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‘Host’ (2020) Review: The Séance Film Made Modern

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Host (2020) is a delightfully modern take on the seance film. Set during the COVID pandemic, a group of friends decide to have a seance over Zoom. Why should a spirit be barred from contacting us just because we’re connected online? Evidently, there is no reason.

The movie is slow-going at first. We have about ten minutes of exposition, which is a decent chunk of time for a screenplay that doesn’t even last a full hour. A couple hints are shown of what is to come, but overall, the beginning is a bit tiresome. There are also a few fake-outs, such as a knocking that is not from the astral plane but instead from a delivery person. The story and scares don’t pick up until roughly halfway through the film. But when they do start, oh boy, they just keep going.

Such a short runtime doesn’t allow for much character development. Instead of trying to shove in backstory and growth, the writers embrace the audience’s expectations of stock characters. We get the one who takes it all seriously, perhaps to a fault (Haley), the one who doesn’t take the seance seriously at all and possibly instigates the whole conflict (Jemma), the gruff man who proves useless (Teddy), the wise spiritual expert who is also useless (Seylan), the innocent one (Emma), and the rest. While none of the characters stand out, they still work cohesively to portray the horrific situation.

Perhaps the most rewarding aspect of Host is the premise itself. A horror movie incorporating technology is nothing new, but a horror movie firmly planted in our disconnected, digital pandemic world is innovative. Host combines tried-and-true tropes with modernity to great success. In terms of tropes, we get fake-out scares, jump scares, interpersonal drama, naivete, etc. Then we see typical Zoom annoyances, like lagging, freezing, noise feedback, background distractions (mostly in the form of Teddy’s and Radina’s partners), and obnoxious filters. These all make the experience feel real. Add in the time limit on Zoom calls, and there’s your sense of urgency that is often shed with conventional film. In fact, the only scene that is drawn out is the final one, but it doesn’t feel tedious. The timer in the corner, ticking down until the call is forced to end, adds tension. The audience knows that something will happen in those 60 seconds, yet the suspense does not fade.

As the years wear on, how will this flick fare? Will it lose its punch and become “cringe”? I think, and hope, that Host will become a relic of its time. If/When we move past the pandemic and Zoom calls acting as the only source of connection are a phenomenon of the past, it’s likely that future viewers won’t feel the same sense of unease and dread that current ones do. Because the story is so firmly rooted in the present, it’s probable that the terror will fade in the future. Just as some viewers today laugh at anxieties of the past, so too will the next generations laugh at Zoom. I hope so, at least.

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An internet-based scary movie may seem gimmicky, and it is, but there is enjoyment to be had nonetheless. Director Rob Savage skillfully takes our mundane, modern reality and adds supernatural terror to the mix. I won’t say that Host is a masterpiece. I will, however, appreciate the innovation and look forward to Savage’s next endeavors.

Host is streaming on Shudder.

 

Amanda Nevada DeMel is a born-and-raised New Yorker, though she currently lives in New Jersey. Her favorite genre is horror, thanks to careful cultivation from her father. She especially appreciates media that can simultaneously scare her and make her cry. Amanda also loves reptiles, musicals, and breakfast foods.

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[REVIEW] ‘The Last Thing Mary Saw’: A Tale of Love and Loss

The Last Thing Mary Saw takes us to 1840s New York, where Mary (Stefanie Scott) finds herself on the opposite end of the law. Her family has been massacred, and she is the prime suspect. Mary’s life has been turbulent lately when word of her relationship with housemaid Eleanor (Isabelle Fuhrman) comes to light.

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I’m pretty much a broken record at this point from saying I’m not a huge fan of pre-1950s period pieces. The Devil’s Bath was a recent film that changed my mind about how I view period pieces, especially ones with a distinct message. For June, I wanted to take a wider look at LGBTQ+ representation and not just watch films that take place in a modern(ish) world. The Shudder Original The Last Thing Mary Saw could be the film to bring me out of my comfort zone and transport me to a world I would never know.

Exploring LGBTQ+ Representation in Historical Context

The Last Thing Mary Saw takes us to 1840s New York, where Mary (Stefanie Scott) finds herself on the opposite end of the law. Her family has been massacred, and she is the prime suspect. Mary’s life has been turbulent lately when word of her relationship with housemaid Eleanor (Isabelle Fuhrman) comes to light.

Love will always find a way, but the outcome may be far from what you expect.

Edoardo Vitaletti’s Directorial Debut

Writer/director Edoardo Vitaletti’s directorial feature debut is truly a sight to behold, pun intended. His approach to this film is one of care and respect. The film’s subject matter is incredibly distressing, and while not ‘based on…’, it feels all too authentic.

Mary and Eleanor are put through emotional and physical torture by those who vehemently disagree with their lifestyle. One thing I could never understand about religion is the hate that surrounds it. Luke 6:31, “treat others as you want to be treated.” Matthew 7:12, “So in everything, do to others what you would have them do to you.”

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But the hate felt by nearly every marginalized community comes from the people who spend two hours on their knees for a zombie every Sunday.

