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

26 netflix crime thriller and horror movies
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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.

GRADE: B / B+
IMDb: 6.2

Big Bad Wolves
Tzahi-Grad-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.

GRADE: B+
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.

GRADE: B / B+
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.

GRADE: A-
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.

GRADE: B / B+
IMDb: 6.7

Darkness on the Edge of Town
Emma-Eliza-Regan-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.

GRADE: B
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
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.

GRADE: B+
IMDb: 7.2

Kidnapped (Secuestrados)
secuestrados-Manuela-Vellés

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.

GRADE: B
IMDb: 6.5

Last Shift
last-shift-Juliana-Harkavy-bloody-sexy

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.

GRADE: B / B+
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.

GRADE: B / B+
IMDb: 6.3

Man from Reno
Ayako-Fujitani-scary-sexy-in-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.

GRADE: B / B+
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.

GRADE: B
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.

GRADE: B
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.

GRADE: B+
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.

GRADE: B+
IMDb: 7.0

The Seasoning House
the-seasoning-house-rosie-day

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.

GRADE: B+
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.

GRADE: B
IMDb: 6.5

The Shrine
cindy-sampson-in-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

Suburra
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!

GRADE: A-
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.

GRADE: B+
IMDb: 6.3

When Animals Dream
sonia-suhl-in-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.

GRADE: B
IMDb: 5.9

White Rabbit
Nick-Krause-in-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.

GRADE: B / B+
IMDb: 6.2

A Wolf at the Door
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.

GRADE: B+
IMDb: 7.5

-Sam Adams

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Vengeance for Mr. Sympathy: Killer South Korean Thrillers on Netflix, Revisited

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Four film movements over the past several years have kept me optimistic about the direction of bleak cinema. In no particular order, there’s the new-wave of oft-’80s-inspired horror pioneered by Ti West and the like (see: You’re Next, V/H/S/2, House of the Devil, It Follows). Then there’s the existentially bleak bloodbaths on the Outback frontier of Neo-Ozploitation (see: The Rover, Animal Kingdom, The Proposition, Son of a Gun). I’ve also waxed gushy about my fondness for the “country noir” subgenre, highlighted by films like Winter’s Bone, Joe, Mud and Cold in July.

Last but not least, of course, is the most profilic of these movements, and coincidentally the one that Netflix sources most constantly for its streaming catalogue. I’m talking about South Korean revenge-murder thrillers, all recognizable through their dependence on the cultural notion of “han”perhaps one of the most brutal concepts to ever spawn a cinematic revolution.

american han korean han I Saw the Devil

American Han                                Korean Han

Eventually I’ll need to make a comprehensive list of the top films in this subgenre, but for now, suffice it to say that all the following should be watched: I Saw the Devil, The Man from Nowhere, Oldboy, Memories of Murder, The Chaser, Sympathy for Mr. Vengeance, Sympathy for Lady Vengeance, The Host, Bedeviled.

If you’re a budding South Korean cinephile like myself, chances are you’ve seen most of the aforementioned titles. Or you’ve read about them on previous posts here. So let me offer forth three lesser-known South Korean flicks I just watched and thoroughly enjoyed. I’m not going to say they’re on the level of I Saw the Devil or Oldboy. They’re also all more fast-paced action-thrillers than what you might expect out of a Park Chan-wook film (i.e., they might be more accessible to those with weaker stomachs and shorter attention spans). Either way, if you have any interest in this movement, here’s a trifecta of very good titles that Netflix streaming currently offers:

A Hard Day
Sun-kyun Lee in A Hard DayFalling thematically somewhere between Infernal Affairs and Headhunters is director Seong-hoon Kim’s A Hard Day. The Infernal Affairs comparison comes from Hard Day being about a deadly game of cat-and-mouse involving crooked cops. The Headhunters one is mainly because Hard Day is the most nerve-wracking, tension-riddled thriller I’ve seen since that incredible piece of Norwegian cinema.

On the way to his mother’s funeral, homicide detective Go Geon-soo (Sun-kyun Lee) is involved in a deadly hit-and-run. He goes to excruciating levels to cover his tracks, with each of his deceitful moves testing the clock in James Bondian fashion.

a hard day Sun-kyun Lee

“I’m sorry mama!”

