Thief's Monthly Movie Loot - 2022 Edition

Set in the early 1980s, Satan's Slaves follows a family dealing with the aftermath of the death of the mother, after a long illness. When it becomes apparent that the husband and children are being haunted by her, the whole family has to deal with their grief while also looking for answers about this seemingly evil presence.

This is an Indonesian film that works as a loose remake/prequel to a 1980 film of the same name; something I found out after finishing this one. However, I don't think that background is necessary, since I thought it held on its own quite well. Director and writer Joko Anwar definitely knows how to handle the camera and frame a scene, even if he falls back on jump scares a bit too often.

Most of the performances are quite good, especially the four children (Tara Basro, Endy Arfian, Nasar Anuz, and Muhammad Adhiyat). Their chemistry together was also believable and helped elevate a film whose script had some shaky portions. There's some effective tension build-up from various fronts, even if they all don't pay off in the end.

There are some subplots and detours that the film takes that are either dropped, brushed aside, or not concluded properly. The film also feels a bit overlong, and there is an awkward cut in the last act that feels a bit clumsy. Still, the film is held afloat by Anwar's skills, a competent cast, and an effectively creepy air to it.

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Pontypool is a small town in Ontario, Canada, with a population of a couple of hundred people. This film follows the events surrounding the apparent outbreak of a strange virus in the town from the perspective of local DJ Grant Mazzy (Stephen McHattie) and the small group of people working at the station.

When the film opens, we hear a long monologue of Mazzy explaining the etymology of the name of the town, because understanding (or not understanding) things plays a key role in this film. As things start to unravel outside, Mazzy has to stay locked inside the station with his producer Sydney (Lisa Houle) and assistant Laurel-Ann (Georgina Reilly), all while trying to decipher and understand what's happening outside.

Shot almost enitrely in one location with a shoe-string budget, Pontypool is, to quote @ThatDarnMKS, an excellent example of doing "a lot with very little". Because, with no outside perspective, the whole film relies on how our characters interpret things. Their only external source are the calls from helicopter reporter Ken Loney, but is he reliable?

I have to give a lot of credit to this film because, again, with so little at hand, it managed to have me on edge through most of its duration. The cast, but most notably McHattie, do an excellent work in conveying the fear and dread surrounding what's happening outside; especially because their uncertainty is ours. So I really appreciate the way the film makes us feel in their shoes. The sound editing, which is very important in a film like this, was also very good.

Like most films in this vein, I think it fails a bit in trying to explain too much, and I'm still not sure the explanation makes a lot of sense. However, I do appreciate how their deduction of what's happening has also a lot to do with how much we, as an audience, try to understand things around us, and how that understanding changes our perspective of things. So if you ever get around to it, stop understanding and enjoy the ride.

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The Night Eats the World follows Sam (Anders Danielsen Lie), a musician living in Paris, that finds himself to be the lone survivor of a zombie apocalypse that has ravaged the city. As he barricades himself inside a small apartment building, Sam has to find ways to keep the zombies at bay while also coping with the loneliness and depression of his situation.

This is certainly not the first time that fiction and cinema have explored the implications of a sole survivor amidst a zombie apocalypse (or any other "apocalypse", for that matter). Sources like The Last Man on Earth and its multiple adaptations, as well as 28 Days Later, have all shown us eerie visuals of lonely men walking around deserted cities to varying effects.

Despite not treading new ground, I thought this film did fairly well in trying to explore the deterioration of Sam's mental health. Danielsen might not reach peak levels, but he does a good job conveying the different angles of a character in his predicament: scared, frustrated, resourceful, bold, desperate, lonely, depressed.

I also appreciated the film's slow pace. The film still finds time to have a few intense moments that give it a couple of jolts of energy, but the focus is always the character. There is an interesting supporting performance from Denis Lavant as a zombified old man trapped in the apartment's elevator, with whom Sam develops a "bond", and their interactions add some layers to his mental state.