A religious-like film such as Martyrs revels in its torture and uses it as a focal point to create a concise line between good and evil. Rather than making it a focal point, Vitaletti uses the pain and anguish of Mary and Eleanor to tell the heartbreaking story of two women who just want to be in love.

Standout Performances by Scott and Fuhrman

Stefanie Scott gives a chilling performance as Mary, but while not the titular character, Orphan’s Isabelle Fuhrman steals the show. Vitaletti struck gold on the casting for his debut as narry a performance falls flat.

It’s impressive to see a filmmaker with a singular short film under his belt pull such powerful performances out of actors while simultaneously never losing sight of their visual storytelling. Along with Black Friday cinematographer David Kruta, Vitaletti crafts a deliberate, atmospheric tale of love and loss.

A Gripe with Chapter Breakdowns in The Last Thing Mary Saw

My main issue with the film is something I’ve discussed before and is a pretty ridiculous gripe. Films that are less than one hour and 45 minutes should not be broken down into chapters. It strains a film’s pacing and puts the creatives in a box where they MUST hit certain beats to get to the end of said chapter.

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There are some moments in the film where it does feel stretched out to accommodate its chapters, as well as times it feels a bit forced to end a chapter.

The Last Thing Mary Saw is a beautiful look at a time thankfully long gone. Well, there are still, unfortunately, a few too many people who think like the antagonists of this film. I’m not sure of the staying power a film like this has in the overall zeitgeist of the genre.

It doesn’t do enough to stand out as a powerful film, even though it’s visually gorgeous and has enough agency to feel effective in what it’s trying to say. This film is definitely not Friday night movie marathon material (it would put one hell of a damper on the night!), but the genre is in an overall better place because it exists.

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[Tribeca Film Festival 2025] ‘Man Finds Tape’: A Sinister Mockumentary With Something For Everyone

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For centuries, humans have been captivated by photographic evidence of the supernatural. From 19th century spirit photos to modern day TikToks of mimics, we just can’t get enough. Paul Gandersman and Peter Hall’s debut feature Man Finds Tape explores the idea of recording supernatural phenomena, as well as how other people react to it.

The Viral Mystery of Man Finds Tape

Lucas Page (played by William Magnuson) achieved internet notoriety after finding old, disturbing tapes in his childhood home, where he still lives. After the discovery of the first tape, which features him as a child and an unidentified person who puts something in his mouth while he was sleeping, Lucas began documenting his investigation into it, as well as the discovery of other tapes—featuring the other members of his family. As one does in our modern age of “share everything!”, Lucas posted videos of his investigation online, in a series he titled—you guessed it—“Man Finds Tape”. His series went viral, leading to thousands of people getting invested in the unfolding story, spectators egging him on, doubters accusing him of making everything up…and, of course, people tracking down his sister, Lynn (Kelsey Pribilski), and posting TikToks in which they invade her space and intrude upon her professional life.

Lynn is, understandably, not a fan of “Man Finds Tape”, so she’s less than thrilled when Lucas requests an urgent Zoom call to show her a video. This one isn’t from their childhood, though; it’s recent surveillance footage of a fatal hit-and-run on a main street in their hometown of Larkin, Texas. The homicide happened in broad daylight, and there were witnesses…sort of. In the video, everyone on the street stops moving simultaneously with their heads bowed down.

It’s enough to get Lynn to return to Larkin, albeit reluctantly and with a healthy amount of skepticism. When she reunites with her brother to help him investigate, things take a sharp twist and get even weirder. The siblings find themselves in the midst of a supernatural occurrence that’s been infecting the people in Larkin for years. At the heart of it all is Reverend Endicott Carr (John Gohlson)—a charismatic preacher and televangelist revered as a pillar of the community.

Style and Execution: A Fresh Take on Found Footage

Presented as a documentary, complete with 911 calls, interviews, recovered footage, and internet forums, Man Finds Tape is a bold and genuinely unsettling addition to the found footage horror genre. Pribilski and Magnuson star as Lynn and Lucas, respectively, both independently and as a team in their shared scenes. Their portrayal of familial conflict overcome by unwavering love and loyalty makes them believable as siblings. Nell Kessler also shines through in her performance as Wendy Parker, Lucas’s one-time girlfriend who is now a surrogate carrying Carr’s baby. Brian Villalobos is also featured as a mysterious stranger who is running his own investigation into Carr. Gohlson’s performance as Endicott Carr is fantastically sinister, but not overly so—he balances paranormal spookiness with the run-of-the-mill creep factor inherent in televangelists.

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Along with a strong cast, Man Finds Tape has an interesting and compelling story that will hold viewers captive and at the edge of their seat. There’s something in this film for everyone: true found footage (as in, characters find disturbing recordings), a well-executed mockumentary style, cryptids, small town eeriness, body horror (major trypophobia warning!), and religious horror. The film gets a bit too expository towards the end, but the rest of the movie more than makes up for it.

Man Finds Tape had its premiere at Tribeca Film Festival

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