Behind the Couch

It Follows is a deeply unsettling, yet beautifully produced coming of age creeper. The story of a young woman (Maika Monroe) who is relentlessly stalked by an unknown supernatural force after a sexual encounter, it taps into primal fears such as death, abandonment, betrayal, and social ostracism. Hailed as a modern horror classic, it entrenches itself in the logic of grim and bloody fairy tales in which youngsters must fend for themselves and use their wits to outsmart and survive an evil adversary. A brand new 4K UHD/Blu-ray release by Second Sight Films boasts a plethora of rich, full-bodied bonus features for the connoisseur and casual viewer alike. Read my full review of the bonus features over at Eye for Film. Read my review of It Follows here . 

When Deena (Kiana Madeira) and Josh (Benjamin Flores Jr.) reunite the severed hand and skeletal remains of the witch Sarah Fier in an attempt save Deena’s ex-girlfriend Sam (Olivia Scott Welch), Deena experiences a vision which reveals the origins of the curse that has plagued her town for centuries.  After introducing audiences to the doomed residents of the cursed town of Shadyside ( Part 1 ) and exploring fragments of the town’s grisly curse in more detail ( Part 2 ), director Leigh Janiak and her co-writers Phil Graziadei and Kate Trefry, now take a deep dive into the origins of the curse, flashing back to 1666 and introducing us to the alleged instigator, the witch Sarah Fier. As with the previous films, viewers can expect twists and revelations – and, finally, some answers – regarding the dark history of Shadyside. Many of the actors from the previous two films return to portray characters from the town’s past, direct ancestors of the characters they previously played. Rather...

With a darker edge than its predecessor, a stronger sense of inevitable doom and a deeper dive into the witchy mythology established in the first film, Fear Street Part Two: 1978 continues the story of Shadyside’s imperilled teenagers, flashing back nearly 20 years to explore an earlier massacre brought about by the witch’s curse and how these past events might help Deena and Josh save Sam in 1994. Fear Street was always intended to be a trilogy, and this instalment works to expand the mythology established in the first film and explore more of the backstory of various characters, notably the mysterious C. Berman (Gillian Jacobs), who back in the 70s survived an encounter with the witch and her possessed minions, and therefore offers hope to the teens in the 90s. Most of the film is a flashback to her youth when she, her sister and other Shadyside youngsters face off against an ancient evil at an isolated summer camp. Like the first film, parental figures are conspicuous by their abs...

After a series of brutal murders, the lives of a group of teenaged friends are turned upside down when they discover an evil force has plagued their town for centuries. Based on the series of popular Young Adult horror novels by R.L. Stein (famed for his Goosebump series) Fear Street Part One: 1994 is the first instalment of a trilogy charting the dark, violent history of a small American town cursed to relive tragedy and horror. Directed and co-written by Leigh Janiak, 1994 takes time to reveal itself, from its opening scene in a deserted shopping mall after dark, which suggests a straightforward slasher movie, to the gradual onset of more supernatural events. Before long there’s a whole mythology alluded to. Like its source material, it feels very much geared towards younger audiences, but older generations of horror fans will also find much to enjoy, not least the intriguing story, diverse and sympathetic characters, insanely stylish execution, and references to other horror clas...

Directed by Marina Sargenti, Mirror Mirror tells of Megan (Rainbow Harvest), a high-school student who discovers the antique mirror left behind by the previous occupants of her new home harbours demonic powers and the ability to grant her wishes… with deadly consequences. With its gothy, at times very campy sensibility, the film has rightly garnered a cult following over the years. At its heart, however, is the timeless notion of an outsider trying to find her place in the world, and with its themes concerning the corrupting influence of power and the consequences of selfishness, it unravels as a dark and spooky contemporary fairy tale.  Megan (Rainbow Harvest), who bears a striking resemblance to Lydia Deetz (Winona Ryder) from Beetlejuice (1988), is a gothy outsider who despairs at her relocation from LA to small town suburbia. She can’t relate to her mother (Karen Black) and is mercilessly taunted by her classmates because of her looks and quiet demeanour. Harvest perfectly con...

A dark revenge fantasy with echoes of Stephen King’s Carrie and Firestarter , Dark Touch tells of a young girl with terrifying powers that are conjured through pain and rage. When her parents die violently and in mysterious circumstances, Niamh (Missy Keating, who provides a truly compelling performance) is taken in by her neighbours whose own young daughter has recently died. Niamh insists her parents were killed when the house came alive, but authorities dismiss her claims and attribute the deaths to a violent home invasion. Before long though, her neighbours begin to sense that something unusual is now happening in their home, too.  The work of writer and director Marina de Van frequently explores themes such as the vulnerability of the flesh, body dysmorphia and psychological turmoil, and with Dark Touch , she explores the devastating effect of child abuse through the tropes of the evil/demon child sub-genre. Such films (including titles like The Bad Seed, Orphan, Village of ...