According to Wikipedia, there have been 400 zombie films released worldwide in the last 20 years, as opposed to barely above 100 in the previous 20. With such a vast amount of output, it's expected that the genre would become as dead as the beings they portray so, much like Pontypool, its always refreshing to find a "lone survivor" among all the rotten ones that's not following the norm.

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There might be some SPOILERS included

Speaking of films about lone survivors amidst a zombie apocalypse... 28 Days Later follows Jim (Cillian Murphy), a bicycle messenger that awakens from a coma only to find himself in the middle of deserted London after a disastrous zombie outbreak. As he realizes what has happened, he has to learn to survive but also whether to trust others. Eventually, he is joined by Selena (Naomie Harris), and then Frank (Brendan Gleeson) and his daughter Sarah (Megan Burns). But can he trust them? Can they trust him?

It had been a while since I had seen this film, but it was certainly nice to revisit. Director Danny Boyle has a great eye to capture certain iconic shots, especially during the moments where Jim explores the deserted streets of London. He also does a great job of combining long shots and pans, with more frantic, handheld camera movement for the zombie attacks. And speaking of zombie attacks, this is one of the first instances where "fast zombies" are featured, and the result is definitely intense and nerve-wracking.

Another great asset to the film is its strict three-act structure. After a somewhat intense first act, Boyle uses the second act to lull the audience into a false sense of security that we know won't last, and it certainly doesn't once our survivors find a purported military sanctuary led by Major Henry West (Christopher Eccleston). You don't have to be an expert to figure out that things don't go out well, for one reason or another.

My recollection of my last viewing of this was that it kinda fell apart in that last act. This rewatch certainly improved my perception of it, even if I'm not completely on board with it. Not that I don't think it would happen, but our survivors stumbling upon a bunch of horny soldiers with an established plan to perpetuate humankind, in some ways feels like a different kind of film.

This last act also brings to the surface a couple of other weaknesses in the film. For example, the way the roles are flipped between Jim and Selena regarding who's the "badass" and who's the "helpless one" felt a bit jarring to me. This reminds me of other logistical issues I have during the first two acts: like, why aren't there any bodies or blood all through the hospital or outside as Jim explores the deserted streets? why only a drop of blood in Frank's eye is enough to turn him, and yet these soldiers are blowing up "infected" with all their guts raining over them but nothing happens?

But it's all cool. The deserted streets scene is iconic for a reason, and the contrivances of Frank's final moments are saved by the strong emotional core that Boyle builds during that second act. That, and the always dependable Gleeson. All of the performances are great, and like I said, Boyle directs the whole thing with an intensity and relentlessness that makes for a harrowing experience.

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While I understand some of the issues people have with the final act (though I wasn't bothered by it since the this particularly surprises me as I thought their arcs were handled very well. I think the point to their characters were that, though you may either act a certain way or give off a certain impression at the start of an outbreak, your true colors will eventually be brought out over time. In fact, I'd even go as far to say that, with maybe the exception of the characters in Romero's Dawn of the Dead, Jim and Selena have my favorite character arcs out of all zombie films I've seen.

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There might be some SPOILERS included

Survival is the most basic human instinct. As living species, we strive to, well, stay alive; sometimes against insurmountable odds and maybe even at the expense of others, if it comes to that. Are we willing to risk ourselves for others? And if we can't, or don't, can we live with the cost? Those are questions that come often in this sequel to Danny Boyle's zombie hit film.

28 Weeks Later kickstarts with what is probably one of the most intense openings in any horror film; one where those questions are crucial, as we see the cost by which Don (Robert Carlyle) manages to survive the original zombie outbreak. 28 weeks later *wink, wink* as London is recovering, he reunites with his two children, Tammy and Andy (Imogen Poots and Mackintosh Muggleton) in a quarantined section of the city led by a NATO force. But obviously, there wouldn't be a film if the sh-it didn't hit the fan.

Like 28 Days Later, this is a film I hadn't seen in a while. However, my recollection was that I enjoyed it more than the original (probably one of the few that did). Although my appreciation of the original grew, this one pretty much stayed at the same spot, to the point that I think I have them on similar levels.

