Cure (1997)

Kiyoshi Kurosawa’s Japanese masterpiece is a real mixed bag that I'm not entirely sure I completely understood! Armed with notes from other reviewers, I think I might have just about got there. It’s a creepy 'horror' about hypnosis that works on two levels. As we follow the story, we find ourselves sucked in as an audience - it feels as though Kurosawa is hypnotising us, too!

Some Spoilers ahead - but not too many!

Horror it might be, but daft jump-scares there are not. Instead, the film relies on a slow-burn tension with shocks scattered throughout. The characters succumb to the will of a 19th-century 'mesmerism' that has been passed down, lurking inside human carriers and vessels to stay alive. We know almost from the beginning who the current 'carrier' is - an unsuspecting, kindly family finds him wandering on a beach, seemingly lost with no memory of who he is. They take him in to help, only to become his first victims.

The strength of the storytelling lies in how the mystery unfolds, feeding us small pieces of information at a perfect pace. Our carrier is the enigmatic Mr Mamiya and Detective Takabe is hot on his trail from early on. Takabe fails to realise the danger he is in as Mamiya hypnotises various people into committing grizzly, violent crimes against poor, unsuspecting innocent folk.

Takabe’s own life is falling apart at the seams. His wife suffers from severe mental health problems - and the more this case gets under his skin, the more irrational and anxious he becomes. While he struggles to care for his wife at home, he is baffled by how Mamiya operates - especially when the man is locked in a cell! He persists, and alongside his colleagues, begins to unpick the mystery - though the body count rises faster than they can find answers.

The hypnotised killers carry out gruesome murders but have no memory of their actions. This makes the investigation exceptionally difficult for Takabe. Since the killers don’t hide their deeds and are easily caught, they have nothing to tell him, causing the detective further frustration. The only consistency is a large "X" carved into the victims' upper torsos - a chilling calling card!

Mamiya, a former psychology student, appears to have only sketchy knowledge of his own actions, at least in the first half of the film, displaying genuine amnesia. The mesmerism makes use of repetitive sounds - water droplets or the rhythmic flicking of a cigarette lighter - which form a core part of the soundtrack, effectively getting under the viewers' skins as well.

The film serves as a kind of commentary on the thin skin of modern civilisation. It suggests that the "cure" Mamiya offers is actually a release from the suffocating politeness and repressed rage of everyday life. By stripping away his victims' identities, Mamiya isn't just killing people, he is "freeing" them from the burden of being human. This philosophical dread lingers long after the credits roll, making the mundane sounds of the city feel suddenly threatening. (Clever Gemma's summary!)

That is probably enough spoilers for now, leaving enough unsaid to enjoy the rest of the film's near 2 hour runtime, but that is the flavour of the setup. Kōji Yakusho is excellent as Takabe - convincing as the man falling apart, Masato Hagiwara is chillingly portrayed and well detached as Mamiya and the supporting cast playing the ordinary people who suddenly turn to violence are believable too.

Dark, surreal and eerily shot, the cinematography keeps us on our toes, blurring the lines between what is real and what is imagined. As you would expect, the finale is shocking and well worth the wait. In terms of atmosphere and style, the film feels like a blend of Se7en (1995) and The Silence of the Lambs (1991), probably more so the former for the slow-burn and a couple of other reasons! It is a real treat - track it down.

Bone Lake (2025)

This is an attempt by Mercedes Bryce Morgan to create a dark thriller that ends up being more of a slasher-survival romp, in which she hasn't quite been able to put a huge amount of meat onto that lake's bones!

Sage and Diego, played by Maddie Hasson (Mr Mercedes) and Marco Pigossi, turn up at a lovely house which they've rented for the weekend next to Bone Lake. It's an idyllic situation and they're looking forward immensely to their romantic getaway, during which Diego plans to 'pop the question' to Sage, ring at the ready. Diego is an aspiring writer, currently teaching to make ends meet and financially supported by Sage, who is quietly becoming a little weary of the burden.

