Reviews
[REVIEW] Tokyo Horror Film Festival 2024: ‘Morena’ Is A Bloody Good Time
Morena follows Anya (Taisiya-Oksana Shchuruk) and her boyfriend, Yurko (Illia Valianskyi). The happy couple is making their way back to Anya’s hometown to visit her parents. Shortly after arriving back in town, they are introduced to Ivanka (Iryna Gromadska), a happy, carefree young woman, who is referred to as a witch by Anya’s friends. Once Ivanka gets eyes for Yurko, things go downhill for everyone involved. Morena is a cat-and-mouse tale of love, lust, and violence.

When it comes to European horror, Ukraine doesn’t typically jump to the front of your mind. Which is interesting considering Chernobyl is located in Ukraine. Except for Chernobyl Diaries, co-written and produced by Paranormal Activity’s Oren Peli, there aren’t too many films that take place around the Chernobyl disaster, either. Unfortunately, due to Russia’s invasion of Ukraine, one can wonder if the hopes of Ukrainian horror are put on the back burner for the time being. If you were in the market for some Ukrainian horror, you’re just in luck.
Morena follows Anya (Taisiya-Oksana Shchuruk) and her boyfriend, Yurko (Illia Valianskyi). The happy couple is making their way back to Anya’s hometown to visit her parents. Shortly after arriving back in town, they are introduced to Ivanka (Iryna Gromadska), a happy, carefree young woman, who is referred to as a witch by Anya’s friends. Once Ivanka gets eyes for Yurko, things go downhill for everyone involved. Morena is a cat-and-mouse tale of love, lust, and violence.
Writer/director Serhii Aloshechkin starts off as a hot and heavy sexual thriller before pivoting to fun, campy occult mayhem. Morena is a simple story told well. The occult aspect of the film is pretty straightforward. Aloshechkin’s screenplay doesn’t throw too many twists or surprises, but that’s not a problem. His direction and cinematography paint a gorgeous picture to make up for any of the story’s shortcomings. The way Aloshechkin captures his main cast of incredibly attractive people is beyond delightful.
The best way I could describe Morena visually is like if modern James Wan made a film 21 years ago. The staging, blocking, lighting, and editing feel like a mid-aughts movie, which is probably why I liked it so much. Beautiful RGBs light the night scenes with such a feeling of nostalgia. Throw in the naked wirework choreography and tons of blood, and you have one hell of a picture. Morena goes off the rails slightly toward the beginning of the third act/end of the second act. The character’s actions seemed too forced to work, but it’s not enough of a curveball to take away the overall enjoyment.
I should clarify that I’m not the most knowledgeable on the Ukraine/Russia conflict. From my knowledge, Russia invaded Ukraine and then got pissed when Ukraine fought back. There is probably a deeper meaning to this film that I am completely glossing over. At times, Morena feels like a typical good versus evil story, where evil is a wolf in sheep’s clothing, while at other times it feels like an overly entertaining popcorn flick; either way, it works.
Morena was a complete surprise in the best ways possible. With the exception of Malignant, I can’t remember the last time I’ve seen a modern horror movie with such impeccable wirework. The occult subgenre isn’t my go-to subgenre, but Morena has completely changed my mind. It doesn’t go over the top with occult lore; it plays out simply and lets the audience enjoy the ride. If you want a sexy occult thriller with buckets of blood, Morena is the film for you!
Reviews
[REVIEW] ‘Mandy’ Was A Career-Defining Film for Nicholas Cage
Mandy follows Red Miller (Nicholas Cage) and his girlfriend Mandy Bloom (Andrea Riseborough). They live in a gorgeous isolated mountain house where veteran Red finds himself as a lumberjack while Mandy works at a gas station (and is an artist). Children of the New Dawn leader Jerimiah Sands (Linus Roache) notices Mandy walking one day and decides he must have her. Sands kidnaps Mandy and eventually kills her in front of Red—big mistake. Red goes on a rampage of revenge and leaves no witnesses (well, he does leave one).