First, Fresnadillo's direction is competent, but isn't as elegant as Boyle. He has a knack to effectively transmit the frantic nature of what's happening, but I think he leans into shaky handheld more than Boyle does. Also, the logistics of how the outbreak gets out of control doesn't really make a lot of sense: herd everybody into a dark, cramped up warehouse until? Going into blackout as people and "infected" are running loose, and snipers are trying to maintain control?

What I like most about this sequel is how relentless and full of despair it is. From that kickass opening, it is as if the film just won't let go, and that desperation oozes through the screen. It's a bit of a stretch that the main focus of this rampage falls on one character, but the actor sells it well. Jeremy Renner has a supporting role as a sniper with a conscience that tries to protect the siblings, but my attachment to them wasn't as strong as with, say, Jim and Selena in the first film.

That said, I won't deny my enjoyment of the visceral appeal of this film and how savage it is. But deep down, I love that it takes those questions about survival, self-preservation, and sacrifice, and hangs them above several of its characters (and us, by proxy). How much are we willing to sacrifice to survive? or how much can we sacrifice for others to stay alive?

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The way I like to reason the whole situation is that obviously Selena, who has been a tough and emotionally closed person for the entire 28 days since the outbreak, has finally warmed up to others and has learned to care about others... something she had pushed aside in favor of pure survival. Jim, on the other hand, switches to full survival mode in that last act, driven by adrenaline in order to protect Selena and the girl. It is a bit of a stretch to think that a bicycle courier that just woke up from a coma days ago can go all ninja all of a sudden, but that's the movie. It's kickass.

I accept that, but I just think the flip was a bit jarring. Not enough to stop me from having an overall positive reaction to the film, but jarring nonetheless.

Granted, I get that, when you wake up from a coma, you're generally not going to be physically fit right away and that it can sometimes take weeks for you to 'get back to normal' or whatever the proper medical term is, and I can understand finding the final act jarring for that reason, but I don't mind showing a bit of suspension of disbelief for that when it leads to the memorable character arcs.

As human beings, we are in constant change. As we grow up, we pick up things from everybody we interact with and everywhere we end up at. But there is always an undeniable tie to our past, our parents, our ancestors. Regardless of how much we might want to run away from it, we are bound to stop running and go back, for one reason or another. That reality is at the core of one of the latest MCU offerings.

Shang-Chi and the Legend of the Ten Rings follows the titular character (Simu Liu), who know goes by the name of "Shaun", as he is forced to face his past and his true identity when his father Wenwu (Tony Leung), the immortal leader of the Ten Rings organization, draws him and his sister out on his search of a mysterious mythical village.

The second film within the MCU Phase 4, Shang-Chi has as much similarities as it has differences with the films that precede it. It is refreshing to see a different and somewhat more obscure superhero in the franchise, and Simu Liu is pretty good in his portrayal. He has a good mixture of laid back charisma and emotional weight, mixed with some good comedic timing with best friend Katy (Awkwafina).

But I think the biggest strength the film has is in Tony Leung as Wenwu. In a way, this is as much his film as it is Liu, as we see his character traverse various moral shades of grey. Some of those layers are owed to the script, but I think a lot of it falls on Leung's nuanced performance, which is a treat through almost all the film.

And I say "almost", because as much as director Destin Daniel Cretton try to distinguish it from the rest of the MCU, it is evident that it has to follow a formula; one that requires a big, bombastic climax full of huge CGI creatures and special effects. Cretton does a solid job through the first acts, and there's a beauty to those wuxia-like fight scenes between Wenwu and Shang-Chi's mother, Ying Li. But it is in that formulaic climax where the film becomes less interesting.

Despite those issues, I would say Shang-Chi still ranks slightly above average within the MCU catalog, mostly thanks to a solid cast. The character of Xialing, Shang Chi's sister, could've been fleshed out more, but I suppose they'll get into that in the future. I also loved Katy's little arc, and it was fun to see the way they inserted Ben Kingsley's Trevor Slattery into the narrative.