It all gets a bit complicated when, shortly after their arrival (and an initiation ceremony on the rug), another couple turns up. Will and Cin, played by Alex Roe and Andra Nechita. It becomes apparent that there's been a double-booking by the agency. Awkward exchanges take place on the porch as they try to work out a solution. The nearest hotel is 50 miles away, so after much conversation, they figure the house is large enough for them all to have their own space. Besides, they reason that even if they went to a hotel, they’d still be amongst strangers, so they decide to press on together.

As they explore the house, they find three padlocked doors but, otherwise, everything they could need. Will is a talented cook and they have plenty of booze. We spend some time with the four of them - sometimes the two women, sometimes the two men, and sometimes the full group - as they soon realise their plan for staying separate has gone out the window and they're actually enjoying the foursome.

However, all is not quite as it seems, and it's difficult to go any further into the plot without throwing in spoilers. But that is the setup. They do discover the location is called Bone Lake for a reason - in the past, a serial killer had been dumping bodies in the water, and one day, many of them washed up on the shore! Still, the history doesn't seem to unduly spook them enough to stop enjoying their stay.

The story unfolds at a good pace as reveals emerge regarding the characters' backgrounds and the house’s secrets. It feels as though it’s intended to be something of an erotic thriller, but it doesn’t dwell on that for long - that becomes more of a side issue. There's a mounting anxiety as tension builds over the 90-minute runtime however, moving from the cosy, safe, friendly early stages into frantic thrills later on.

The four players do a decent enough job of portraying their characters convincingly, especially Hasson as the lead. The 'off the grid' setting adds to the feeling of claustrophobia, limiting escape routes for anyone wanting to flee and the direction creates a moody, dark atmosphere. The cinematography is effective too - the camera often follows characters voyeuristically through the long corridors and the exterior shots of the lakeside location are excellent.

There is some gore later on - that's as close as I'll get to spoilers - but the plot does weave through some twists and turns that you’ll probably see coming. Refreshingly, there aren’t any silly jump-scares to shatter the audience's nerves. It's a stylish, capable piece of entertainment, and I enjoyed the ride. It’s available now in the UK on several streaming services.

Friday the 13th (1980)

I remember seeing this film at the cinema in the early 80s and being thrilled and chilled by it - especially the finale, when the entire audience jumped out of their skins! I was only about twenty then, so perhaps I was more shockable or simply more open to being easily thrilled. I was certainly more forgiving of poor production values! I am sure that what I am about to write won't go down well with the dedicated fanbase!

It is now more than 45 years later, and I do think we have been spoilt by much better special effects, acting, sets, continuity and, well, pretty much everything since then. In order to appreciate and enjoy this now, you would have to be a die-hard fan of the franchise or a bit of a horror nerd. Yes, revisiting Sean S Cunningham’s slasher felt nothing like what I experienced in the cinema that day. I accept that it began one of cinema's coolest franchises, but viewing it through today's eyes reveals a production that is, frankly, falling apart at the seams. The script is diabolical and the performances wooden - it had me laughing rather than screaming!

The premise is the usual-now cliché we’ve grown to groan about. A group of dappy, spunky teenagers heads to a remote camp by a lake which, of course, has a dark and sinister past. On the way, we drop in on locals for directions, only to be met with 'sharp intakes of breath' and a stumble into the local ‘oddball’ chappie. Once they arrive, we settle down to watch frightfully chirpy American teens enjoying the freedom to do as they like - exchanging bodily fluids at will and indulging in risky behaviour without a watchful adult eye in sight. And then the chaos unfolds!

But sadly, the script is paper-thin, serving mostly as a setup for the next kill, and the dialogue is stilted and unrealistic. The characters make typically genre-dumb decisions like wandering into dark rooms, walking toward strange noises and isolating themselves at the worst possible moments for their health (though best for the story)! A 2026 audience really won't give a hoot about any of them - there's no character development and most of their roles are thankfully short-lived!

