The Borderlands / Final Prayer (2013)

2018 has been the year I don't quite understand what the fuss is about. See: Revenge, Hereditary (though that wasn't helped by a shitty viewing experience) and now that I've finally seen The Borderlands, this is the latest.

Don't get me wrong, I didn't hate or even dislike any of these movies. I just didn't seem to get from them what the vocal majority did. I know we're all allowed to have our own opinions, but it's pretty frustrating to be aware of a tidal wave of excitement over a movie that personally left you feeling more like "...that's it?".

So here we are at The Borderlands, or Final Prayer as it's been renamed for the US market. An English found footage flick and feature film directorial debut of Elliot Goldner (who also wrote it).

It follows a team of Vatican investigators as they set up camp in a small town to try and disprove a "miracle" that took place in the local church. The core group is made up of Deacon (Gordon Kennedy - always a pleasure to watch), Gray the tech guy (Robin Hill) and Mark, an uptight priest (Aidan McArdle).

They set up cameras all over the place and wear head-cams, so all of the footage we see is supposedly from these sources.

Which is fine... but the found footage aspect of this film seems more technique than theme, to be honest. There's no narrative book-ending or explanation as to how these cameras were found (a big question, given the denouement) or who edited it all together and/or what the purpose is of us watching it. I guess there doesn't always have to be a Blair Witch Project intro screen for these types of movies, but something to explain some context would be nice?

Nevertheless, we follow the investigations of these men as they scrutinise the church and hang out at their rented cottage. During the day there are weird happenings that Deacon and Mark, the most explicitly religious members of the group, are cynical of and try to explain away. Gray - who took this job purely for the money, and told a white lie about his faith - is way more spooked.

At night, more unsettling things happen, until ultimately the group find themselves performing a ceremony which doesn't exactly go to plan... culminating in a deeply uncomfortable final sequence. 

The main problem I had with this movie was that the gradual climb of the first two acts was too repetitive and slow. Despite definite moments of creepiness, the building of suspense just didn't hit the mark. The payoff here literally comes within the final few moments - rather than the entire film working as a whole in laying the groundwork, with an alarming finale as the cherry on top.

Perhaps on a re-watch I might feel differently?

Something The Borderlands did do successfully was make me miss the English countryside. We are shown a fair amount of it as the team drive around and traipse through fields. It gave me pangs!

I rented this one on Google Play, and I think it's available on Amazon, also. Give it a watch and tell me what I'm missing.

The Devil's Candy (2015)

The Devil's Candy was pretty much buried on Netflix, and it's only because I regularly make a pass through the horror section that its artwork caught my eye (see above - how could it not?). So I read the blurb, took a swift look at the IMDB and Letterboxd pages (more to see what its average user rating was than anything else) and that was enough. Onto the list it went.

This was written and directed by Sean Byrne, whose only other horror credit seems to be The Loved Ones. The plot revolves around a close family of three (mum, dad, daughter) moving into a new house and strange, dark forces at work both inside and out of their new home. 

Daughter and father metalheads 

The house seems to speak to those with an open enough mind to hear it, including dad Jesse (Ethan Embry - who has come a LONG way since Empire Records) and Raymond (Pruitt Taylor Vince), a troubled individual who used to live there.

Jesse is a struggling artist and takes over the garage/barn area of the new place to paint. However, even for a metal fan, what ends up being committed to his canvas in this new studio takes an extremely dark turn.

Going into rapture-like states to create these images, Jesse loses all track of time, painting solidly for hours on end and failing to pick up his daughter Zooey (Kiara Glasco) from school on more than one occasion.

The images he creates are frightening. The reason he's creating them, we learn eventually, is extremely tragic.

Taking place during an unnaturally hot Texas summer, this feels oppressive and intense. Jesse most of all is seen sweating and/or shirtless, a panicked and pained expression permanently on his face as he tries to make sense of what is threatening his family. 

❝He's no mask in a Halloween store, he's not what you see in the movies. He is an active, violent, anti-God personal reality. And as much as we refuse to admit it, he lives through us.❞
− TV Preacher

An "active, violent, anti-God personal reality" is a perfect description of the villain in this movie.

I could not shake how much Raymond looked like Harvey Weinstein, too. Just to add another layer of evil repulsiveness on top of an already detestable character.

It's not just in atmosphere that this film succeeds; stylistically too, The Devil's Candy knows what it's doing. Watch for the use of light in the final shot, and for the scene with cross-cutting between paint hitting the canvas and blood spilling from a murder. There really isn't much gore to be had in general here, with the more brutal stuff happening off camera, but the glimpses of a bathtub dismemberment are more than enough to unsettle. 

This one may be my favourite new discovery so far this month. Simple, satanic, stylish, and streaming on Netflix now. At 1hr19mins it's definitely worth the time commitment.

As Above, So Below (2014)

Well this fits nicely next to Verónica, because writer/director John Erick Dowdle also directed Quarantine, the American remake of [Rec]. It all ties in!