At the end of the day, Shang-Chi might be an entertaining and satisfying film, but it just can't run from the past and traps of the MCU formula. As it is, it falls within the same "low floor/high ceiling" standards that the whole franchise has established. If it weren't for the performances, this would probably be a notch lower.

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Just in time for Halloween, the latest episode of The Movie Loot is out. This time, I have the hosts of The Podcast That Wouldn't Die, Kevin & Erin, join me in talking about zombie films. It was a lot of fun to chat with them so check it out!

The Movie Loot 71: The Zombie Loot (with Kevin & Erin from The Podcast That Wouldn't Die)

You can check it out on the above link, or on any of these podcasting platforms: Spotify, Apple Podcasts, or any other. Thanks for the support!

TVs, clothes, gourmet food, wheelbarrows, guns, lighter fluid, and sweet, sweet brains. Everything right here at this important place in our lives that we call the shopping mall. That is the setup of this sequel to George Romero's Night of the Living Dead, released in 1978.

Dawn of the Dead follows four survivors that take refuge from the zombie hordes in a shopping mall. After fending off the scattered zombie groups, they settle in a storage room on the upper floors. But as time passes, they start to fall victim to the comforts of their situation and take them for granted.

This is definitely not the first time I've seen this, but it's another one I hadn't seen in several years. It's really interesting to see the direction that Romero takes this sequel; now more satirical, and with the social commentary angle elevated quite a bit; but it works quite well. The jabs it takes against consumerism and how we are absorbed by routines is pretty on point, especially for the 1970s.

In addition, the performances of the four main cast members are solid, and the way their bond develops feels real. I wish there would've been a bit more depth to them, especially Stephen, but I understand Romero's motives. As for the special effects, the bluish makeup can be a bit distracting at first, but the rest of the effects and the gore in general are both pretty good.

Following up one of the most iconic horror/zombie films ever, Dawn of the Dead manages to deliver a worthy follow-up that manages to be both gory and fun, full of good performances, strong social commentary, and splattery special effects. Everything you need in a horror film, right at your fingertips.

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Dawn of the Dead is great.

Every job comes with a significant amount of pressure. Whether it is because of the nature of the job or the expectations put on us by being, for example, the son of the local sheriff. But what about both? That is the situation of John Marshall (Jim Cummings), a deputy sheriff in Snow Hollow, Utah, who's struggling to follow the footsteps of his aging father, Sheriff Hadley (Robert Forster) while investigating a series of gruesome murders that might be the result of a wolf... or werewolf?

Directed, written, and acted by Cummings, The Wolf of Snow Hollow is an interesting and enjoyable blend of horror, dark comedy, and police/crime thriller. Like with Thunder Road, Cummings finds a neat way to balance the serious with the humor in a way that I've seen few do so well. He is also helped by a pretty good performance from Riki Lindhome as a fellow officer that tries to help John keep his wits, and gives him the above advice.

Now, speaking of Thunder Road, there is a certain element of repetition in Cummings' character; you know, a socially awkward guy with anger issues being driven by the mortality of one of his parents, all while dealing with a breakup and also struggling to connect with his daughter. I mean, it's pretty much the same character, but the truth is that Cummings does it so well that I can't complain.

In addition to that, I like the way the whole mystery about the murders unfolds, and how Cummings weaves it with his character's family issues. The resolution feels a bit anticlimatic, but I still think the journey is worth the time, especially because of the great characters and Cummings confident and patient direction. His character might be struggling to start acting like a sheriff, but Cummings has surely been acting like a director for a while now.

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Bride of the Monster follows Dr. Eric Vornoff (Bela Lugosi), a "mad" scientist that is determined to complete an experiment that will result in a race of "atomic supermen" to conquer the world. Directed and co-written by Ed Wood, it is the most expensive film the made (at $70,000) and arguably his second most well-known one.