A young Kevin Bacon was horribly underused, even before his character copped it. When he actually had lines, his performance was pedestrian and anaemic. Furthermore, the whole cast seemed largely uninterested - except, perhaps, for the lead girl and Princess Di lookalike, Alice (played by Adrienne King). The rest were clearly just going through the paces for a pay packet. Apart from her, the only other convincing character was Jason’s mum, played by Betsy Palmer. She apparently admitted she only accepted the role to buy a new car! She was totally over-the-top, but she brought a sinister edge to the proceedings, talking to herself like a maniac.

Regarding the gore, the use of prosthetics was obvious. Even when actors were used for post-gore sequences, they could occasionally be seen moving! If the special effects felt realistic to us in 1980 - and from memory, they did - they have certainly not aged gracefully! The blood is a shade of bright, neon red that looks exactly like the paint it clearly was. It is a shame, as some of the kills were quite inventive - Kevin Bacon’s exit and the aforementioned mother’s end are worth a look! But it all feels like 'fun' now. Or rather, funny.

I reckon the star of the show was actually the music. The score by Harry Manfredini is nicely delivered and tries hard to create atmosphere - to compensate for the rest of the film's failings. It tries to tell you that something scary is happening, even when what we see with our eyes proves it wrong!

The film is an interesting venture but seems to have been made on a tight budget with a 'that’ll do nicely' and 'let's get it done and out' attitude toward quality. The whole Jason stuff is intriguing though - and perhaps I shall plough on to the sequels in the hope that they get better rather than worse (as we know well, they often can in the film franchise world)! I was patient, and the last twenty minutes were fun, but it isn't scary and it isn't well-made. However, it is quite funny! If you watch it on a Friday night after the pub with some mates - perhaps even on a Friday the 13th - you can have a grand time taking the piss!

The Capture (2019-2022) - A Guest Review by Adrian Brain

Season 1 of this TV Series is now streaming on the BBC iPlayer, and Season 3 is also on-air right now. Concerned by deep fake videos, almost constant video surveillance and a crumbling judicial system not fit for the 21st century? That is the subject of this excellent police procedural murder mystery.

The first season aired in 2019, where the subject matter might have seemed somewhat implausible, though watching it now it seems almost inevitable. I missed it then but have just caught up. I found it thoroughly gripping, binged it in two evenings and I'm looking forward to watching seasons 2 and 3.

I'll not go into any plot details to avoid spoilers, except to say it is set in London, involves surveillance cameras, night buses and police of varying levels of competence and honesty. The plot is constantly twisting and evolving around an event that occurs in the first episode. The audience thinks they know what has happened but as the characters uncover information, your own assumptions are cleverly undermined.

Superbly plotted, well performed with relatable (if occasionally cliched) characters, and a smattering of American glamour (Ron Perlman and Famke Janssen), this is cracking entertainment with a rather less liberal viewpoint than you might expect.

Project Hail Mary (2026) - A Guest Review by Chad Dixon

In cinemas now, this 12a film is an adaptation of the best-selling 2021 Science Fiction novel by Andy Weir, who also penned The Martian in 2011, and that became a blockbuster film in 2015. The latter is produced and directed by Phil Lord and Christopher Miller.

Ryland Grace (Ryan Gosling), wakes up from a previously-induced medical coma onboard what seems to be a ship of some kind. He immediately discovers two other, supposedly crew members dead in their stasis capsules. Shocked and being very disoriented, he then stumbles around the many-roomed craft in his scrubs and eventually discovers the large observation window. He's in outer space!

Flashback to Grace who is seen in civilian clothes as an American middle school science teacher, trying to make his class as entertaining as possible. A question is asked from one of the students, "Is the Sun dying?". He pauses and then tries to explain as simply as possible that it's been observed that something, unknown as yet, seems to be slowly eating away at our Sun, but don't worry as the best scientists in the World are on the case and things will be OK.

