween in general will especially enjoy this. With only 3 episodes so far, you can get caught up right away and get right on the hype train that’s waiting for the next one!

Episode 1: Killer on the Loose
Written, Directed, Shot & Edited by Michael Ballif

Fans of slashers take note - this is your episode. Of the three, I found this episode the weakest. I have a sneaking suspicion it’s only because it’s not my favourite subgenre. As with any other show, the first episode aims to get the show’s feet on the ground, and this one hits it running (quite literally) with an assumed escapee of a mad killer...on the loose.
One moment that stood out in particular is the use of Night of the Living Dead playing on the TV in a house in which the main character takes shelter at one point. The score adds a tension that is palpable in a creative way. It also served as an interesting interjection as the episode is entirely without dialogue. Though the premise and characters are a bit unimagined, you might find yourself impressed by the twist at the end.

Episode 2: Princess
Written, Directed, & Edited by James Morris

This episode’s premise? A haunted doll, left behind by former tenants, is discovered by a young girl after moving into the new house. For once, this is a genuinely creepy doll that’s not of the humanoid variety. Pediophobia, the fear of dolls, is a reality for many people. I’m not usually bothered by wee porcelain babes but I could not deny the sinister glare of Princess’ eyes.
Child actors are hard to love, but this one plays her role perfectly - somehow coming across still likeable and just a little bit bratty. I found myself actually wondering about the lives of the characters in this episode - they felt very real! Little Jamie wakes to a noise and peers down the stairs with a flashlight: “Are there mice down here?” she whispers, which I found adorable.
I was a big fan of the cinematography in this episode - a quality that keeps improving as the show goes on. I especially loved the last shot. This episode has a particularly childlike quality that isn’t found in the others but it really worked for me.

Episode 3: Not Alone
Written, Directed, & Edited by James Morris

This one is my favourite of the bunch! Like any quality cheese or fine wine, this anthology show keeps getting better with age. This was the episode that made me jump and say, “Ohhhh” - which is seriously difficult these days especially when aliens are involved. There’s a wonderful use of lighting and playing with shadows that mimics the foolery of our own brains. We’ve all mistaken a lump of clothes or hanging jacket for a ghoul, haven’t we? It’s a most unnerving experience. I especially enjoyed the radio in place of dialogue (and if you listen, you’ll even hear a tie-in to the previous episode!). Overall, the use of sound was superb and I enjoyed the tension throughout the episode. Most impressively, it resisted my most-hated horror trope that involves a mirror. I nearly cheered when it proved me wrong.
If you’re only going to watch one, make it this one!

The Witching Season is clearly a labour of love made by true horror fans. I have high hopes for subsequent episodes; they just keep getting better. Check them out, you won’t regret it!

-@bexbz

"Online Dating Can Be Murder: A Review of Indie-Horror film, Other Halves"

Indie-horror movies seem to be not only growing in number, but also rising with respect to their all-around quality. With so many cookie-cutter horror movies being released in theaters throughout the year (not to mention the multiple sequels that are sure to follow), it’s always refreshing to see low-budget, indie films from the horror genre that attempt to accomplish something different. This seems to be exactly what writer/director Matthew T. Price and writer/producer Kelly Morr sought out to do with their 2015 debut feature film, Other Halves. Part sci-fi thriller, part dark comedy, Other Halves is a satirical and gruesome look into the dangers of technology, urging us to reexamine how much of our lives we share on the internet.

Devon (Lauren Lakis) talks shop with fellow programmers Shawn (Sam Schweikert), Beth (Megan Hui), and Jana (Melanie Friedrich).

Taking place almost entirely in a San Francisco office over the course of one night, Other Halves centers around a team of programmers, working diligently to prepare their revolutionary new dating app, "Other Halves", for its next-day release. This app sets itself apart from all other dating apps on the market by pairing people together based on an analysis of their entire internet history. As the night goes on, the programmers (who we learn are also long-time friends) discover a bug in the app’s code which, upon loading, causes the user’s full internet history to be displayed in rapid succession, on the screen of their device. The result of this odd glitch is, instead of finding the user’s “other half” in another individual, the app brings out a side of the user that is both depraved and murderous. One-by-one, the programmers begin to fall prey to the power of Other Halves.

Shawn and Beth gettin' their code on.

I was particularly impressed with the casting in this movie. The group of programmers, who essentially make up the entire cast, are almost all female! The lone male of the group, Shawn (Sam Schweikert), seems to serve as little more than the hopeful love interest to Beth (Megan Hui) - which, I must say, is a refreshing reversal of what I have come to expect from movies; especially those set in the world of IT. Newsflash: ladies love technology, too! While I feel the cast, as a whole, delivers solid performances, Lauren Lakis’ portrayal of programmer Devon is arguably the strongest of the bunch. She brings a level of personality and realism to a character who might have easily fallen victim to the film’s often underwhelming and unnatural-feeling dialogue. There are more than a few moments where the progression of the film’s fragmented narrative tends to get lost by the characters’ delivery of technical exposition and overuse of quips.

