Film of the Year 2018: Hereditary

I’m not saying Hereditary is a perfect film, but it comes so close. Combined with the sheer ambition and potential it shows in the first time director Ari Aster, it easily takes the spot as my Film of the Year 2018.

HereditaryHereditary tells the story of Annie Graham, a miniatures artist dealing with the recent death of her estranged mother. After hearing that her mother’s grave has been desecrated, Annie begins to feel her mother’s presence in the house in a reflection of how she had hovered over her in life.

It’s one of those films you can’t say too much about for fear of giving away too much of the story. I can say that members of Annie’s family all take time as the central focus; her social outcast daughter, her disaffected stoner son, and her husband trying to do the right thing as his wife, it seem to him, begins to display the mental illness that runs through her family. And a short way into the film there is a massive shift in direction that I did not see coming and completely changed where I thought the story was going. 

Hereditary, as I said, is not perfect. The opening is strong, as are the characterisation and story. However as you get into the second half it begins to lose its focus. This could have been studio interference, but I have a feeling that it was more a case of Aster wanting us to know the full details of his story and worrying the audience would miss bits. What could have been a tight and pleasingly open narrative that left the viewer to piece everything together gets wrapped nice and neatly so we’re in no doubt as to what has happened.

I’m a massive fan of horror stories that manage to leave you guessing as to whether the supernatural element is real or in the mind of the protagonist, and that’s where this film should have gone. The fact that they spell everything out in the final half hour is a disappointment.

However, it’s still an amazing film. It was divisive, and there were friends of mine I thought would love it saying they were completely disinterested. But for me, this just making the whole thing more interesting. And as I said, for all it’s flaws this film shows Aster as a directer well worth watching. I have very high hopes for what he will create once he’s a more seasoned filmmaker with the confidence to leave the audience guessing.

My 2016 Film of the Year

This year, I’ve decided to post a few of the highlights I’ve come across in 2016 to share with you all. They won’t necessarily be things published or released this year, but will all be relatively recent works that I – at least – discovered in 2016.


This one was pretty easy. My film of the year has to be The Witch, from director Robert Eggers. I’ve already written about it here so I won’t go into too much detail again when you can just click the link. The passing of time has not quenched how much I love this film.


Exiled from their settlement for their extreme Puritan views, Samuel’s family settles their own farm on the edge of a distant forest. After a year of toil, dedication, and hard work, their new-born child is stolen from under the nose of their eldest daughter by a witch living deep in the woods. What follows is a spiral of fear, persecution, blame and madness, as grief and petty grievances tear the family apart. 

This film is creepy, sinuous, creative, and beautiful. Every shot is a portrait. The story a masterpiece is isolation and the collapse of sanity in the face of forces we can’t understand. Eggers firmly roots his film in a grimy sense of reality, using only natural light, researching the world and the lifestyle of the time, and utilising documents from the period to ensure the dialogue is authentic to the time.

Don’t expect jump scares. Don’t expect gore. Expect steady burning, character driven fear. Expect to be left creeped out and unsettled. This movie is truly what a horror film should be.

Halloween Countdown: 1 Day

Okay, we have a slight discrepancy in the countdown. I’m sure some of you have noticed – though no one mentioned it, so maybe not – that I’ve had my numbers a little off. You may have thought at this point we had 2 whole days left. But we were wrong. We only have today and then the big day is here!

Today I thought we’d look to the future, and the next big holiday season. So with that in mind, I have one more entry from Liam Banks; Season’s Greetings.


The corruption of childhood ideals and beliefs lends itself strongly to horror. The fairytale fantasy that is Christmas gives such a strong vein for horror to tap into.From a modern, adult sensibility, the idea of a someone keeping a watch on you all year round and then slipping into your bedroom while you sleep is a rather unsettling one. I’m always surprised there isn’t more of it out there.

And don’t forget to download your free copy of The Serpent’s Eye from Amazon while you still can. The offer only lasts until tomorrow night.

Halloween Countdown: 8 Days

With just 8 days left on the Halloween Countdown, I bring you another short from the annoyingly talented David F. Sandberg; Attic Panic.