In reality, a solution must be found to stop the Sun's decline as it's predicted that it only has 30 years before going critical. Outside, after the school day ends, he is approached by a serious looking lady calling herself Dr Eva Stratt (Sandra Hüller). Continuing in a German accent, she says she knows that he is also a PHD molecular biologist and is aware that he has fallen out of favour in the scientific community over his initially failed research into the observed phenomena killing the Sun, now officially known as, 'Astrophages'. "Have you ever thought?" she asks, "That you may have been right, and everyone else was wrong?" He is intrigued and realises that this may be a second chance for him as a serious scientist.

Together with Dr Stratte, he is taken immediately in a government black sedan to a unknown location. Grace is given a lab and some samples of Astrophages previously collected by a space probe to see if he can figure out exactly what they are and if they can be destroyed. He eventually observes that it has a cell structure and then accidentally discovers that they multiply by being exposed to carbon dioxide. That explains why the Astrophages have been observed moving back and forth between the Sun and Venus's atmosphere. It's as part of a biological reproduction cycle, specifically to consume carbon dioxide so they can multiply efficiently.

The story then moves to a US Navy aircraft carrier, where Grace is introduced to a room full of diverse international scientists. A spokesperson then explains that further experiments that they've done with the Astrophages shows that exposing them to high-intensity infrared light turns them into pure energy, that has now ironically given the world new hope - as it will provide nearly light-speed propulsion for a project, called, 'Hail Mary', that is in development to send an interstellar mission to Tau Ceti (11.9 light-years away), which is the only star in the observed galaxy not dimming, and to see what is different there that could help us.

OK, this plot contains loads of serious science, which I personally love seeing in human-based science fiction stories, but I know it may put some off. Gosling pulls off the role of a shy, unassuming but enthusiastic molecular biologist well. Stratt is the only other human with any major screen time here and has a good supporting role. How Grace eventually ends up on the mission instead of the initially chosen, rigorously-trained NASA crew is a bit of a macguffin but it proves to be for the best. However this film's undoubted star is the alien Grace encounters when he reaches his destination. Dubbed "Rocky" due to his rock-like appearance by Grace, we eventually find out that it comes from the planet Erid. And whose triple-star system 40 Eridani is suffering the same fate as our Sun.

Using the A.I. onboard the Hail Mary, the six legged creature's language is quickly deciphered and eventually Grace forms a mutual bond as they both try to figure out what makes Tau Ceti so special. With more that half of the 2 hour 36 minute runtime spent in outer space, we get to see a lot of the NASA ship. The design and interior is impressively futuristic but still familiar. All the alien hardware really looked original but still seemed to comply with our knowledge of physics. I read that 'Rocky' himself was a multiple person operated puppet. It made the alien feel more alive so interactions with Grace felt realistic compared to a digital character. All the actual CGI rendering was flawless to my eye so I'm glad I saw those jaw-dropping visuals on one of the biggest screens in my area. I didn't think this was too long at all and there's a quirky, but satisfactory ending. So all in all I'll rate this as the best Hard Science Fiction film I've seen since 2014's 'Interstellar' and I highly recommended it any fans of Sci-Fi.

The Cleaning Lady (2018)

This is a great little low-budget chiller/thriller I found which, while containing some horrific elements, I’d probably categorise as more of a psychological thriller than straight horror. The filmmakers make the very most of their limited budget, substituting cheap thrills for genuine frights, scares and bonkers behaviour from our lead - yes, The Cleaning Lady! They deliver inventive entertainment that certainly doesn’t rely on silly jump-scares.

We get a clue as to what we’re in for in the first scene as we witness an unidentified person in a dark, grimy location grabbing three rats and putting them into a liquidiser - then collecting the resulting bloody goo in a bowl! This is the opening tease, which fits in later as the mayhem unfolds.

It actually starts as a slow-burn drama about Alice, who is in a relationship with a married man but is torn between her love for him and the need to be sensible and do the right thing for them both, as he's not leaving his wife. She attends a support group and even has a mentor who encourages her to keep away from Michael, but she struggles - much like she does with quitting smoking.