Devon heads towards the "dioramas of death."

The movie also contains a surprising amount of nudity. While I’m no stranger to nudity in horror movies (topless ladies are a common and familiar trope), the nudity in Other Halves feels misplaced and baseless - though I do appreciate the inclusion of both male and female nudity. Despite its few shortcomings, Other Halves has quite a bit going for it. The film offers up some rather impressive and visually striking shots. One of the most exciting and unforgettable scenes is when Devon walks through what Price refers to as the “dioramas of death.” Everything from the lighting, to the editing, to the sound design works to create a thrillingly disturbing series of shots. Almost every frame feels like something that could easily have been plucked from any number of classic horror slashers.

Despite my initial confusion with why the programmers are working at night, with such low lighting in their office, the use of low lighting is successful in creating an atmosphere that can be either comfortable or suspenseful. It helps to create a sense of unease for the viewer. Price also utilizes neat digital tricks, which he and co-writer Morr refer to as “codebrain”, to give scenes a trippy, sci-fi feel, while illustrating to the viewer that a particular character is losing their grip on reality. He also employs the use of text message bubbles to show conversations taking place between characters. I personally love the use of on-screen text bubbles in movies and think their employment in the film was one of the smartest decisions made. They provide such a clever and visually interesting way to conveniently show character interaction while, at the same time, moving the plot forward.

Outside of the more technical aspects of the film, the underlying story is perhaps not as polished and clear as would be ideal. Don’t get me wrong, the idea of technology causing seriously negative psychological effects on the human brain is one that I’m particularly fond of. However, what Other Halves has in the way of an uncommon and compelling idea, it lacks a bit in clarity and execution. I was slightly disappointed not to get any kind of scientific explanation of what was taking place between the technology and the characters’ brains. While I don't feel as if this lack of exposition significantly took away from the narrative, as a whole, I do feel it would have benefited the film to spend a small amount of time providing some of the explanatory science behind this unusual anomaly.

An example of "codebrain" in a scene with Devon and Jasmine (Mercedes Manning)

On that same note, by leaving the explanation ambiguous, it allows the viewer to create their own interpretation. For example, the idea that the app causes the characters to essentially lose all conscience and inhibition made me think of Gaspar Noe’s intensely disturbing 2002 film, Irreversible, and how he employed the concept of infrasound, also known as “the fear frequency”, in the film’s opening scene. In the first 30 minutes of Irreversible, the viewer is subject to a nearly inaudible background noise, with a low frequency of 28 hz (sound waves with frequencies at 20 hz or below are considered to be infrasound and are below the lower limit of human audibility). This was intentionally done to cause the viewer to experience feelings of nausea, dizziness, and vertigo. I felt like the physical effect this film’s titular app had on its users played with that same idea. It’s an interesting theory that, despite being infrequently explored, I feel lends itself really well to the horror genre.

Other Halves is a refreshing break from the seemingly endless barrage of sequels and prequels Hollywood keeps shoving down our throats (I’m talking to you, Ouija 2!). It uses technology and social media, things very near and dear to all of our hearts, and creates something evil that should be feared. Skillfully shot and admirably acted, Other Halves takes its viewers on an original and gruesome ride as it illustrates why people should be wary of how much trust they place in technology. Despite shortcomings with the dialogue and story, Other Halves is an imaginative and entertaining debut feature that is well-worth the watch for any serious fan of the horror genre.

• Jamie

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One of The Bloodlust's OGs, Jamie has heard, "I can't believe you can watch that stuff" for most of her life. Though willing to give any movie a try, those involving time travel, home invasions, or cults tend to be her favs. She's also not ashamed to admit she loves found footage.

@jamiestamp

Other Halves

2015/NR

Director: Matthew T. Price

Writers: Matthew T. Price & Kelly Morr

Stars: Lauren Lakis, Mercedes Manning, Lianna Liew

The movie starts with a commercial for Other Halves, a dating app that looks at the usage on your phone and uses it to pair you with suitable matches. Sounds like a fascinating idea, right? If you're like me and spend way too much time attached to your smartphone, it would give you a pretty accurate match.

After the commercial, we are introduced to the group of programmers who are testing the app before its release the next day. The majority of the programmers are women, which is a refreshing change from the usual representation of computer gurus. While testing the app, they notice a glitch in the loading screen that causes anyone who uses it to black out and commit violent acts. Instead of finding their other half in another person, they find the darker other half within themselves. 

This movie is especially impressive when you consider that it is a low-budget independent film. It looks like a film that easily could have come from a major studio. It is well-edited and has a soundtrack that adds to the general ambiance of the whole film. It jumps right into the action, yet still manages to leave the viewer guessing for a while, as to what is actually happening. It is refreshing to see a group of programmers consisting of mostly women and the film passes the Bechdel Test with flying colors. The acting is great and the actors have a nice chemistry that doesn't feel forced - it actually felt as if they've been acting together for a long time. I'm really excited to see what the director and writers come up with next. 

 - Karen (@karenmarsack)