Nicholas Cage has one of the most interesting careers in Hollywood. He starred in films from prominent directors like Francis Ford Coppola, The Coen Brothers, David Lynch, Michael Bay, and John Woo (to name a few). He quickly made BANK in his early career, leading to poor financial decisions. Cage found himself in a heaping load of absolutely awful films in the Aughts and early 10s to get his affairs in order. From odd Christian propaganda films to straight to VOD garbage to those truly awful National Treasure movies, it was clear Cage was in a bind. It wouldn’t be until the tail end of 2017 and beginning of 2018, with Mom and Dad and Mandy, respectively, that the world would be thrust into the much-needed Cage-issance.
Mandy follows Red Miller (Nicholas Cage) and his girlfriend Mandy Bloom (Andrea Riseborough). They live in a gorgeous isolated mountain house where veteran Red finds himself as a lumberjack while Mandy works at a gas station (and is an artist). Children of the New Dawn leader Jerimiah Sands (Linus Roache) notices Mandy walking one day and decides he must have her. Sands kidnaps Mandy and eventually kills her in front of Red—big mistake. Red goes on a rampage of revenge and leaves no witnesses (well, he does leave one).
Writer/director (and talented nepo baby) Panos Cosmatos is one of the most visually stunning genre filmmakers of the 21st century. Beyond the Black Rainbow was a confusing yet stunningly brilliant debut feature film. Even if it was difficult for most audiences to understand, it was clear he had a specific vision and style. Almost a decade after Rainbow, Cosmatos would come out with his most accessible film to date. Mandy was a more down-to-earth look into the mind of Cosmatos and connected with the horror audience in a way Rainbow failed to. This trippy, metal, operatic masterpiece took the genre by storm.
Mom and Dad was having its wide-release post-festival run the day Mandy premiered at the Sundance Film Festival. Both films bolstered the return of Cage being a brilliant actor. Mandy was toted as a badass return to form for an unhinged Nicholas Cage at the hands of a director who knew how to handle it. One of the funniest bits from Community is when Abed (Danny Pudi) takes the Nicholas Cage Good Or Bad? class. Abed asks whether Nicholas Cage is just good in bad movies and bad in good movies. While that’s a fair question, I think it’s deeper than that. Cage is best when a competent director knows how to handle Cage. And Cosmatos knows how to handle his Cage.
Beyond the brilliant performances, Cosmatos expertly mixes practical and digital effects seamlessly (and even some matte paintings, I believe). One of Mandy’s most visually appealing aspects is the Hellraiser-like creatures that are spawned when the cult members use the Horn of Abraxis. This horn summons a group of BDSM off-roaders who use enough acid to kill a major metropolitan area. Their creature design is absolutely stunning, and each one has their own personality, which is shown through their individual creature design.
Once the rampaging starts, it doesn’t stop. Red takes out each villain in fun and brutal ways; he accepts no substitutes. The most fun fight scene is when Red and one of the Hellraisers have a chainsaw swordfight. It’s an absolute thrill to watch. But who could forget Richard Brake? Destined to be a hellbilly from birth, Brake is the one who creates the acid for the cult and *checks notes* has a tiger? Okay, go off king. Nothing about this film should work, but it does. From Riseborough’s restrained performance to Roache’s over-the-top, megalomaniac performance, there isn’t a single bad actor among the bunch.
If you somehow HAVEN’T seen Mandy, you need to fix that immediately. It’s a truly unique film that works just as well today as it did in 2018. It’s a shame it takes Cosmatos so long to come out with films because I eat up everything he makes. Sure, Beyond the Black Rainbow is a difficult film to watch, but it’s gorgeous and a hell of a trip. And his segment in Guillermo del Toro’s Cabinet of Curiosities is my favorite among the bunch. If Wikipedia is to be believed, Cosmatos has a film coming out in 2025…let’s hope that’s accurate.
