A site dedicated to cinema—in its bleakest, most gruesome and viscerally glorious forms. put bluntly, we just want to recommend and discuss some (mostly) lesser-known titles to lovers of thrillers, crime and horror.
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.
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 Jugface—reuniting 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.
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, Bob—who looks like a more grizzled Ted Lavine from that Hills Have Eyes remake—curses, 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 Beers…
It’s also just a cinema vérité-ish exploration of a wonderfully strange dude (Bob Tarasuk, who plays Bob—a guy who’s probably a lot like Bob Tarasuk). It almost feels like a lesser follow-up to the great Werner Herzog’s Stroszek—the 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.
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 Williamsburg
I digress. This is where I tell you that They Look Like People is—in terms of movies I just randomly stumbled on—one 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?
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.