Streaming Bleak This Week, #4: The Invitation on Netflix

the invitation movie

While this blog is a recommendation site and I do believe I’ve done my due diligence in that regard over the past few years, my last three picks in this series were, admittedly, an attempt to come up with worthwhile suggestions that I knew the vast majority of you readers wouldn’t have seen. As such, they weren’t all necessarily as savagely palatable as the typical fodder promoted herein.

They Look Like People, Bob and the Trees and We Are Still Here are all indie movies made on a shoestring budget. I think the most famous actor among all three was Barbara Cramptona name only dedicated horror fans would recognize. That’s not to say I think I fucked upI actually really liked all threebut this weekly pick series is an experiment, and your feedback has been hit or miss on said titles. Which means it’s time to recalibrate the meat grinder.

Back to the ol' drawing board...

Back to the ol’ drawing board…

Moving forward, I’m still going to err on the side of lesser-known titles, but I’ll try to keep in mind that I’m one of the few fuckers who’s exhausted the near entirety of everything bleak and horrific worth watching on Netflix. Point being that a hidden gem to me might justifiably be viewed as nothing more than a shiny pebble to you folks out there who have, ya know, lives.

That is why this week I’m going to offer up a really fucking awesome flick that any suspense-horror fan should be able to get behind. So without further adieu…

The Invitation
Michael Huisman (AKA Daario Naharis) hosts a dinner party from hell in The Invitation
Yep, that’s Daario Naharis from Game of Thrones (played in real life by Michael Huisman). See? This movie is already more relatable and less obscure!

The Invitation starts with a grieving father and his new lady going to a dinner party at the house of his ex-wife and her new feller (Daario Naharas, played by Daario Naharas). Actually you might also recognize the lead dude. It took me awhile to place him. At first I thought it was Tom Hardy from The Revenant reincarnated, but then I realized I knew him from … The O.C.


Apparently I’m not the first to notice that Bane has a doppelgänger…

That was another life. Moving on.

Anyway, a big group of folks who were tight two years ago get together. It’s an awkward reunion of sorts as no one’s really seen anyone else since the son of O.C. guy and Liv Tyler-lookalike ex-wifey tragically died in a freak pinata accident. (If there are truly 6 million ways to die, that sure is a motherfucker…)

It’s important to note that this is all taking place at a swank and secluded pad in L.A., which becomes a recurring excuse as to why everyone keeps acting so fucking weird. At one point a character even says of the freaky, culty, hippie-dippy hosts, “Yeah, they’re a little weird. But this is L.A. They’re harmless.” Famous last words, punto. Go ask Sharon Tate.

no more parties in la kanye

“No More Parties in L.A.” The one time Kanye gave good life advice…

One thing I love about The Invitation is how its first half is such a meticulous play between ebbing macabre suspense and one man’s struggles with grief, paranoia and anger. It’s like a delicately wired stage play that could easily go the route of heady psychological flick. Actually, unless you’d seen the previews (I hadn’t), this thing could have unfolded down several genre pathways at that midway markall with complete plausability. I even found myself thinking, Shit, I might be in for one of those moody indie dramas about coming to terms with loss and emotions and stuff.

megan fox tongue on fire jennifer's body

Megan Fox in Jennifer’s Body: Never was self-immolation so hot.

With that in mind, director Karyn Kusama (Jennifer’s Bodystarring Megan Fox and little else) deserves major credit for wielding such multi-layered sleight of hand in such deft fashion. I’ll leave it up to you to figure out exactly what type of film it is, but apropos of my earlier comments, let’s just say that there is nothing unresolved or left to the imagination here.

For comparison’s sake, think of something in the vein of Would Your Rather, Knock Knock and Kidnapped (Secuestrados). Then imagine the grown-folks’ version of Would You Rather, what some elements of Knock Knock would have been like if that movie had a pulse, and what Kidnapped would have been with better direction, a more fully evolved narrative and less torture porn.

All in all, The Invitation serves up the oft-visited “dinner party from hell” subgenre in delectable, ornate and satiating fashion. Look also for a brutally chilling monologue from the great character-actor John Carroll Lynch (who you may remember as Eastman from one of the greatest music videos Walking Dead episodes of all time!).

IMDb: 6.7

-Sam Adams


Streaming Bleak This Week, #3: We Are Still Here on Netflix Instant

we are still here barbara crampton

If you’re in the mood for a low budget haunting-possession flick that doesn’t suffer from said low budget, Ted Gheoghegan’s We Are Still Here is one of the better recent additions to the Netflix canon. It’s also phenomenally cast, with scream queen Barbara Crampton (Re-Animator, From Beyond) and Andrew Sensenig (the weird fucker from Upstream Color) playing a husband and wife who’ve relocated to a rural fixer-upper to start fresh after a family tragedy.

we are still here cast featuring Andrew Sensing, Lisa Marie, Larry Fessenden, Barbara Crampton

Marie, Fessenden, Sensenig and Crampton (L to R): a hellishly haunted reunion of b-horror behemoths

Then there’s Lisa Marie as a psychic, hippie friend who comes to visit the couple with her Dude Lebowski-esque husband (Larry Fessenden from Jugfacereuniting with Crampton after he played the sleazy college professor in You’re Next). Add in a creepy local priest and several bumps in the frigid New England night, and a very enjoyable homage to ’70s and ’80s horror ensues. This flick also gets major bonus points for going more the route of old-school special effects in situations where bigger budget films would have lazily turned to CGI.

IMBb: 5.7

-Sam Adams


Streaming Bleak This Week, #2: Bob and the Trees on Netflix Instant

bob and the trees bob tarasuk

Forewarning: This film requires a severely generous attention span. The basic premise is that a guy named Bob runs a farm and logging business in rural Massachusetts, and everything in Bob’s life is going to shit. He makes bad business gambles involving said trees, and attempts with futility to nurse his prize cow back to health as it succumbs to some parasitic flesh disease.