Reviews
[REVIEW] ‘The Dead Thing’ Takes Ghosting To A Whole New Level
The Dead Thing follows Alex (Blu Hunt), a young woman who works late hours, lives by the rays of a sunlamp, and is looking for the one connection that will make life seem less cyclical. When Alex meets Kyle (Ben Smith-Peterson), it seems like things will finally be going in her favor. But all that glitters is not gold. As quickly as he came, he vanished. Hurt, confused, and pissed, Alex tries to get to the bottom of why Kyle disappeared from her life. Some stones are meant to be left unturned.

Elric Kane has been a prominent voice in the film and horror space for a long time. One of my fondest memories of Kane is his longtime hosting gig on the Shock Waves Podcast. The amount of film knowledge and obscure films I learned about from him and Dr. Rebekah McKendry singlehandedly fueled my interest in collecting physical media. Hearing how passionate and intense they were with their love of the genre is also what started me down the path of writing. While Dr. McKendry has previously dipped her toes in the feature filmmaking game, it’s now time for Elric Kane to do so.
Cut to: The Dead Thing.
The Dead Thing follows Alex (Blu Hunt), a young woman who works late hours, lives by the rays of a sunlamp, and is looking for the one connection that will make life seem less cyclical. When Alex meets Kyle (Ben Smith-Peterson), it seems like things will finally be going in her favor. But all that glitters is not gold. As quickly as he came, he vanished. Hurt, confused, and pissed, Alex tries to get to the bottom of why Kyle disappeared from her life. Some stones are meant to be left unturned.
Writer/director Elric Kane’s (and co-writer Webb Wilcoxen) singular debut feature film is a superbly crafted supernatural spectacle. The Dead Thing starts slow and deliberate; rather than rushing into an overwritten plot with underwritten characters, Kane and Wilcoxen allow the audience to sit with Alex in her neverending love life. One aspect of Alex that I, and hopefully many will, appreciate is how Alex is written. Rarely does Alex feel written from the perspective of the male gaze. Her life may not be going in the exact direction she wants, but the film never makes it out to be a her problem. At no point do they try and make Alex out to be a floozy or condemn her for the life she’s living, instead they make those who live the same kind of lifestyle feel seen. The film asks the audience if they ever feel like there’s no escape; too many of us can relate to that.
It doesn’t matter how a character is written if the acting doesn’t deliver, and Blu Hunt delivers. Set aside the fact that she has one of the most badass names I’ve ever heard, Hunt provides an astounding lead performance. Whether she’s walking alone down a Los Angeles street, or playing off of her longtime friend Cara (Katherine Hughes), coworker Chris (John Karna), or the mysterious[ly handsome] Kyle, Hunt gives it her all. It helps that Ben Smith-Peterson and the supporting cast all give overwhelmingly brilliant performances.
Supernatural stories aren’t usually my go-to. They can be too overwritten, too style over substance, too “elevated”, or just plain boring. The Dead Thing quickly finds its footing and lets the audience accept it or not. Kane and cinematographer Ioana Vasile (who was a still photographer for Pontypool!!!) wonderfully capture the sometimes-solitary, sometimes-overstimulating beautiful hellscape that is Los Angeles. It should also be noted that one of my favorite actors in the world, Matt Mercer is a producer on this film.
The Dead Thing hits the perfect blend of claustrophobic loneliness and endless yearning. Just like Dr. Rebekah McKendry, it’s clear that Elric Kane doesn’t just talk the talk, he walks the walk. For his debut feature film, The Dead Thing doesn’t need resuscitation. I’d say run, don’t walk, to check this one out, but if you do…look left and right before crossing the street.
The Dead Thing hits Shudder on Friday, February 14! Watch it with your partner if you can, or watch it alone with a tub of ice cream and an overflowing glass of wine. I won’t judge.