As his nightmarish evening continues, internal affairs exposes him and some colleagues for taking bribe money. And so it is that we begin our journey in rooting for a crooked, murderous cop, who somehow ends up being one of the film’s more endearing characters (that’s South Korean cinema for you).

As a multilayered web of duplicitous corruption unravels, our hero finds himself in an all-stakes deathmatch with a cunning psychopath who is essentially the South Korean Michael Myers (I’ll leave it at that to avoid spoilers).

Taking a page from common horror tropes, fast-action thrillers, and even Breaking BadA Hard Day is not a film for those suffering from heart problems, onychophagy or trichotillomania (although it may give your cinematic brain an erection lasting longer than four hours). Does it go beyond suspension of disbelief at times? Perhaps. But it’s also one of the most action-packed and entertaining South Korean thrillers I’ve ever seen.

GRADE: B+ / A-
IMDb: 6.7

No Tears for the Dead
Dong-gun Jang no tears for the dead bloody
So about the title of this post: A main commonality between No Tears for the Dead and A Company Man is that they both follow world-weary assassins who are beginning to give in to a softer side when they’re roused out of bliss/apathy by a very personal offense. (It should be noted that this is a very common theme in “han” films.)

No Tears for the Dead is, after all, director Jeong-beom Lee’s folllow-up to The Man from Nowherea slightly superior film about… a world-weary assassin who is beginning to give in to his softer side when he’s roused out of bliss/apathy by a very personal offense. Often these offenses take place in the form of wives or young girls being kidnapped or murdered (happy holidays, by the way!).

Our lead here is Gon, a hitman who has a change of heart after an assignment goes south. As his comically evil bosses press him to take care of a woman he’s beginning to fall for, he decides to go rogue and flip the script on them. What ensues is one of the most action-packed, high-budget thrillers this genre has spawned. Die Hard is channeled in bloody, explosive tower scenes. Flashy, well-choreographed action comes straight from the Jason Bourne playbook. Taken is also an obvious thematic influence.

Min-hee Kim no tears for the dead bloody

Gon’s girl…

No Tears also has some nice side roles from recognizable han-thriller regulars, including the creepy fucker who likes to bowl with human eyes from Man from Nowhere (Hee-won Kim), and the ever-sinister Dana Lee (OK, you might know him more as  Mr. Takahashi from Curb Your Enthusiasm)…
kyoko black swan curb your enthusiasm

As for drawbacks, Jeong-beom Lee lays the melodrama on a little heavy here just as he did in The Man from Nowhere, but I guess that goes with the geo-cinematic territory. Also, as the film attempts to emulate some of the aforementioned American action-thriller classics, there are some hammy performances that unnecessarily rely on actors attempting to say hard-ass things in English when they clearly have no grasp of the language. (As opposed to, say, my immaculate mastery of the Korean tongue.)

Still, production and action-wise, this film accomplishes as much as any American action-thriller blockbuster in recent memory. 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.

GRADE: B+
IMDb: 6.7

A Company Man
Ji-seob So in A Company Man

While A Company Man is predicated on the not-so-subtle parallel between the dehumanizing realities of Asian corporate servitude and the commitments of a hitman, I’m more interested in recommending it based on it being one helluva bitchin’, kickass action-thriller.

In this installment of world-weary South Korean assassins and their moral awakenings, our man Hyeong-Do (So Ji-Sub) works for a company that does ruthless contract killings. Of course, he meets a beautiful lady with a kid and he decides it’s time to hang up his cleats. Of course, this doesn’t work. I honestly have no reason to give you more of a premise, because it’s the exact same thing that was done in No Tears, Man from Nowhere, etc. The thing is, it’s a formula that works, and Hyeong-Do is just as brooding, handsome and homicidally superhuman as any of his cinematic forebears.

The action is especially strong here, including a wall-scaling, bullet-eluding opening sequence that would make both Jackie Chan and Neo from The Matrix proud. And then there’s that Office Space on PCP moment where our man goes to town on a knife-wielding foe with a rolled up office calendar.