Meanwhile, Bobwho looks like a more grizzled Ted Lavine from that Hills Have Eyes remakecurses, spits, drinks and jams the fuck out to hardcore underground rap. Sometimes he drives to the village on his moped and yells at people. Sometimes he drinks and practices his golf swing in the snow. The film is really about Bob and his downward spiral, and what a breaking man can salvage from a broken situation.

bob and the trees beer bob tarasuk

Bob and the Beers…

It’s also just a cinema vérité-ish exploration of a wonderfully strange dude (Bob Tarasuk, who plays Boba guy who’s probably a lot like Bob Tarasuk). It almost feels like a lesser follow-up to the great Werner Herzog’s Stroszekthe latter of which Roger Ebert deemed “one of the oddest films ever made.” Or perhaps if they made a toned-down sequel to David Gordon Green’s Joe on a $5,000 budget. 


Bruno Schleinstein takes on Wisconsin trailer park life in Werner Herzog’s classic Stroszek (1977)

To first-time feature director Diego Ongaro’s credit, there’s no smarmy melodrama involving the aforementioned plot points. Apart from Tarasuk’s performance, much of Bob and the Trees feels like awkward improv community theater. That last point will probably stand out too much for some viewers, as will some tediously long scenes.

But if you truly can stand a slow-paced, grim and “meditative” film with questionable resolution, Bob and the Trees is worth it if only for the subtle but fucking hardcore way it cuts to black. Come to think of it, the last scene in this movie is probably the main reason I’m writing about it. The story behind it is also worth a read.

IMDb: 7.0

-Sam Adams


Streaming Bleak This Week, #1: They Look Like People on Netflix Instant

they look like people Evan Dumouchel

Loyal Readers, I have been unfaithful to ye. I must confess that it’s been two months since my last blog post. This sort of slovenly scribing behavior shall not stand. For all you innumerable plebs picketing countless hours outside the gates of Monster at the End of a Dream HQ, your voices have been heard.

The solution? Offer you at least one concise post a week on mostly lesser-known flicks of the darker nature that you can catch via interweb streaming. Between the laundry lists that take me countless man hours to compile, this should at least ease the suffering a bit. Maybe I’ll even rake in more massive contributions like the one I’m still waiting on from that Sudanese prince… Anyway, on to the first edition in this series. But wait, speaking of Sudanese royalty and cinema, how about an intermission before we continue:

Yes, I got the popcorn and I know what else you like. So let me take you to the movies…

They Look Like People
Perry Blackshear’s feature debut They Look Like People is essentially the Millennial’s indie-film answer to John Carpenter’s They Live. Actually, I challenge you to look for a legitimate review of this film that doesn’t use They Live as a parallel. If it weren’t for copyright issues, I bet TLLP would be called They Live 2: When Hipsters Attack.

they look like people

They Look like Williamsburg

I digress. This is where I tell you that They Look Like People isin terms of movies I just randomly stumbled onone of my favorite things I’ve watched on Netflix in the last year.

Premise: A paranoid scraggly loner shows up at the doorstep of his cubicle-working high school buddy who has major inferiority complex issues and listens to self-help tapes. Scraggly dude starts getting ominous phone calls from a man telling him things like, “If we do not stop them, they will enslave and butcher every good person left on Earth. You must prepare for the war.” Then self-help tape guy starts dating his really cute boss, and scraggly guy brings everybody in on his secret that an an evil, alien force is overtaking ordinary people.

It’s apparent from the outset that the film’s premise revolves around whether our main man Wyatt is preparing to fight demons or just battling the ones in his head; schizo or undercover doomsday warrior?

eli cash custer meme

Speaking of great conspiracy theorists in film…

Over the course of the film’s 79 short minutes, this question builds to a massive, swarming crescendo. Some very strong newcomer performances (MacLeod Andrews, Evan Dumouchel, Margaret Ying Drake), a subtle-yet feverishly taut narrative and ace sound-mixing are the key ingredients in a very impressive psychological-suspense debut by Blackshear. If you don’t expect horror or thriller (or much of anything, like myself) and can handle a slow-burn indie psychological-suspense flick, it doesn’t get much better for a shoe-string budget than They Look Like People. You should also check out The Battery (Amazon Prime) if you liked this, and vice versa.

IMDb: 6.1

-Sam Adams

The Ruins: A Great Horror Novel and Its Adaptation


Back around the time it was released in 2006, Stephen King praised The Ruins as “The best horror novel of the new century.” That ringing endorsement—along with some guidance from my knowledgeable horror peers over on Dreadit—lured me in to Scott Smith’s bleak adventure-death tome about a group of twentysomething Cancun holidayers who go off the beaten path and find themselves trapped in the third-circle of hell.

the ruins stephen king

This novel has been approved by Stephen King.

Naive tourists, secret treasure maps, locals warning of doom in broken English, Venus flytraps on methThe Ruins has all the bases covered when it comes to setting the stage for a hellish foray into a nightmarish look at trouble in paradise.

Premise: A pair of young American couples go to Cancun right before their post-collegiate lives are about to start. They meet a solemn German fellow and a trio of horny Greek dudes. Tequila beach parties and drunken hookups ensue.

Ryan Lochte Jeah

Ruins, bro… ruins.

It’s a generally lazy, uninspired vacationthat is until the German says his brother has gone missing after venturing inland  with a hot archaeologist to study some ancient Mayan ruins. To shake the group out of its static, drunken stupor, one of the Americans suggests they all hunt down the missing pair. A few ratty dirt roads and a trudge through mosquito-ridden jungles and sweltering heat later, they arrive at death’s doorstep. I’ll leave the rest to the reader/viewer.

As for drawbacks, as long as you’re aware that this book is more guilty beach-read horror-thriller than it is literary opus on the psychology of post-collegiate travelers trapped in the perilous hazards of a shitty hangover, there aren’t many. It might, however, dissuade some potential readers to hear that The Ruins israther inexplicablysexist as fuck.

Of the four main characters, two are typecast as stupid women with as much dimension as the backside of a broken Teva. One is the nagging, complaining worrywart. The other is the promiscuous ditz, Stacy, nicknamed “Spacey.” She cheats on her boyfriend with random guys, jerks off a dying guy in a tent, and thinks about jerking off another dying guy outside of a tent.

I'm having sex in a tent!