Northern Irish film director Aislínn Clarke’s feature debut tells of two priests sent to investigate an alleged miracle at a remote Magdalene laundry in the Irish countryside. As well as witnessing the shocking mistreatment of the young women incarcerated there, the two men uncover sinister happenings that suggest occult practices and diabolical rituals are afoot. Before long, they realise they are dealing with a genuine case of demonic possession. Magdalene Laundries were state endorsed workhouses, sanctioned and ran by the Catholic Church. They were cruel and secretive places where Ireland’s ‘fallen women’ were locked away and subjected to forced labour. Many also suffered sexual, psychological and physical abuse at the hands of their custodians. Prostitutes, unmarried pregnant women and mothers, orphans, women with mental health issues or physical disabilities, and women who had suffered abuse were all locked away, deemed to be society’s shameful, ‘dirty secrets’. With the dev...

With Lord of Tears , director Lawrie Brewster and writer Sarah Daly created a truly haunting piece of work; one that marked them as a creative team to keep an eye out for. With its striking imagery, spooky Gaelic-Gothic atmosphere, intriguing folklore and creepy-as-hell antagonist, it was a rich and full-blooded ghost story, perfect viewing for these dark winter nights. For those who have seen, admired and been quietly unsettled by Lord of Tears , there is good news: Brewster and Daly have just finished work on their follow up film, The Unkindness of Ravens . Shot on location in Fife and Perthshire, Scotland, the film seeks to explore the effect of the horrors of war on the human mind through the media of beautiful poetry and brutal violence. It tells of Andrew Alburn (Jamie Scott-Gordon), a homeless veteran suffering from PTSD. Plagued by flashbacks of the traumatic events he witnessed while serving in the armed forces, he is persuaded to venture out to a retreat in the remote...

2015 Dir. Adam Egypt Mortimer Part ghost story, part slasher film, Some Kind of Hate is an interesting if at times slightly formulaic tale of revenge. However, with its bleak karmic mantra and themes concerning the unique pain of adolescence, the devastating impact of bullying, self-harm and revenge, it’s a frequently intense viewing experience. Mercilessly tormented by bullies, troubled high-school loner Lincoln (Ronen Rubinstein) eventually snaps and violently retaliates. He’s packed off to a desert commune for young misfits, only to again suffer at the hands of bullies. His rage summons an undead avenger, herself the victim of bullying, who begins to wreak bloody havoc on his behalf... Head over to Exquisite Terror to read my full review .

Few films of any genre have had the influence and impact of The Blair Witch Project (1999). Its arrival was a horror cinema palette-cleanser after a decade of serial killers and postmodern tongue-in-cheek intertextuality, a bare bones ‘found footage’ trend-setter. In this Devil’s Advocate monograph, Peter Turner tells the story of the film from its conception to its pioneering internet marketing campaign and critical reception. He provides a unique analysis of the mockumentary/non-fiction film-making techniques deployed by the film, its appeal to audiences and the themes that helped make it such an international hit (it made more than $140 million in the US alone). Turner also explores the film's lasting impact on the horror genre with a look at other found footage phenomena, such as the Paranormal Activity series, that followed in the wake of The Blair Witch Project . Head over to Exquisite Terror to read my review .

Established in 2010, Belfast’s Wireless Mystery Theatre is an audio theatre company devoted to invoking the spirit of vintage radio suspense plays. Comprised of a small troupe of actors, writers and musicians, their productions incorporate live music and imaginative sound effects with players frequently multi-tasking and acting out different roles. Their most recent production, An Evening of Irish Horror , was a suitably spooky double-bill featuring adaptations of Sheridan Le Fanu’s classic ghost story ‘Green Tea’ - which tells of a timid clergyman who is hounded by a demonic spectral monkey - and Bram Stoker’s short story, ‘Dracula’s Guest’ - an excised segment from Dracula which documents a creepy encounter between Jonathan Harker and Count Dracula by the grave of the undead Countess Dolingen of Gratz... Head over to Exquisite Terror to read my full review .

2015 Dir. Russell England During the 17th century, students of a prestigious school are spared a gruesome death by plague after they ritualistically murder four of their own in a Satanic pact. In present times, the building is still used as a boarding school, and when it shuts down for midterm holidays, six students from the cadet corps must remain behind to patrol the grounds as part of an initiative in basic military training. As the night progresses, personal conflicts become apparent within the group, and as they delve deeper into the history of the school, they are beset by increasingly odd occurrences... Head over to Exquisite Terror to read my full review . 

Stanley Kubrick’s The Shining (1980) needs little introduction. Adapted from Stephen King’s chilling bestseller, it is an undisputed masterpiece of horror cinema, featuring a bleak atmosphere, striking visuals, frenzied performances, and an utterly unshakable, creeping sense of dread. It has long been an absolute favourite of mine, but I have always been somewhat hesitant to write a review of it; after all, what is there to say about it that hasn’t already been said? As there is indeed already so much to say, where on earth do you begin when just writing a straight-up review? An intimidating prospect to be sure, but it’s good to challenge yourself, isn’t it? With a little advice and much encouragement from the editor of Eye for Film (thank you Amber), I closed my eyes, opened my mind and took the plunge. Head over to Eye for Film to read my humble (and probably too gushing) take on The Shining , and the special features available on the Blu-ray it has just been released on...