Maybe because it was actually filmed in the Paris catacombs, or that there are some genuine moments of "oh fuuuck", or that I was reminded that it follows Dante's Inferno... and maybe all three, but I was surprised by how much I enjoyed this the second time around.

This found footage flick follows a group as they break into the intensely claustrophobic catacombs that lie beneath Paris. They're searching, we're shown in annoying scenes of exposition/set-up, for a mysterious ancient stone and possibly treasure, too. Lead character Scarlett (Perdita Weeks) is a tomb-raider style daredevil daughter of some old bloke who discovered the secrets of alchemy. Or something. I dunno, it's not really that important.

On their underground adventures, Scarlett and her accumulated crew (including Ben Feldman, "Ginsberg" from Mad Men) find both the desired stone and loot, but in the process, they also encounter cults, violent apparitions of their past, and maybe even Satan himself.

Honestly, the plot is kind of secondary to what Dowdle is trying to achieve (down) here. 

Rather than do the decent thing of just losing their minds with fright after the first cave-in, the group continues on as they become repeatedly trapped and blocked in their passage through the catacombs; journeying deeper, further, squeezing through tiny tunnels and dropping down bottomless-looking pits.

For an atheist, I do still find religious/blasphemous-tinged horror pretty unnerving when done correctly (just ask Baskin) and so as the weary travellers realised they may be descending into Hell, I definitely found it an unnerving experience. The imposing darkness and impossibly labyrinthine routes they take don't help to un-jangle the nerves, either.

❝According to mythology, that's the inscription over the gates of hell.❞

 − Scarlett.

As the group thins, we learn more about what this system of caves really represent, and how the remaining individuals might escape. The aspect of the narrative with the mystical stone is absurd, but at least it allows for some more scares.

Two impressive set pieces have always stuck in my mind from this film, even when I initially wasn't convinced of its merits. The burning car deep underground, and the manhole cover scene at the film's end. For all the irritation I felt at Scarlett & Co. at times, the inventiveness and audacity to conceive of and execute both of these ideas is something I must tip my hat to. 

As Above, So Below is an effective, imaginatively claustrophobic nightmare punctuated by solid scares. It must have played brilliantly in a cinema environment.

Ignore the earnest jabbering at the beginning and stick with it, it's streaming on Netflix now.

Verónica (2017)

There seems to have been an annoying tradition over the past couple of years, where a new horror film will come out to headlines of "This Is The Scariest Movie Ever!" or "Netflix Users Can't Finish This Movie!". As I recall, Verónica was one of the films that got this treatment.

And I get it. It creates a buzz around the new release and one way or another - through people seeking a scare, or to prove they can handle it, or just plain curious - it gets viewers. The problem I find though is that this buzz kind of infiltrates my brain and creates hype where there wasn't any (and wasn't any needed) before. It's like going to the cinema and right before going into the screen, someone tells you the film you're about to watch is the best film ever! How can it possibly live up to that?

Obvious observation time: Verónica is not the scariest film ever, and it's easy to get through it without having to turn off in fright. It kind of reminded me of [REC] which, I learned later, made perfect sense as it's from Paco Plaza, the same director. It's reminiscent in places, rather than in any way similar; way less visceral, more contemplative and creepy. It's the quieter teenage sibling of Plaza's breakout film.

Based on a true police report, this depicts the alarming supernatural occurrences that take place after Madrid teen Verónica (Sandra Escacena) and two schoolfriends dabble with a Ouija board during a solar eclipse.

This is not a standard tale of possession, rather, it's the pursuit of a young woman by dark forces that she never intended to invite into her life. Verónica was trying to contact her deceased father but instead is caught in a week-long struggle against faceless humanoid demon figures stalking her house, threatening to harm her and her three young siblings.

Apart from teachers and nuns, their lives are rather adult-less, with their single mother working hard at a bar every evening and weekend. Verónica as the oldest is caretaker to her sisters and brother, and every weekday is a repeat of the one before: getting everyone ready and walking to school (established early on as a responsibility she takes seriously, so when we see it gradually break down, we know that shit is going wrong).

It must be mentioned that the kids in this film are one of its strongest points; their acting is so natural and the bond between Verónica and her siblings is warm and very apparent. They are cute, good kids - which makes the looming shadow over their existence all the more worrying.

Likewise, Escacena is amazing as Verónica (or "Vero" as she's known), charting the decline from normal 15 year old - old beyond her years nonetheless, due to circumstance - complete with fickle and catty friends who very much reminded me of the pain of being that age; to a bruised, isolated and exhausted husk of her former self. 

There's a couple of really interesting scenes where Verónica watches a girl in an apartment across the way from her, and it's clear this girl is meant to be her mirror image, a representation of everything Vero is not. She's seen dancing carefree to music (at the same time Vero is loading a washing machine with urine-soaked bedding from her little brother), talking affectionately with her father and having a love life. Verónica has none of these things, and the likelihood of her ever getting them becomes slimmer as events progress.