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“If you could get me those TPS reports, that’d be greeeat…”

The production value and cinematography here are certainly not on par with No Tears or Hard Day, which is why I’d say try one of those first (Hard Day is the best of these three, in my opinion). That said, the action is first-rate, the thrills and kills come a mile a minute, and there’s at least a semblance of something to chew on intellectually hereas opposed to No Tears. If, per chance, you viewed Assault on Wall Street (it was bannered on Netflix for awhile) and deemed it at least somewhat worthwhile, Company Man is basically the same movie. But with much better figurative and literal execution.

GRADE: B / B+
IMDb: 6.7

-Sam Adams

Outback Invasion: Mystery Road and the Need for Neo-Ozploitation on Netflix Instant

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Australia is the new South Korea. No, that’s not the title of Jenji Kohan’s latest project about a ragtag Outback family that practices cutesy incest and quirky torture-porn revenge killings. It’s a realization I’ve come to after watching Animal Kingdom, The Snowtown Murders, The Rover, Wolf Creek and a handful of other extremely bleak, atmospheric and depraved Aussie films.

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“Time to grow up and act, Pattinson. Fuck Team Edward!”

The common threads among these titles? They’re all good—some of them really good. They all also attract the same type of viewer that took pleasure in Park Chan-wook’s Vengeance Trilogy, I Saw the Devil, The Chaser, The Man from Nowhere… again, the list goes on.

The bottom line: If you like cinematic savagery, revenge tales, serial killer flicks and moody, thought-provoking horror mysteries that make Saw look like the slasher genre’s village idiot, then look no further than eastward (South Korea) and Down Under.

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The Man from Nowhere introduces us to the increasingly popular South Korean sport of bowling with human eyes.

While I’ve already chronicled a few of the great South Korean titles on Netflix Instant, I must admit that I’ve had trouble coming up with a comparable streaming list for what some have dubbed “neo-Ozploitation“—the current wave of flicks that harken back to the blood, sex and existential bleakness that was low-budget Australian cinema in the ’70s and ’80s. One reason for this is that, at least in terms of modern-era comparisons, the South Korean flicks are, generally, slightly superior. The other is that Netflix Instant has a strong reservoir of dark South Korean titles, but a less impressive one for the Aussies.

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Dear Netflix: I humbly submit my pitch…

The Snowtown Murders, for example, is a more-than-decent, gruesome true-crime flick. And I’d say The Horseman, a bloody revenge tale, is even stronger than Snowtown. Both are on Netflix Instant. But neither of these stack up to heavyweights like I Saw the Devil or the Vengeance Trilogy (also on Instant). Chief among the best dark films to come out of Australia in the past decade would be Animal Kingdom, The Proposition (a Western), The Rover and Chopper. Unfortunately, none of these are available streaming. (Note: I have yet to see The Babadook or The Loved Ones, but… they aren’t on Instant either. And Wake in Fright, which would have been a great intro to this movement, just got removed.)

Wake in Fright

Wake in Fright (1971): a boozy, Ozploitation classic.

Which begs the question: What’s a poor guy who blogs about great, dark Netflix Instant movies to do when he wants to focus on Australian murder cinema?

I guess I’ll dive into a flick that was just released which, while not great, is a solid-enough addition to the canon of Australian crime cinema—as well as something that’s far less likely to be known than Snowtown or The Horseman. Then I’ll leave it up to the Redditing hordes to point and chastise me in the direction of a follow-up piece.

Oh, and as for Wolf Creek, it’s not available either. Wolf Creek 2, however, is. Now personally, I loved both of these. But there’s a certain level of campy horror you have to be into to like the Wolf Creeks. Still, if you dug the first one, Wolf Creek 2 is just as good, if not more outrageously enjoyable (and its best scene is a hilariously gory homage to Wake in Fright.)

Anyway, on to our feature presentation, and in the words of Mick Taylor…
Wolf Creek 2


 ….

Mystery Road
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Like many a recent Aussie crime flick, a mood of grim, existential pondering looms heavy throughout director Ivan Sen’s Mystery Road. This is achieved largely through lingering shots of sublime Outback landscapes and the depiction of one man’s quest for justice in a lawless and corrupt culture. For the majority of the film, the seeming futility of our hero’s endeavor only adds to this bleak aura.

