Movies
[REVIEW] Fantastic Fest 2024: ‘Strange Harvest: Occult Murder in the Inland Empire’, ‘Else’, and ‘Heavier Trip’
The lineup for Fantastic Fest 2024 was just as impressive as always. Where does one begin? My experience at this year’s fest started with Stuart Ortiz’s solo directing debut Strange Harvest: Occult Murder in the Inland Empire. Ortiz made a name for himself as one-half of The Vicious Brothers, the two filmmakers who created the brilliant found footage film Grave Encounters. Ortiz sets off on his own to bring audiences a truly terrifying true crime mockumentary.
Strange Harvest: Occult Murder in the Inland Empire
Strange Harvest is framed as your typical true crime doc. We follow the chronological timeline of detectives Joe Kirby (Peter Zizzo) and Alexis Taylor (Terri Apple) who are on a decades-long hunt to find a serial killer by the name of Mr. Shiny (Jessee J. Clarkson). It becomes clear all too quickly that Mr. Shiny is a force to be reckoned with as he unleashes terror throughout Southern California.
Ortiz shines with a fully realized vision in his solo debut. Rarely can true crime-focused mockumentaries instill true terror into the viewer, but Ortiz finds new and creative ways to scare. Bordering on too realistic for its own good, Strange Harvest sets a new bar for mockumentaries. You can learn more about Strange Harvest and the possible connections to The Vicious Brothers’s Extraterrestrial in our interview here.
Still image from Else
Else
Thibault Emin’s Else hooked me on press photos alone, though the plot also sounded pretty intriguing. Quar-horror is here to stay, and we must accept that. Thankfully, Else ditches the COVID-like pandemic tropes and takes a new route with this world-halting disease. As the credits rolled, I couldn’t help but feel Emin bit off more than he could chew.
Else follows Anx (Matthieu Sampeur), a neurotic and frustrating man who lives in a garishly childish apartment. The film opens with an awkward sexual encounter between Anx and Cass (Edith Proust). Cass, who is childishly self-obsessed, quickly takes a liking to Anx. Cass [basically] forces her way into staying with Anx when their city is put in lockdown. The two quickly fall for each other as the world falls into madness.
Alice Butaud, Thibault Emin, and Emma Sandona’s script might be too smart for its own good. It raises questions and predicaments that never feel fully fleshed out. Emin’s directing, in company with Léo Lefèvre’s cinematography, singlehandedly carries the film to the finish line. Sampeur and Proust give decent performances, but it feels like everyone is holding something back (and not in a way that propels the story). The film hinges on how trippy it becomes, and that’s where the biggest issue lies.
I could not find any information regarding the digital effects in Else, but the amount of visual effect artist credits provides an answer. There are multiple points when the visual effects kick off, that you feel like you’re bombarded with AI imagery. And that will be a huge thorn in the side for many viewers. Whether AI was used or not, it feels almost purposeful how close the effects look to the AI images you see all over Twitter and Facebook. I can’t in good conscience say AI was definitely used, but I can’t say it didn’t affect my overall enjoyment of the film.
Still image from Heavier Trip
Heavier Trip
Ending my first day of film viewing was the rock-solid sequel to 2018s Heavy Trip, Heavier Trip. I hadn’t become aware of Heavy Trip until I heard of Heavier Trip…boy did I miss out. Heavy Trip was an incredibly fun Finnish film about a metal band called Impaled Rektum. The finale of Heavy Trip finds our loveable band members, Turo (Johannes Holopainen), Xytrax (Max Ovaska), Lotvonen (Samuli Jaskio), and Jynkky (Antti Tuomas Heikkinen) (and eventually Oula (Chike Ohanwe)), on the run from the law as they try to make it to a festival to premiere their band. All they want is to premiere their unique sound, which is called symphonic-post-apocalyptic-reindeer-grinding-christ-abusing-extreme-war-pagan-fennoscandic metal.
Heavier Metal follows Impaled Rektum years later as they serve their jail sentence. One day, they are graced with a visitor Maxwell Efraim Fisto (Anatole Taubman), or M. E. Fisto, for short. Get it? Fisto promises the band a spot on stage at a gigantic metal festival in Wacken, Germany. The only problem is, they’re still in jail. When Lotvonen’s father falls ill, Impaled Rektum must question how far they will go to save his life (and farm).
The big issue regarding sequels is matching the tone and feel that makes the first film work so well. Yes, you have to [usually] go bigger, but at what cost? When does a parody film start to feel like a parody of itself? Is that the point? Or is it an unintended outcome? At points, Heavier Trip feels too preachy, with its “Music industry bad,” statement being hammered over your head repeatedly. Not to mention the multiple times they figuratively jump the shark.