The book even acknowledges her smutttiness in a sequence where one of the male leads speculates on who each of their characters would be in the film adaptation of this story: “Well, there are two female parts, right? So one of you will have to be the good girl, the prissy one, and the other one’ll have to be the slut.” He continues, “The slut has to die. No question. Because you’re bad. You have to be punished.” Perhaps this is supposed to be some tongue-in-cheek self-affrontery by the writer, but it really just follows in line with one of the guiding themes of the book: That Scott Smith hates women.

There’s also sacrilege within the pages of The Ruins. In one particularly disturbing scene, our adventurers burn a copy of The Sun Also Rises. Such cruel injustice to the great Hemingway is perhaps the novel’s most vulgar and irreverent bit of savagery.

hemingway with a shotgun

Beware the wrath of Papa, Scott Smith!

OK, feminist and blasphemous grievances aside, it’s incredible how taut and compelling this book stays through its 369 small-print pages. I mention that number only because my favorite horror novel of all-time, Richard Matheson’s classic I Am Legend, weighs in at a relatively pithy 160.

haunted mask R.L. Stine

Required reading for my future offspring.

And this is where I need to confess that I’m not much of a horror reader. Sure, I devoured every John Bellairs and R.L. Stine book as a pre-pubescent (well, at least the first 35 or so in the Goosebumps series), but I’ve actually never read a Stephen King novel. I know, I know.

I guess I’m saying all this to point to the fact that I have no place quantifying King’s claim on The Ruins’ place in the post-millennial horror landscape. But… if you want to read an insanely dark, fiendishly thrilling page-turner about a bunch of college kids getting offed in the wilds of Mexico, Smith’s book is a poolside read for the ages.

Now on to The Ruins, the 2008 film directed by Carter Smith (no relation to the author), which you can currently find on HBOGo. I have to approach this on two levels: First, what I recall from watching it when it came out, and second, upon viewing it hours after finishing Scott Smith’s novel.

The early memories go like this: 1. Decent adventure-horror flick with a great premise despite some canned performances and a rather formulaic, anti-climactic finish. 2. A then-unknown Laura Ramsey having a really hot bedroom scene. 3. Good special effects for the time period. 4. Laura Ramsey being really hot.



As for my feelings on the film after reading the novel, it was much harder to digest. I understand that condensing 369 pages into 90 minutes is no small feat, but the ever-expanding and unsettling fear that is the foundation of the novel is all but lost here. Also, everything is dumbed the fuck down. In opposition to the book’s patient character studies, the film’s protagonists have the depth of a flip-flop footprint on hard sand. If the novel is, as I said, a beach read, then the film is more akin to a third-grade-level picture book. There is nothing the least bit heady going on here.
stephen king the ruins

As for upsides, a then slightly unknown Jena Malone delivers a standout scream-queen performance amidst a morass of shirtless Ambercrombie models who look like they just walked out of their first casting call. There’s also kind of a neat nostalgic genre element here for me. The Ruins was filmed in the aftermath of a long-running period of PG-13-ish films based on young adult novels that were basically platforms for mildly spooky thrills and, more often that not, Jennifer Love Hewitt’s boobs (see: I Know What You Did Last Summer, I Still Know…, and every other Lois Duncan-esque adaptation). These were campy, commercialized genre flicks targeting an audience of 12-to-15 year old boys, and I certainly took the bait hook, line and sinker.

jennifer love hewitt sexy tanning in i still know what you did last summer

JLH: The Sofia Loren of middling ’90s teen flicks.

The Ruins has the feel of those blockbuster-horror flicks of the late ’90s—specifically in their fixation with really hot damsels in distress, heroic shirtless bros who can’t act (#nodisrepecttofreddieprinzejr), and a level of predictability and campy bloodiness that was a far-cry from the torture-porn turn that occurred with the onset of films like Saw (2004). So yeah, if you were a child of the ‘90s, The Ruins definitely has a bit of throwback flair to the days when your lunch hours were spent debating whether you were going to marry Jennifer Love Hewitt or Sarah Michelle Gellar. (You don’t really get ’90s nods these days, with every director focused on making their horror flick look straight out of John Carpenter’s ’80s.)

But speaking of the Saws and Hostels and that whole torture-porn era that began to rake in big box office bucks in the early aughts, The Ruins goes there a bit as well. It has all the hallmarks, including gruesome decapitation, nudity, and abject human misery. So it’s kind of an interesting inter-decade middle-ground movie, if you look at it from that perspective. Or maybe it’s just campy horseshit. You choose.

90s horror vs. 2000s horror

What a difference a decade makes…

In terms of the question of where to startbook or movieI’m assuming most people reading this have already seen the flick. Not to worry. Many details both narratively and in terms of Scott Smith’s distinctive ability to get into a character’s head, are completely lost in the film.

And some names and fates are changed around, presumably so as not to play spoiler to Scott Smith’s loyal readers. I’m not saying the movie isn’t worth watching after reading, but the reason I got started on this whole post is simply to direct you toward an extremely engaging and perfectly accessible horror novel that, as you sit hotel-poolside sipping your fifth piña colada this summer, will make you very glad that you chose the comfy all-inclusive package instead of taking the road less traveled.

The Ruins
Novel by Scott Smith, 2006

The Ruins
Directed by Carter Smith, 2008
IMDb: 5.8

-Sam Adams

Family, Madder: Season Two of Bloodline Gets Bigger, Better and Bloodier

bloodline season two john rayburn

[SPOILERS ahead if you haven’t seen Season One]

If you watched Season One of Bloodline and are thinking of getting your toes wet with the newly released Season Two, here are a few things to know. First, you’re still gonna have to fast-forward through that godwaful opening credit song every episode. Second, the entire season is predicated on the question “what do you want;” apparently the Florida Keys’ answer to Mike Royko’s Chicagoism “Ubi Est Mea?” Third, despite a somewhat-noticeable absence of the two best actors that were on the show (Ben Mendelsohn and Sam Shepard), Season Two is unequivocally much better than the first (a season that without Mendelsohn would have been the textbook definition of “middling”).