Liverpool-born Dorothy Kathleen Broster (1877-1950) is perhaps best known for her ‘Jacobite Trilogy’ of historical novels, The Flight of the Heron (1925), The Gleam in the North (1927) and The Dark Mile (1929). Much like Ediths Wharton and Nesbit though (more famous for works such as The Age of Innocence [1920] and The Railway Children [1905], respectively), Broster also turned her hand to writing fiction of a much darker nature, producing the bizarre collection of tales gathered together in Couching at the Door (1942). Obscure, atmospheric, elegantly penned and seriously odd, this batch of little chillers ranges from ghost stories boasting undeniably supernatural intrusions upon vulnerable characters, to subtle, Shirley Jackson-esque studies of obsession and fraying mindsets. Suffusing her stories with the everyday and the mundane makes them all the more effective, and at times Broster approaches what can only be described as ‘kitchen-sink Gothic.’ Her protagonists are usuall...

Last month I went to see a very special screening of Dario Argento’s nightmarish, witch-infested classic, Suspiria , in Belfast’s Waterfront Hall. The screening, courtesy of those cool cats at the Belfast Film Festival, was accompanied by a live score performed by none other than original Goblin member and long time Argento collaborator, Claudio Simonetti, and his band, the Simonetti Horror project. Argento’s classic tells the terrifying tale of an American ballet student who enrols at an exclusive dance academy in Germany, only to discover - after several vicious murders and assorted weirdness - much to her horror, that behind the scenes lurks a witches' coven. Often hailed as Argento’s masterpiece, Suspiria is an overwhelming onslaught of vision, sound and colour. The director mercilessly bombards the audience with scenes of graphic violence, fantastical lighting, overwrought production design and an immensely atmospheric soundtrack courtesy of Italo prog-rockers Goblin. ...

2007 Dir. Pablo Proenza When her family moves into a new home, photographer Deborah (Lisa Vidal) gradually begins to suspect sinister things are stirring from the house’s past. She catches glimpses of shadowy figures and doorways that aren't there in the mirrors and reflective surfaces. When she talks to her new neighbours she discovers that the previous owner, a famous artist, vanished in mysterious circumstances. Deborah is further convinced something evil lurks within the house as everyone she photographs dies in unnatural circumstances. Is Deborah experiencing a nervous breakdown? Or are there actually evil spirits trapped in the glass surfaces of her new home, waiting to pounce into our world? The mirror has featured heavily throughout horror cinema as a source of danger and fear. Mirrors are often used to address ideas of fractured identity, fear of one’s self, and psychological breakdown. A common visual motif in films in which someone is suffering from psychologica...

2000 Dir. Brian Yuzna When John Jaspers’ girlfriend is brutally murdered by a gang of thugs he loses the will to live and plans to kill himself by jumping off a bridge. Just before he jumps he is approached by the sinister "M" who offers a dubious proposition: he will enable Jaspers to wreck brutal revenge in return for the man’s soul. Jaspers accepts and is transformed into Faust, a demon-like superhero who embarks on a bloody trail of vigilante vengeance… However when “M” returns to claim Jaspers’ soul, all hell breaks loose when Faust refuses to stick to the bargain. “I am the pornography that makes you hot!” Based on the cult graphic novel by David Quinn and Tim Vigil, Faust was the first film produced by Brian Yuzna’s Spanish production company, Fantastic Factory. Something of an oddity, the film is, if anything, an interesting attempt to approach the super-hero movie from a slightly different angle. The notion of an avenging demon is a tantalising one akin ...

Moments before he’s set to be burned alive on a pyre of cats, an evil warlock (Julian Sands) uses the dark arts to transport himself from 1691 Boston to 1991 downtown LA, in order to escape the flames and track down the Satanic bible, which he hopes to use to bring about Armageddon. Fortunately, ‘Warlockfinder General’ Giles Redferne (Richard E Grant) is hot on his heels. They crash into the life of waitress Kassandra (Lori Singer), who is subsequently cursed to age 20 years a day until the warlock is apprehended. Warlock  is a wildly entertaining ride, offering classic 80s schlock with some imaginative flair and two great leads in Sands and Grant. A number of striking ideas pepper the screenplay, and it's interesting to see how writer DT Twohy mingles medieval superstition with more contemporary folk tales and practices.  Head over to Eye for Film to read my full review.

Following on from 2008’s Kiefer Sutherland starring thriller Mirrors , which was based on the hair-raising Korean film Into the Mirrors, Mirrors 2 is a supernatural horror starring Emmanuelle Vaughier ( Saw II ) and Nick Stahl ( Carnivale ). Like its predecessor, it looks set to exploit all kinds of spectrophobic (the fear of mirror images) notions as it follows the story of Max, a recovering addict struggling to come to terms with the car crash that killed his fiancé. Riddled with guilt and determined to try and make a new life for himself Max takes a job as night-time security guard in the Mayflower department store, but as his nightshifts begin he sees visions of a mysterious woman in the store’s mirrors. When he sets out to discover who she is, Max’s investigation reveals that the seemingly normal department store holds a dark secret and a bloody past. A series of horrifying and brutal murders ensues before long, and everyone connected with the store meet with nasty deaths. Can...