But that’s not enough to make me dislike Heavier Trip. While the vibe feels different, and a bit more forced, than its predecessor, Heavier Trip turns the amp up to 11 and doesn’t let go. There’s a heavier emotional undercurrent to this film that unintentionally bogs the pacing down quite a bit, but the cast is just so damn great together, it doesn’t cause much of an issue. Fan service abounds, and Heavier Trip gets the job done–and does it loudly. Oh, and the Baby Metal bit is so damn cute and I’m glad to see metalheads accept and appreciate them!
Looks like another July will be spent getting cozy with Shudder in this house. Between all the new (to me) international titles and the conclusion of Hell Motel on July 29th, the app has filled my calendar for the month. Hold my texts, keep your emails in the draft folder, and don’t look for me outside. My TV and I are on a mission, and we’re prioritizing the five titles below. I hope they grab your attention and make it into your Shudder viewings this summer as well. However, I’ll be too busy watching them to know what anyone else is doing, so happy streaming whatever you decide to get into.
While we have you here, you should consider joining us for Bloody Brunches! Every Sunday at 11 AM CST / 12 PM EST, we’ll be livestreaming a new episode of Hell Motel. Who know’s who you’ll see, sometimes Ian Carpenter and crew stop by!
The Best Movies to Stream on Shudder This Month
Lake Placid (1999)
A small group of people try to capture a gigantic crocodile terrorizing the people of Black Lake, Maine. I am not an aquatic horror girl, and I am usually unimpressed with 90s action horror titles. I make a special exception for Lake Placid though. Sure, it stars Bridget Fonda, Bill Pullman, and Oliver Platt. However, real film buffs know that it’s really the late Betty White who carries this movie. Her foul-mouthed character stood on business and is the reason most of us revisit this title during the summer.
You can watch Lake Placid on July 1st.
Nyi Blorong (1982)
The South Sea Queen’s daughter rises to take a human lover. I have a long history of disliking snakes and movies about snakes. However, I’m leaning into this 1982 film because I deserve a retro Indonesian horror fantasy moment. I am also excited because it stars the late Suzzanna, the queen of Indonesian horror. I only learned about her a few years ago and wanted to spend some time with her work. As usual, Shudder is making it too easy to become a better cinephile.
You can watch Nyi Blorong on July 7th.
The Housemaid (2018)
An orphaned girl is hired as a housemaid at a haunted rubber plantation in 1953 French Indochina. Once there, she falls in love with the landowner, which sends the ghost of his dead wife into a jealous rage. I was excited to watch this just because it sounds chaotic, and I do not see enough Vietnamese horror for my liking. However, I recently discovered it is also an IFC Midnight title, so now my expectations are through the roof. IFC has been the home of upsetting, weird, and unique horror since 2010. I have a date with Shudder on July 14th, because I want this movie in my eyeballs the second it becomes available.
You can watch The Housemaid on July 14th.
Swallow (2020)
A pregnant housewife is compelled to eat dangerous objects, leading her husband and in-laws to become more controlling. Swallow had the misfortune of debuting during the top of the pandemic, so many people missed it. I found it on accident during Thanksgiving back when Showtime still had its own app. It’s quiet chaos that surprised me in a good way. I have been trying to make everyone I know watch it, and Shudder is making that so much easier this month. I am overdue for a rewatch myself, so I will also be hitting play while it’s available this July.
You can watch Swallow on July 21st.
Monster Island (2024)
A Japanese ship transporting prisoners of war and a British POW are stranded on an island where a mythical creator hunts them. Can they work together now that their very survival depends on it? I was bummed I missed this movie at Overlook Film Fest this year because all my friends loved it. So, obviously, I am thrilled Monster Island (also known as Orang Ikan) is hitting the Shudders streets so soon. I do not know what the other monster movies are doing this July because my heart belongs to this baby.
You can watch Monster Island on July 25th.
So, as usual, I will be hiding in my apartment and trying to make Shudder Saturdays my personality. I’m running at their international titles like it’s my job and revisiting a few movies I never spend enough time with. I hope your Shudder watches spark as much joy for you as I expect mine will this July.
In the 90 years since its release, The Bride of Frankenstein is still the Universal Monsters franchise’s strongest film.
I first watched The Bride of Frankenstein on cable around 15 years ago. Director James Whale’s fable of a misunderstood creature’s quest for a bride really stayed with me after subsequent viewings. Speaking of The Bride, she’s the Universal Monster with the most potential for a gripping and modern reimagining that hasn’t been fully tapped into yet. Universal’s newest theme park Epic Universe, opening back in May, inspired a deeper dive into The Bride of Frankenstein, the titular role and its legacy.
Unveiling The Bride: The Plot and Power of the 1935 Classic
Immediately following 1931’s Frankenstein, The Bride of Frankenstein centers on Henry Frankenstein (Colin Clive) as the sinister Dr. Pretorius (Ernest Thesiger) urges him to collaborate on creating a mate for The Monster (Boris Karloff). In the meantime, The Monster travels across the countryside, learns to speak, and meets Pretorius. When both scientists complete and unveil The Bride (Elsa Lanchester), she rejects The Monster, motivating him to pull a lever and famously say, “We belong dead.” Pulling the lever ignites an explosion, killing The Monster, The Bride, and Pretorius.