Films directed by Ed Wood come now with a certain baggage. Mostly known for his work in horror and sci-fi, he is more popular for how "mediocre" and "incompetent" his films are than for anything else. So with that perspective in mind, I can say I found this to be not so terrible. Campy and schlocky? Yes, but still a nice slice of fun.

The facts around its production only serve to add layers to the film. Part of the film's production funds came from a meat packing plant owned by Donald McCoy. As part of the deal, he asked for his son, Tony, to be cast as the film's hero, Det. Dick Craig. But the thing is that McCoy is not that bad. Again, not sure how much it has to do with low expectations, or true skills, but well.

The real star of the show, though, is Lugosi who delivers a committed and surprisingly energetic performance, especially if you considered it was his last speaking role, released a year before his death. He owns the role of Vornoff giving it equal doses of gravitas and ham. His character is joined by Lobo, played by Wood's regular Tor Johnson, whose performance has a lot of heart to it.

Even though this was my first actual Wood film, I've read some things about him. After working on horror and sci-fi, he eventually veered more into sexploitation and pornographic films, and also pulp novels; a career path that some might have considered "mad"... or maybe it's something that we cannot grasp?

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I’m not really an Ed Wood fan, but Lugosi is legit good in that one.

What is a "chucko"? Well, that is part of what's answered in this 2015 short film from Jim Cummings. After Thunder Road and The Wolf of Snow Hollow, I've become more interested in Cummings' filmography, which started with a bunch of short films, and The Chucko is one of his first ones.

Co-written and co-directed along with Dustin Hahn, the short film follows a, uhh, lively realtor (Hahn) showing a house to a young couple (PJ McCabe and Jennifer Fink) who might or might not warm up to the realtor's styles. It is one of them who finally blows up with the above rant.

This is a 3-minute short, so there's really not much to it, but the dialogue and the acting is hilariously handled, especially by Hahn. He is the vivid portrayal of the "annoying douchebag" everybody knows and hates, making McCabe's irritability and annoyance all the more relatable. So please, I'm begging you, for three minutes. Watch The Chucko!

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If anyone's interested...

A girl drowns on a pool, and is pulled out of the water; no breathing, but it's all right, it's ok. There are good guys around us when you least expect, from where you least expect. That is the premise of this other short film from Jim Cummings short film.

With a runtime of almost 3 minutes, It's All Right, It's OK throws us right into the middle of the above situation as a "guardian angel" (Joseph Lee Anderson) tries to save the girl. It's a true beauty to see how Cummings uses clever direction to reveal everything that is happening, making the story more complex, interesting, and of course, funny every second.

Again, Cummings script makes a really witty blend of tones, tragedy and comedy, and Anderson, who is the focus of pretty much the whole short is totally on board for it. His performance is equal doses of desperation, fear, earnestness, disbelief, and more... but none of them for more than five seconds. Can't be a good guy for five seconds.

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Here it is. Really easy watch...

That's the apologetic explanation given by someone as they leave Nico, a kid with cerebral palsy, at the local orphanage. It is our belief that the "more suitable place" for someone like Nico is the place with more resources, more personnel, more money, or is it? That's one of the questions that this Spanish short film asks of us.

Cuerdas follows the friendship developed between Nico and María (Miriam Martín). The latter takes a liking to the kid and insists in "playing" with him, despite his condition; something that her friends see as "weird". But María doesn't care, and continues playing the rope, soccer, and other games with Nico. Maybe because she wants to make him feel welcome, or maybe because that's just the way she is.

I put this short film to the kids the other night not really knowing what it was about, and surprise, surprise! Guess who ended up crying for about half an hour afterwards? *points finger at myself* What pulled harder at the strings of my heart was the fact that the story was based on director Pedro Solís' family and two children, which just adds an extra layer to this poignant story about friendship.

Whoever brought Nico to the orphanage might not have thought that it was a "suitable place", but that's usually because we tend to look for tangible resources and not the heart of those that are in that place. However, María's friendship made this place a more than "suitable" place for Nico; maybe the best place for him.

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