bloodline danny ben mendelsohn

Ben Mendelsohn, the greatest thing since sliced Daniel Day Lewis

Speaking of great acting performances, remember Kevin—the paranoid, skittish cokehead brother from Season One? Turns out Norbert Leo Butz is one hell of an actor. I’m not saying he quite fills Mendelsohn’s shoes, but old boy might just have a forthcoming Emmy to add to his stockpile of Tony awards. Even Kyle Chandlerthe grown-man’s Dean Cain, the political drama stand-in for Matthew Fox, the guy who would leave his second beer half-drank at a holiday barbecuedemonstrates what can only be described as “range” as his patriarchal detective John Rayburn takes on an increasing level of moral ambiguity.

norbert leo butz bloodline

We need to talk about Kevin…

As for other acting performances, Sissy Spacek is as good as ever and a newly cast John Leguizamo is downright creepy as a sleazy small-time blackmailer. In fact, one of the great achievements of this season is how seamlessly it weaves together a tapestry of ever-growing characters, and does so without dampening the effect of a taut thriller (note to the abomination that was True Detective Season Two). There are at least 20 meaningful roles in this season of Bloodline, few unnecessary, and all somehow intertwined in an ever-grim network of lies, murder and corruption.

To satiate viewers who wonder what happened to some of the better characters killed off in Season One, the series also goes to great length to employ flashback sequences that are a far cry from the distorted, garden-variety fare found in, say, Dexter. And speaking of that other show about murder and lies in South Florida, Season Two of Bloodline is far more heady and compelling than anything Dexter managed in its later seasons (they even stole Detective Batista and made him into the less-slapstick Sherriff Aguirre).

david zayas in dexter and bloodline

Not like David Zayas is being typecast or anything…

The main draws for me in Season One were the all-out grimness, Ben Mendelsohn and the fantastic use of the show’s seedy geographic setting. But really… Ben Mendelsohn. Other than that, it wasn’t much more than an above-average crime thriller that tipped its hand way too early. Those original factors still hold ground here (even with Mendelsohn’s diminished presence), but what we also get is a much more sophisticated show. A show that seems to haveunlike the Rayburn clanlearned from its past mistakes.

The writing is better, the narrative is more dynamically advanced, and characters other than Danny are actually given room to act outside of the Season One family archetypes that arguably constrained actors like Chandler and Butz.

I do have one major beef with this season, however. Where the first gave us full resolution (despite telegraphing it to the detriment of that whole “taut thriller” thing), now that the show is established, creators Glenn Kessler, Todd A. Kessler and Daniel Zelman seem to be fine with the more commercially driven formula of leaving us wanting. People might disagree with me on this point, but to them and to the creators I simply say, “Remember The Killing!”

GRADE: A- / B+
IMDb: 8.3 (composite series score)


-Sam Adams

Unsung Gory: 26 lesser-known crime, thriller and horror movies on netflix instant worth watching

26 netflix crime thriller and horror movies

If you dig dark cinema and/or frequent this blog, odds are you’ve already seen such Netflix-sponsored classics as I Saw the Devil, Tell No One, Headhunters, Blue Ruin and Stake Land. If not, refer back to this list, which contains arguably 18 of the best films and series that run in that vein of bleak, thrilling morbidity.

What’s compiled below is a list of slightly inferior (in some cases—not all) modern flicks that took a lot more digging to find than the aforementioned titles. In other words, they’re mostly lower-budget, less hyped in critical and social media forums, or simply just overlooked. And if you feel this list is slightly short on horror, just refer back to this post.

If you’re new to the blog and the list seems a little thematically erratic, I’ll just reiterate that the focus of this site is to recommend movies not from one particular genre, but rather a series (horror, crime, thriller) which are all connected by an undercurrent of grim suspense. (See: my first post where I equate bleak cinema with ASMR.) This 26-part novella is also my attempt to repent for blogging infrequently of late, and thus offering you a laundry list of some of the better stuff I’ve watched over the past half year.

And the nominees are…

Almost Mercy
danielle golden bloody sexy in almost mercy

The main reason I held off from writing a longform post on this is because it’s a little smarmy for my tastes. Essentially, depressed, bullied loner boy meets insanely hot badass outsider chick (Danielle Guldin). Friendship ensues, and so does mass killing. Think White Rabbit (farther down the list), but with more of a Heathers / Ginger Snaps / Horns vibe. My other comparison would be an amalgam of We Need to Talk About Kevin, Gus Van Sant’s Columbine-inspired Elephant and Jennifer’s Body, with a tone and sardonic wit more in line with that Diablo Cody flick than the serious nature of Kevin and Elephant. Almost Mercy is definitely a lot of fun as 90s throwback black comedyjust be prepared for more tongue-in-cheek gore than actual horror or substance.

IMDb: 6.2

Big Bad Wolves
It makes absolute sense why, in 2013, Quentin Tarantino called Big Bad Wolvesan Israeli murder-torture revenge thriller“the best film of the year.” I don’t say that because Wolves is a profound and overlooked piece of filmmaking. I say it because people with big egos generally tend to like what they see in the mirror, and Wolves is essentially a reflection of everything QT’s worked to stylistically cultivate over the past few decades. If you are a die-hard Tarantino fan, you might very well agree with him. If, like me, you think he’s gone into hammy, self-parody ever since his last great film (Jackie Brown), you might be of a couple minds.

Samuel L. Jackson in Jackie Brown

Before the Gosling meme, there was this bad muthafucka…

 That’s not to say that I don’t think Wolves is a very clever and entertaining thriller with some wonderful style and plot twists. It’s just that QT’s character-as-caricature formulawherein corny jokes play substitute for human emotionseems just a little incongruent with a film predicated on child rape, child murder and agonizing revenge torture.

I guess I should briefly sum up the main premise here, which entails the father of said beheaded child and a vigilante cop using all means necessary to force a confession out of a potential perp in a secluded farmhouse basement. Directors Aharon Keshales and Navot Papushado even give a wink to Pulp Fiction as the man is interrogated, using one of QT’s favorite tools for going “medieval on his ass.” I know fans of this blog might have a gripe with me calling this film insensitive, but it just seems that at the very least, the gravity of such vulgar material becomes rather implausible and divorced from reality in such slapstick kid gloves. In all, it feels like this film was created for the exact cine-sadist audience Michael Haneke was confronting and condemning in Funny Games.