This recipe has been done over and again in Aussie films as of late. Why? Probably because there’s a certain intrigue to the isolated creepiness of the Outback, as well as the question of which forces will emerge victorious in situational throwbacks to the uncivilized, badlands of Spaghetti Westerns.

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Clint as The Man with No Name and Aaron Pederson as Det. Jay Swan: a pair of badass, cowboy-hat-wearing loners who don’t say much.

Set in rural Queensland, Mystery Road introduces the stoic Det. Jay Swan (Aaron Pederson) as he investigates the murder of a teenage prostitute. Foul play is at hand, but because the deceased was Aboriginal, no one in “Jay-boy’s” white-bread department seems to give two shits. As Jay slowly (and I mean languorously fucking slowly) connects the dots between his family, trucker Johns, drug dealers and possible “wild super dogs,” he begins to realize that his department’s neglect of the murder goes much deeper than mere racism.

A strong supporting cast includes Hugo Weaving (Agent Smith from The Matrix) as a duplicitous narc, and an uncle of Jay’s (Jack Charles) who bears a striking resemblance to traditional Western depictions of that “Jesus’ dad” guy.

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Jack Charles: Australian for God.

But back to that “grim, existential crime drama” recipe. Just because it’s an intriguing one, that doesn’t mean its inclusion automatically creates an intelligent thriller. I’m sure many would use the terms “contemplative” or “meditative” to express what’s going on in Mystery Road and films like it. Of course, to others, such terms are pretentious euphemisms for “really fucking long and boring.” Personally, I’d say Mystery Road falls somewhere in between those two realms of an artfully crafted mood piece and a film that, quite honestly, doesn’t have enough to say to justify its run time of 121 minutes.

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This Stephen Shore-esque still pretty much sums up the amount of action Mystery Road delivers for the bulk of its two hours.

That said, here’s why Mystery Road works for me: When this blog first started, I talked about the idea of grim, existentialist thrillers working as a sort of relaxant for certain cinematic brains—just like the fad of ASMR. Mystery Road is exactly the kind of movie I was talking about. The pacing is slower than a crippled echidna, but I found the entire ride very satisfying. Essentially, it’s just 100 minutes of high-tension, low-action crime trance, followed by a refreshingly loud and bloody payoff. In other words, I’d argue that the climax of Mystery Road not only justifies the prolonged lull that precedes it, but that the lull itself is intriguing in its own right. Then again, it’s really only worthwhile if you’re the kind of person that gets off on that sort of trance piece…

So let’s do a quick litmus test: Did you enjoy Nicolas Winding Refn’s highly divisive Only God Forgives? If so, you’ll be just fine with Mystery Road. If you didn’t like that as a mood piece (forget the narrative), you should probably steer clear of this flick—although, to its credit, the climactic scene is much more rewarding in Mystery Road. And while it doesn’t completely resolve itself, there is certainly more of a discernible story line than in Winding Refn’s feature-length karaoke video.

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“Wanna fight? … Or would you prefer mood-lighting and an open mic?”

For another comparison’s sake, perhaps it’s best to view Mystery Road as a slightly better, artier, longform Outback rendition of an episode of Longmire. (Aaron Pederson could definitely hold his own in a cop series.)

Mystery Road doesn’t reach the heights of Animal Kingdom or The Proposition, but its certainly no disservice to the “neo-Ozploitation” fad. The only issue I have with the current state of this genre? We need more of it.

GRADE: B
IMDb: 6.4

-Sam Adams

NOTES: If you get on an Australian film kick and want to get back to some classics via DVD, also check out Picnic at Hanging Rock and Walkabout. And here’s a fantastic list of some classic Ozploitation flicks.
-Also, Noise on on Netflix Instant is a strange-but-worthwhile modern Aussie cop thriller (its big-city setting, among other factors, rendered it unrelatable to other titles in this post.)
-And lastly, I made it through this entire piece without a “shrimp on the barbie” joke. You’re welcome.