It's been a while since I've seen [Rec], so I can't remember how artistic Plaza was able to get with that found footage nerve shredder, but this had several moments of creative touches I wasn't expecting, including an incredible transition as Vero gets out of bed and walks across her room that was so cool I had to rewind to see it again. Others are not quite as flawless, but still effective.

This probably isn't going to give genre fans sleepless nights, but it is a very decent telling of a very chilling, supernatural story. It's streaming on Netflix now.

Baskin (2015)

Bathed in beautiful blues and reds, with an often pounding heartbeat of a soundtrack, Baskin is a nightmarish 1hr37min. You may well breathe a sigh of relief once it's done.

Directed by Can Evrenol as his first feature, this is the long-form version of his short film of the same name, describing the same events. Here's the Netflix blurb:

"A group of tough Turkish lawmen answer a call from a remote town and stumble into a gory Black Mass that appears to be occurring literally in Hell."

The intensity of that is well-deserved. As they venture further down into the darkness of the sub-levels of an abandoned building, these cops discover rooms of abhorrent acts, torture, mutilation, and satanic rituals.

Time for these men skips and loops, too, so along with some mind-bending and batshit encounters, we're forced to question too what is real, or what is happening when.

Initially with only their torchlight to guide them, we see slices of horrors before being able to take in the full tableau. Catching glimpses of incredibly fucked up shit is arguably worse, because your brain fills in the gaps.

Oh that's what she's doing!

And then comes the point where you're able to see everything that's happening, and you wish for the darkness and ignorance again.


Some horror films become more than simply "horrific"; those that use their imagery in such a way that it becomes a deeper level of offensive or taboo-breaking. Not just the subject matter, but the way it's presented. I found Baskin to be such a film. I'm not in the least bit religious, but there were things in this that disturbed me more than normal horror fare. The vibe of this film is evil. Its intensity and the blood-drenched, religious forward-motion of the characters reminded me of Martyrs (a film I like, but have never been able to watch more than once).

It's an understatement to say that Baskin is not for the squeamish, or the easily shocked. It's beautiful to look at, but what you are looking at is... well, deeply fucked up, a lot of the time! This is a serial killer's fever dream.

Streaming on Netflix at time of writing...

Let Us Prey (2014)

There are few things I like more than a nice satanic film on a Sunday night, especially one where the fallen angel in question is an actor I like (and er, fancy) and especially when it ends exactly the way I wanted it to 👏

Let Us Prey has been on my Netflix peripheral vision for a while - mainly for the striking cover art of a hanged little girl.

Starring Liam Cunningham and Pollyanna McIntosh (she's currently the cool leader of that new group in The Walking Dead) this is one of those films I immediately got a strong sense of "YES" about, due to the opening sequence of crashing dark waves, crows and desolate suburbia all to the beat of a nice thick electro score.

This is more end than opening credits, but it's also a gem of a tune. Slow, drowsy, and dark:

The plot takes place over three hours, from around 9pm to midnight, and largely in one location: a small police station in Scotland. PC Rachel Heggie (McIntosh) has her first shift tonight, and it's going to take her places she has tried her whole life to forget.

Rachel is a survivor and fairly obviously the final girl - though not all that sympathetic a character, for the most part. She's hard and tough because she's had to be.

Also all of her new coworkers are twats.

Bonus points also, for this:

Several scenes were rewritten at McIntosh's behest. She saw her character as strong and did not want Heggie to be viewed as a victim or in a sexualised way. The filmmakers were also careful not depict Heggie's background of abuse exploitatively. (from Wiki)

To be honest, no one is particularly likeable in this film, apart from maybe "6" (Cunningham), carrying himself with that sinister ease and who, shortly after he's brought into the building, begins to expose everyone's sins via telepathy and grim flashback. Death and impressive gore flows steadily, once it's introduced, with demises ranging from the absurd to the marvelous... until only the new girl remains.

And man, is there a high concentration of crazy in this place! Douglas Russell is immediately repulsive as a self-hating homosexual/psychotically christian Dahmer-like chap, keeping severed heads in his 'fridge and oh, one more thing: he's the police sergeant. 

Are you all right sir? ...Sir?!

With a climax that initially feels too bombastic for such a low-key film, it soon comes into focus why. To have "6" and Rachel standing toe-to-toe on the front steps as the building burns behind them is such a great image, especially knowing at this point who he is.

He doesn't just want to save Rachel, he wants to make her his partner in vengeance and the soul collection of those condemned to Hell. He is offering her a life punishing those who deserve it, with him by her side.

*dreamy sigh*

Call me a heathen, but I found this so romantic and beautiful ❤ She's a final girl who survives the horror film, but chooses to turn her back on the light.

With a basic concept we've heard a million times before - the old "underestimated newcomer slowly infects the minds and souls of a group of people" - this film could have easily been something unremarkable. But the atmosphere, gore and that twisted kind of romance at the end elevate it to something that really stuck in my mind.

Not a bad way to spend a couple of hours on a Sunday night.

(I'll be in my bunk).