OK, OK, I’ve cleared my conscience. If you can somehow cast aside the flippantly portrayed depravity this film addresses (not a small task), it then becomes a perfectly paced suspense-revenge flick, full of black humor, strong camerawork, memorable performances and some fantastic twists. It also gets points for the best use of Buddy Holly’s “Everyday” this side of We Need to Talk About Kevin.

Quite simply, Big Bad Wolves is a love it or loathe it movie, and I find myself caught somewhere between the two poles. But I can’t deny that it’s an impressive piece of filmmaking.

IMDb: 6.8 

The Canal
the canal irish movie
When I put together a list of some of best lesser-known modern horror flicks on Netflix (see link in intro), The Canal was my glaring omission. Perhaps I held off on watching it due to the corny cover art on Netflix that makes it look like a generic, direct-to-DVD snoozefest. Or maybe it was the 5.9 score on IMDb (Reminder to self: IMDb scores are good signifiers for a film’s caliber in some genres, but they are to be distrusted like a back-alley three-card monte dealer when it comes to horror).

In fact, this film is so good that I’m doubling back on my claim that The Babadook was the best horror film of 2014 (granted, it was a pretty shitty year for horror). So what’s the deal with The Canal? Premise: An Irish film archivist moves his wife and son into a creepy old house located on a… canal, of all things. With a heavy tip o’ the cap to The Shining, our man starts losing his mind a wee bit, especially when he finds some films at work that reveal his house to be the scene of a century-old murder wherein a man killed his wife and kids.

the canal the shining here's johnny

“I think my dad’s gone craaazy!”

This familiar narrative I just described is pretty much where The Canal stops adhering to any genre conventions. I’ve stated on this blog that haunting movies generally don’t do the trick for me (just leave the fucking house, already!). But this one is more refreshing and palpable, if only because the majority of the film doesn’t take place in the house, and we don’t have to wade through an hour of creaking doors and power outages to get to the real meat. Moreover, The Canal operates on a heady, multilayered plain of psychological dementia that enters into a possessed mind in one of the most convincingand therefore terrifyingways I’ve encountered. Trippy, manic and skillfully crafted, the lack of recognition for director Ivan Kavanagh’s indie masterpiece is criminal. Queue it up without further delay.

GRADE: B+ / A-
IMDb: 5.9

Blue Capriceblue caprice isaiah washington
Based on a wave of seemingly motiveless sniper killings that went down near Washington D.C. in 2002, Blue Caprice is carried by an air of unnerving tension as well as a sense of unavoidable dread. It brings to mind several sources, most notably Peter Bogdanovich’s Targets (1968), loosely inspired by Andrew Clark’s 1965 freeway killings. In both films, random “targets” are sniped by a psychopathic killer who seems to have little more incentive for the murders than his own psychopathy.

Blue Caprice also employs a father-and-son-like power dynamic, as an embittered man brings a homeless youth into his care, only to brainwash him into being a cold-blooded killer. In this sense, the film evokes both Beasts of No Nation and the character of Chris, the trigger-happy corner boy from The Wire. The senselessness of the entire drama is conveyed as the killing spree unfolds almost nonchalantlymore as a brief footnote to the inexplicable psychopathy of these killings than as a crescendo or climax. The strongest feature of this film is without a doubt the maniacally icy and dynamic performance of Isaiah Washington. In all, Blue Caprice’s characters are fleshed out, but their criminal psyche and murderous underpinnings beg more exploration. Perhaps that makes sense, however, given the utter senselessness of their actions.

IMDb: 6.0

Cartel Land
Jose Manuel Mireles cartel land
One of my favorite films on Netflix streaming is El Infierno, a Sam Peckinpah-tinged tragicomedy dealing with the societal horrors of Mexican narco culture. In my post on that film, I also recommended Narco Cultura, a good documentary on the subject in its own right. Surpassing that, however, is Cartel Landa doc that brings a retrospective “how the fuck did they get that footage” type feel to a war playing out between druglords and an army of ordinary citizens fighting back against tyranny. Makes sense why this was just up for Best Documentary Oscar.

IMDb: 7.4

A Company Man
Ji-seob So in a company man

Netflix’s most impressive foreign subgenre catalogue is arguably that of South Korean revenge thrillers. Oldboy and I Saw the Devil are the best of these, but they’re just part of a film movement that churns out great products at a breakneck clip, and A Company Man is a damn fine addition to the canon. Drawing a parallel between the corporate servitude of the Asian “salaryman” and the rigorously structured life of a hitman, Company Man excels as a bleak and action-packed, murder-revenge tale. There are a few other South Korean flicks on this list I’d check out before it (namely, A Hard Day), but if you’ve enjoyed the genre’s more popular offerings, you should be pleasantly surprised by this low-budget and high-grade counterpoint to Assault on Wall Street.

IMDb: 6.7

Darkness on the Edge of Town

This one’s a bit like that moody, bleak and cinematographically impressive country noir stuff that’s been coming out in droves of recent (Joe, Blue Ruin, Shotgun Stories, The Living, Winter’s Bone), but with more of a distinctly Irish feel. And not just in gorgeous shots of the 40 shades of green that canvass the hills of North Kerry. There’s a contemplative, almost mystical and dreamlike quality to the film, especially at its outset. The story revolves around Cleo, a fiery-tempered juvenile delinquent (Emma Eliza Regan) looking to avenge her sister’s death by going door to seedy door to find sis’ killer. Cleo is handy with a hunting rifle, and her house calls to shifty tinker drug dealers makes her character seem rather like a brogue-bearing mashup of Jennifer Lawrence’s character from Winter’s Bone and Katniss Everdeen. The film, also about friendship and duplicitousness, is nothing groundbreaking, but at the very least it’s a nice, little anti-Thelma and Louise b-movie with slick camerawork and an impressive performance from Regan.

IMDb: 6.1

Dark Was the Night
kevin durand in dark was the night

In all honesty, this is probably the worst film on this list (OK, maybe with the exception of The Shrine). It starts with a hammy scene of mysterious terror that you’ve seen open any number of horror movies. But wait! From there, the next hour or so of Dark Was the Night ventures into a suspenseful and ominous creature feature that elicits a genuine fear of the unknown through a rather original premise and a lot more showing than telling.