Sandberg’s work just stands out for me of all the short films I’m seeing. He has a pitch-perfect sense of exactly where sound and effects need to be placed to create an atmospheric haunt. He doesn’t fall for the all too common trap of believing music cues can replace craftsmanship, or using generic horror imagery. (It’s amazing how many people still think a girl with long tangle hair hanging in front of her face is scary). He simply comes up with a simple idea and puts together a quick, slick, eerie film.

I mean, he actually manages to make the traditional person-with-a-sheet-over-their-head ghost costume genuinely creepy.

My only issue with this film is that the setting doesn’t look anything like an attic to me. But that’s not enough to put me off. It might well be his attic. Maybe attics in Sweden have cages. Who am I to judge?

Recommendation Time: The Witch

It recommendation time again, and this time for a new film I managed to get to to see last night; The Witch: A New-England Folk Tale.


This is one of those films that justifies why I retain my subscription to film magazines. Like The Babadook last year, I’ve been hearing good thing about this film for a while now, but hadn’t really seen any real marketing for it outside of the occasional poster. The kind of film which you will hear about if you’re interested in this kind of film, but otherwise will completely pass you by.

But if you like true horror films you can’t afford to let this one pass you by.

The film tells the story of a family of fundamental Puritans, recently emigrated from England to America and then expelled from their settlement due to their severe religious beliefs. Travelling into the wilderness they set up their new home on the borders of a forest. But when their new-born child disappears and their crops begin to suffer from a strange, they slowly begin to suspect they are the victims of witchcraft.

The first thing to point out is how amazing this film both looks and sounds. Using natural light where possible, and coming from a director who started out as a production designer, individual shots come across like paintings. thewitchstillRobert Eggers has an eye for beautiful, detail laden and atmospheric shots that just draw you into the world on screen. The dialogue, largely taken from documents and prayer books from the time is a thing of beauty to hear. A lot of that is down to the actors and a testament to their ability. As with most archaic language styles, such as Shakespeare, in the mouths of less skilled actors this dialogue would have come across as stilted and clunky. Not wanting to belittle the adults, its especially impressive that the words feel so natural coming from the child actors. For the most part, at least. There are some moments where they seem a little uncomfortable, but in no way enough to draw you out of the experience.

If you think horror consists jump scares, loud musical queue to make the audience jumps, pools of gore and sexual titillation, then don’t waste your time here. This isn’t that sort of movie. This is slow burning, unsettling, uncomfortable horror. The kind of film that builds over time to leave you tense and uncertain. This film oozes atmosphere. The setting and direction plays a big part in this – the religious fervour of New England in the 1600s is pretty much synonymous with witchcraft by now – but a lot of it has to be handed to the cast. After the disappearance of the youngest child, we slowly see them begin to fall apart; as sorrow, fear for their chances of survival, suspicions and folklore all combining as the supposed security of the family crumbles.

What’s interesting is how we’re never left in any doubt as to whether the Witch exists or not. The audience is shown there is someone in the woods from the very start, leaving us just one step ahead of the characters as to what is happening to them. It’s only the family that are uncertain of the cause of their growing misery. Fearful of the world, clinging to their faith as a shield against everything they can’t understand, trying to convince themselves they are simply being tested by God, rather than abandoned by him.

The Witch is a genuinely creepy film. The director manages to keep the pace slow while never losing the audiences interest. For all this is his first full length feature, it’s a masterpiece of cinematic horror. I’m slightly disappointed that his next film is going to be a remake of Nosferatu, but having watched this film I have hope and I’m far more likely to give it a chance. I’m really hoping that Robert Eggers will be bringing more films like The Witch in the future. This doesn’t come across a beginner’s luck, but something from a director who properly understands both the genre and the medium.

Unfortunately, as this is a small horror film it won’t be in cinema’s for long. That the latest comic book blockbuster is now in theatres will likely have now pushed it off most screens so it’s unlikely you’ll catch in it in cinemas. But I really urge you to grab this one on DVD.