Just as it took two scientists’ minds to create her onscreen, two individuals gave life to The Bride’s characterization and look: Lanchester and makeup master Jack Pierce, who designed nearly all the original Universal Monsters.
The Bride’s Hiss: How Lanchester Stole the Show with Limited Screentime
The Bride not being the film’s main protagonist is ironic since she’s the title character. Making the most of her brief performance, Lanchester’s swan-like mannerisms as The Bride sharply contrast with the humanity Karloff brings out of The Monster. After her dual role as The Bride and author Mary Shelley herself in the film, Lanchester took on more horror film roles like Henrietta Stiles in Willard (1971). It’s not hard to imagine what could’ve been for her career if she reprised her role in The Bride of Frankenstein’s sequels Son of Frankenstein and Ghost of Frankenstein. If a lab explosion couldn’t kill The Monster, wouldn’t it be the same for The Bride?
Besides the white streaks, Lanchester surprisingly didn’t wear a wig to portray The Bride since Pierce shaped her red hair to look the way it does. Pierce’s work on The Bride is just as iconic if not more so than Lanchester’s performance, ensuring the character became inseparable from her intended suitor in pop culture’s eyes. Case in point: There’s so much officially licensed merchandise playing up a romance between the two characters, even though The Bride can’t stand her intended mate. Beyond Lanchester and Pierce, there is one man responsible for how the film itself would come out.
James Whale’s Masterpiece: Directing The Bride of Frankenstein
Whale stitched great set designs, fantastic performances and composer Franz Waxman’s eerie score together to create a masterpiece.
Having Frankenstein, The Old Dark House and The Invisible Man under his belt by the mid-‘30s, it’s clear Whale creatively peaked while working on The Bride of Frankenstein. Although so much about Whale’s talents has been said, there’s a reason why his work on the film stands out across his filmography: He really went wild when directing it. Every character is practically cartoony, the sets are more elaborate and the plot is thematically richer than the original’s. Being an openly gay filmmaker, he cranked up The Bride of Frankenstein’s camp to legendary heights.
The Bride of Frankenstein is the final horror movie Whale directed. The novel Father of Frankenstein and its film adaptation Gods and Monsters, starring actor Ian McKellen as Whale, dramatize his life after directing the film. According to the reference book Universal Horrors by Tom Weaver, Michael Brunas and John Brunas, he initially didn’t want to direct his horror work’s apex. Just like Henry Frankenstein’s relationship with the monster he created, The Bride of Frankenstein’s production is a case of life imitating art. The Monster’s in-universe infamy further parallels Whale’s Frankenstein duology’s lasting popularity.
How The Bride of Frankenstein Shaped Horror Sequels and Adaptations
The Bride of Frankenstein’s influence can be seen across other horror films and Frankenstein adaptations.
Having “Bride of” in a horror sequel’s title is synonymous with including the main character’s female counterpart, leading to Bride of Re-Animator, Bride of Chucky, etc. The similarities go further than the titles, with The Bride of Frankenstein inspiring the former’s plot and furthering Tiffany’s arc in the latter. The Bride of Frankenstein inevitably shaped Frankenstein’s future adaptations as well.
Directed by Kenneth Branagh, Mary Shelley’s Frankenstein from 1994 closely follows the original novel. Breaking away from the novel’s narrative, its third act pays homage to The Bride of Frankenstein when Victor brings Elizabeth back to life with similarly brief screentime. Mia Goth’s seemingly red hair on the set of Guillermo Del Toro’s upcoming Frankenstein may hint at her character similarly becoming The Bride.
The Bride’s Untapped Potential for a Modern Horror Remake
With Warner Bros. releasing its own take on the character with The Bride! in 2026, it makes Universal’s reluctance to make a new remake downright egregious.
The Bride is still the literally redheaded stepchild among the Universal Monsters. When it comes to being neglected by Universal, The Creature From the Black Lagoon is the only character who rivals The Bride, but that’s another story. Universal did plan a remake directed by Bill Condon, who helmed Gods and Monsters, for its aborted Dark Universe film franchise.
The Bride’s Absence in Epic Universe’s Monsters Unchained Ride
Looking at Epic Universe, the Monsters Unchained: The Frankenstein Experiment ride apparently leaves The Bride out, even though she makes more sense to be in it than The Phantom of the Opera. However, The Bride does make meet-and-greet appearances across Dark Universe’s grounds.
Several ideas can be incredible for when Universal finally releases a remake of The Bride of Frankenstein someday. Based on what I’ve heard about 2023’s Poor Things, it’s exploration of a mad scientist’s creation’s experiences in a restrictive society is closer to what a modern reimagining should be. Having a woman behind the camera can lead to a feminist vision, delving into The Bride questioning her life’s purpose.
Until the day a proper remake debuts, the original 1935 film remains The Bride of Frankenstein’s definitive incarnation.
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