Kevin Durandeasily recognizable from being typecast as the brawny asshole in just about every recent Hollywood action flickdelivers a complex performance that shows he’s more than just a b-movie Arnold. Sure, the main themes are trite and have been done ad nauseum, but the vast majority of the film delivers on good, old school suspense-horror (consider it a worthwhile M. Night Shyamalan flick, if there is such a thing). As for the payoffwell, that’s probably why you haven’t heard much about this movie. But sandwiched between two short and shitty bookends is a very compelling b-horror flick. I won’t say more other than that with a budget of about a million more and a few kinks worked out, this could have been a classic. And it’s always fun to see the great Nick Damici pop up in a horror flick, no matter how small the role.

Grade: B-
IMDb: 5.6

A Hard Day
Combine the suspense and breakneck pace of Headhunters with the corrupt cop cat-and-mouse game of Infernal Affairs. Package it inside the South Korean murder-revenge template. Throw in a dash of Walter White-level maniacal crisis and a Michael Myers-esque killer and, well, you essentially have the recipe for A Hard Day. I’m actually surprised this movie doesn’t get mentioned more when the topic of South Korean “han” films arises and the ingenious, usual suspects are named (I Saw the Devil, Oldboy, The Chaser, The Man from Nowhere, etc.). If not up to those high standards, Hard Day is at least in the same ballpark. One of my highest-recommended flicks on this list.

GRADE: B+ / A-
IMDb: 6.7

Jack Strong
jack strong patrick wilson Marcin Dorocinski
Wait, I’m fucking serious: Despite being marketed with a poster that looks like some lowbrow Tom Clancy political conspiracy schlock and having a title that only furthers this notion, Jack Strong is actually a very intelligent and compelling spy thriller. And that’s because it’s the exact opposite of everything its Netflix thumbnail connotes. For starters, Patrick Wilson (whose face takes up most of the Jack Strong promo poster) actually has very little screen time in the film. Jack Strong is also largely in Polish and Russian, with English subtitles. While it may look like a low-budget rip-off of The Sum of All Fears, it’s really more in the tradition of heady espionage flicks like The Debt, Citizen X and Munich (I’m not gonna mention Tinker Tailor Soldier Spy because I still have no idea what the fuck transpired in that movie). Thrilling, suspenseful and very well acted, one need simply ignore its awful marketing, and a very good film lies beneath.

IMDb: 7.2

Kidnapped (Secuestrados)

Fuck, this one is bleak and grotesque. I mean, while not exactly A Serbian Film, it makes the Liv Tyler flick Strangers look like Home Alone. And it’s not even a horror film. Just a home invasion movie that takes us into the inner recesses of a horrific real-life situation, and then begs the question, “How much fucking worse could it get.” The thing is, it’s all very convincing, believable and well-acted. And I think calling Kidnapped “torture porn” would be a disservice to its vivid realism. I just don’t know why the hell anyone would be compelled to make this film. But it’s certainly better than Eli Roth’s Knock Knock, and if you liked Funny Games and are a cinematic sadist, you’ll most likely eat this shit up.

IMDb: 6.5

Last Shift

Channeling the cult-classic Session 9, Last Shift brings us into the world of Jessica (Juliana Harkavy), a cop working her first shift. Of course she just happens to look like the half-sister of Jessica Alba and Hope Solo. Of course the shift is run alone. At night. In a precinct house that’s haunted by the spirit of a mass murder clan! Last Shift is one of those low-budget, sleeper Netflix horror titles that more than does the trick in terms of delivering continuous suspense and some good visual and psychological thrills. In fact, I’d go so far as to place it in the top ten horror movies of 2015. As a horror buff who is typically bored by paranormal films, this one easily kept my attention throughout. An impressive flick from up-and-coming horror director Anthony DiBlasi.

IMDb: 5.7

The Living
Jocelin Donahue in The Living
If we can consider Blue Ruin, Joe, Winter’s Bone, Cold in July and Shotgun Stories as cousins related by the blood of country noir, than consider The Living their slightly jaundiced offspring. Director Jack Bryan takes the age-old formula of drinking, heartbreak, mayhem and embittered rednecks killin’ on other nearby rednecks for fuckin’ with their kinfolk. He then hands it over to a talented cast of horror and outlaw movie vets (including a few faces from Justified and House of the Devil’s Jocelin Donahue) and basically lets them shoot it out. While there’s a lot of good bleak-as-fuck hilljackery commencing here, veteran character actor Chris Mulkey absolutely steals the show as a two-bit philosopher hitman who’s just a few screws short of being a white trash Anton Chigurh. If you want bleak and backwoodsy, look no further.

IMDb: 6.3

Man from Reno

Man from Reno is, without a doubt, the best film ever made about the treacherous Japanese-British-San Francisco rare turtle smuggling syndicate. That absurd premise is what our heroine, popular detective novelist Aki, finds herself in as she struggles with a personal crisis and the task of cranking out her last opus. Then there’s the dark and handsome gentleman lover Akira (Kazuki Kitamura from Kill Bill and Killerswe need more of this guy), who’s got something to do with the whole shebang. Piecing it all together is a local detective working a murder casethe great character actor Pepe Serna (Scarface), stealing the show as a humble, aging version of Walt Longmire. 

pepe serna chainsaw scarface

Pepe Serna on the wrong side of a chainsaw in Scarface

So yeah, there’s a lot going on here, almost distractingly so (and sometimes the puzzle pieces collide a bit too quickly). But it’s all worth the slow grind. In the end, Man from Reno is a bizarre, multinational cinematic anomaly; equal parts Hitchcock and The Killing. And speaking of the latter, Man from Reno’s bleak Pacific Northwest cinematography brings a mood and visual flair that are as much a character in the film as any player. If you liked the Al Pacino and Christopher Nolan flick Insomnia, definitely check this out.

IMDb: 6.9

Mea Culpa
mea culpa movie Vincent Lindon
Mea Culpaor as I like to call it, A Walk Among les Tombstonesis the type of gritty cop thriller that could easily rake in box office bucks with a Liam Neeson remake. The film opens with an older man in short shorts on the beach with his beautiful, much younger wife. The message here, I believe, is that it’s just another day in France.

Such sunny overtones quickly fade. A drunk-driving accident leads to a career and marriage flushed down the drain. It also leads to buddy-cop partners who were once thick as thieves now distanced by worlds of misery. But when a child is witness to a gangland murder, our fallen anti-hero must pick up the pieces in order to save his familyand perhaps even regain his sanity.

There are heavy undertones of Taken, including seedy Eastern European thugs and impromptu death-match boxing in dark warehouses with knives and towel-wrapped hands. I will say Mea Culpa suffers a bit from the old not-killing-the-bad-guy-when-you-have-the-chance syndrome, but it does the trick for a tense and action-packed thriller. Consider it the poor man’s Tell No One.

IMDb: 6.1

Mystery Road
mystery road jason mask
Apart from what’s going on in South Korea and the slew of “country noir” films I can’t stop talking about, Australia has one of the stronger bleak, murderous film movements at the moment. Mystery Roada slow-burn detective thriller about an Outback sheriff trying to both solve a murder and navigate systemic and race-fueled corruptionfollows in the rich tradition of The Rover, The Horseman, The Proposition and Animal Kingdom, to name a few. Its existentially bleak, ponderous view of the Outback as expressed through vivid cinematography and minimalist dialogue is part of what makes this film compelling, and creates for a bit of an odd hybrid between Spaghetti Westerns, Samuel Beckett plays and the gonzo Ozploitation movement of the 1970s. It needs to be said that Mystery Road certainly puts the “slow” in “slow-burn,” but if you can dig a crime movie that’s predicated as much upon mood as it is upon plot, this one is certainly worth checking out. Bonus points: It also has a great side role from Hugo Weaving, as well a finale that makes up for the turtle’s pace of the whole affair.

IMDb: 6.4

No Tears for the Dead
no tears for the dead bloody

As I said in my original post on the South Korean revenge-murder thriller No Tears for the Dead, “ It might not have the depravity or sophistication of some han classics, but you’d be hard-pressed to find a more exhilarating foreign popcorn flick made in the past few years.” Seriously, this one gives the first three installments of the Die Hard series a run for their money. There’s nothing all that heady here (it’s more explosion-enhanced, shoot-’em-up blockbuster fodder than the grim glory of South Korean classics like I Saw the Devil and Oldboy). Still, director Jeong-beom Lee’s folllow-up to The Man from Nowhere impresses as a non-stop visual spectacle, and is buoyed by an all-star cast from South Korean revenge cinema. If you’re a fan of the Vengeance Trilogy but are simply in the mood for sheer entertainment on a more brainless level, No Tears is a whole helluva lot of fun.

IMDb: 6.7

On the Job
on the job movie on netflix with Joel Torre

Probably among my top five within this list, On the Job is a Philippine prison-gangster flick that toes the line between drama and thriller. That doesn’t mean it’s by any means slowit’s just a more artful (and well-acted) affair than some of the other stuff on here. If you want some context, combine the coming-of-age and coming-to-power story of Un Prophete (man, that was one of the best films on Netflix), the interwoven, seedy fabric of Amores Perros, and the bleak Philippine crimescape of Metro Manila. And seeing as On the Job details the dynamic of two generations of assassins and their worldly troubles, perhaps a non-comedic take on In Bruges. All the rest you need to know about this film is that it’s about hitmen who have a deal with a political mob to be secretely released every now and then in order to pull of high-profile murders. Oh, and that it’s a damn good piece of modern crime cinema.

IMDb: 7.0

The Seasoning House

This is one of those weird and really good gems that just got buried in the ether of Netflix; the kind that never popped up in any “because you liked” lists and took me half an hour of mindlessly browsing to happen upon. Perhaps that’s because it’s a pretty damn difficult film to market. Premise: A deaf-mute girl in The Balkans is abducted into a military sex-slave house after watching her family brutally murdered by soldiers. She uses her wiles to avoid death at the hands of her captors, while simultaneously coming to the aid of her heroin-fed sex-slave counterparts. Doesn’t exactly scream date-night, does it? And it also isn’t really horror, so you can’t just slap a ghoulish image on the front and get traffic that way (see: The Canal).

OK, now consider that extremely fucked-up premise being executed to near-perfection; no torture porn, no exploitative thrills at the expense of of a very serious and evil situation. Simply an engaging thriller with undertones of bloody revenge on par with what you’d expect out of a South Korean “han” film. For those who can stomach it, Seasoning Houseactually a British filmis suspense and terror at its finest. Rest assured, you will never want to visit The Balkans.

IMDb: 6.1

Scenic Route
scenic route josh duhamel

Wait, Josh Douchehamel made a good movie? I thought he was only supposed to star in Katherine Heigl flicks in which Katherine Heigl realizes her life sucks and then she meets Josh and realizes her life doesn’t suck, and then they go through a period that sucks, and then things don’t suck again. But no, Scenic Route is actually a pretty damn-entertaining flick, thanks in part to an ambitious and humorous script from Kyle Killen. Premise: a cleaned-up, dumbed-down ex-musician shackled by a white-picket-fence existence meets with an old stoner buddy, who’s the same lout he was when they used to hang. Road trip commences. Car breaks down in the middle of nowhere. Bros are stretched to the limits of their friendship and sanity.  It’s kind of like that movie Gerry with Matt Damon, except that I didn’t feel like I swallowed a handful of Ambien ten minutes into watching it (fuckin’ a, Gus Van Sant, fuckin’ a…). I’m not saying Scenic Route is anything existentially groundbreaking, but it’s just really surprisingly good for a movie starring Josh Duhamel, and you could do a lot worse in terms of survival flicks.

IMDb: 6.5

The Shrine

As I’ve said before, good horror flicks are few and far between. And I can’t highly recommend this one until you’ve gone through the 30 or so other modern horror films I’ve suggested on this blog. But worth your time if you’re a horror fan? Yeah, it at least holds that standard.

The premise is even a bit more creative and new than a lot of the stuff popping up these days: An American journalist, her photographer boyfriend and her intern travel to a remote Polish village to investigate a series of odd tourist disappearances. Combining elements of Devil’s Pass (watch that on Netflix over this if you haven’t seen it), Hostel and any number of possession films, Shrine at least creates an interesting and multilayered narrative. There’s even some cinematographically intriguing segments shot in the eerie mist of Polish hill country. Why many of these are clearly shot in front of a green screen is a mystery, and adds an unnecessary element of b-movie laziness. And as a former journalist, I’d rather not even get into the financial implausability of a small-time journo living in a high-end condo and flippantly buying three last-minute transcontinental flight tickets on her own dime simply because she has a story hunch. But there’s some decent special effects here and enough ambitious thrills and chills to at least merit a gander. I’ll just reiterate that this one’s low on the list and I’m mainly just throwing it in here for hard-up horror fans.

GRADE: B- / C+
IMDb: 5.6

subarra movie Greta Scarano Alessandro Borghi

Damn, this is a great movieprobably the best on this list. I love how the opening scene cuts from a boring Italian legislative session to a neon-lit mansion bumping M83’s club-classic “Midnight City” (arguably the most MDMA-conducive song ever created). From there, the tone for Suburra is set, and it’s one of a cross-section of corrupt humanity overlapping into one another’s seedy, carnal and ultimately deadly worlds. The idea of intersecting narratives tied together by some intrinsically morose fate certainly brings to mind the early work of Alejandro G. Iñárritu (see: Amores Perros, 21 Grams, Babel), now probably the most lauded director on the planet.

And as the scandalous lives of a corrupt politician, a gung-ho mobster, a nightclub promoter, a beautiful prostitute and the old guard of gangsterism clash in and around modern-day Rome, the movie also delves into some of the bleak Christian themes Iñárritu explored, especially in Amores Perros. Suburra is divided into daily chapters, with each one being prefaced by text signaling a countdown to “the apocalypse.” The true nature of this apocalypse is more existential and character-related than it is literal, but it would be hard to argue that the movie is, on some levels, not a story about the descent and end of mankind.

Pierfrancesco Favino and Greta Scarano sexy in Suburra

“It’s the end of the world… might as well double up!”

Fans of Nicolas Winding Refn’s Pusher series will most likely love this as well, as it delves into the same neon-lit, trance-music soundtracked netherworld that brought a surreal mix of doom and glory to those movies. It’s worth noting that this is somewhat of a companion piece to the great Italian slum-gangster flick Gomorrah, made a few years prior, as Suburra’s director went on to turn that movie into a TV series. From a cinematographic standpoint, however, Suburra is an improvement on its predecessor. Oh, and a final note: There’s a climactic scene here that rivals the horsehead scene in Godfather. Just sayin!

IMDb: 7.5

Uncle John
Uncle John Ronnie Gene Blevins John Ashton
I know nothing about the fresh-faced, first-time filmmaker Steven Piet, but if I had to guess one thing about him I’d say he’s has seen a little film called Blue Ruin. My second guess on Mr. Piet would be that he’s seen a film called The Living. I’d also venture that he’s probably seen David Gordon Green’s Joe and Jim Mickle’s Cold in July. Whether Piet saw any or all of these films before creating Uncle John? I’d also guess in the affirmative, but that in no way means that Piet’s feature debut isn’t a damn good foray into country noir-ish territory in its own right. It’s also arguably the most “Midwestern Nice” movie since Fargo.

A split narrative follows both the budding workplace romance of two typical city millennials and the boy’s titular uncle and father-figure, a farmer living a few hours (and a few worlds) away from them. John is a good, plainspoken Midwesterner who works hard and meets a group of similarly Midwestern chatty-Cathy buddies for coffee every morning at the local diner. But of course, he’s hiding a dark secret. The performances of John Ashton as Uncle John and Ronnie Gene Blevins as essentially the same character he played in the movie Joe are much more compelling than what’s going on with nephew and his office hottie. Still, Piet’s use of a split narrative to contrast the safeness and sterilization of one generation with the cruder, hands-on know-how of a bygone era isdespite being a bit heavy handedan effective tool for conveying how dull and sheepishly naive your average Millennial is.

IMDb: 6.3

When Animals Dream

To avoid spoilers, I’m not gonna classify the subgenre of this slow-paced and thoughtful Danish horror flick. That said, when its main character, Marie (Sonia Suhl), starts growing weird patches of hair on her body, the gist becomes clear rather quick. I want to re-emphasive that “slow-paced and thoughtful” aspectit’s not in an artsy fartsy way that people will either love or hate, as was the case with A Girl Walks Home Alone at Night. It’s more about combating demons and conspiratorily safeguarding evils within a family dynamic. It’s also about female sexuality and love, but it’s really a lot more grim than that. So the main comparison would be Let the Right One In, a standard few films can live up to (including this one). Still, Suhl’s performance is understatedly compelling and complex. And the bleak cinematography of an isolated European fishing town provides the perfect setting and mood to complement one of the more introspective horror flicks of the past few years.

IMDb: 5.9

White Rabbit

Harlan is an angsty loner who grew up with an alcoholic dad whose lasting legacy to his son was an appreciation for guns. Then a neurotic pixie dream girl arrives at his high school, and their relationship plays out a lot like what went down in the Daniel Radcliffe movie Horns. White Rabbit is also very similar to Almost Mercy (see top of list), albeit darker and more bleakly homicidal. Basically, it’s like Columbine meets Donnie Darko, as seen through the eyes of rapper Cage (specifically his “I Never Knew You” music video). Matter of fact, actor Nick Krause looks a hell of a lot like Cage here. Shia LaBouef should cast him if he’s still working on that Cage biopic. Anyway, if you want some really good, really bleak and bloody teen angst, check this one out.

IMDb: 6.2

A Wolf at the Door
I’ll quote from my original post here: “If Prisoners met Little Children and were lured into a back alley by Alejandro González Iñárritu’s Biutiful, you might have a rough idea of what the Brazilian abduction film A Wolf at the Door is about. But even such a miasma of grim, adulterous, child-snatching malevolence would fall short of matching the depravity that exists in director Fernando Coimbra’s 2013 suspense tale.” Yeah, that pretty much sums up this slow-burn story of psycopathic lust, adultery, betrayal and murder. This is another one hidden deep in the Netflix archives that deserves much more attention.

IMDb: 7.5

-Sam Adams