Amongst all this, Alice has a blocked bath and appeals to the manager of her apartment block to fix it. She runs a beauty business from home, so it’s vital that everything works and looks pristine. One day, she comes home to discover sounds coming from her bathroom. She goes to investigate and is confronted by a figure standing scarily bolt-upright, staring at her in silence - reminiscent of The Silence of the Lambs or an early scene from The Sixth Sense!

Eventually, the woman speaks - she has cleared the hair from the plug. This is Shelly, the maintenance person for the building. On closer inspection, it becomes clear that Shelly has a severe facial disfigurement, which she tries to hide under a baseball cap. Alice instantly feels sorry for her and treats her with kindness, offering her work as a cleaner twice a week. All seems well, even though Shelly hardly speaks and lacks social confidence.

As Alice continues to dodge the Michael situation, she and Shelly become close, forming a bond by sharing the odd meal and watching films on the telly together. Alice even teaches Shelly how to use makeup on her scars, which Shelly claims were the result of burning. Shelly, in turn, starts to feel sorry for Alice's romantic no-win situation and decides she wants to help. And we eventually find out how!

As the story progresses, we learn through flashbacks that Shelly’s scars were not the result of an accident, but rather horrific abuse by her mother placing her in terrible situations. I'll leave you to discover the extent of that yourself! We also see Shelly back in that 'garage' from the opening scene, taking the liquidised rats into a lock-up and force-feeding them to a human-looking creature she has chained up - confirming it was indeed her at the start.

You might get the impression that it’s all a bit far-fetched by now and, yes, highly unlikely as it all is, we follow Shelly as she leaps from one grisly, nasty act to another. Meanwhile, Michael’s wife smells a rat (no, not the liquidised ones!) and starts to investigate for herself into his antics, wishing later she hadn't! It then turns into complete chaos as we head for the finale and a big showdown, featuring a perhaps not-so-expected ending.

I thought the film was well-shot and directed by Jon Knautz, and the lead actresses - Alexis Kendra as Alice and Rachel Alig as Shelly - were both very convincing. It’s an interesting, atmospheric ride that is excellently paced, moving from a slow simmer to a crescendo. The timeline is clear and the reveals about Shelly’s childhood fit perfectly with the dastardly outcomes.

I wasn't sure what to expect from this 90-minute thriller, but I’m pleased I got stuck in. Low budget it might be, but they’ve squeezed every last drop of value from it. It’s available on several streaming services and even free (with ads) on Plex.

The Fallout (2021)

This film was written and directed by first-timer Megan Park and it's a gripping look at the aftermath of a school shooting in America. Rather than focusing on, or even showing, the violence itself, it depicts the mess left behind for our two main leads - the grief and the ‘survivor’s guilt’ felt by those who made it out alive.

Jenna Ortega plays Vada Cavell, a spunky, well-adjusted schoolgirl. One day, whilst at school, she drops what she's doing to take a call from her little sister, Amelia, in the toilets. Whilst there, she bumps into Mia (played by Maddie Ziegler), a popular and seemingly distant person, locked into her dancing activities.

While they are in there, the sound of screaming and gunfire erupts in the building within earshot. The two of them suddenly panic, realising what must be going on, and lock themselves into a cubicle together. They are soon joined by Quinton (played by Niles Fitch), who runs in covered in his brother’s blood. The three of them huddle together, terrified and silent, for several minutes while the shooting occurs off-screen.

The incident passes, but in the weeks following the tragedy, Vada is unable to return to normal. She becomes emotionally detached from her family - her supportive mother, dappy father and confused younger sister. However, Vada and Mia form an intense bond following that shared, panic-laden experience, becoming accidental friends. They feel they are the only ones who really understand each other.

Things go from bad to worse as Vada begins experimenting with ecstasy and alcohol to cope with her mounting anxiety. She and Mia eventually share a romantic moment, though it’s more of a desperate attempt to feel something - anything - rather than a traditional romance. While Vada's friend Nick becomes an activist for gun control, Vada feels guilty because she is stuck where she is and cannot find the strength to do anything helpful.

Vada’s repression eventually cracks and, after a series of reckless decisions and a big argument where she accidentally scares Amelia, Vada finally has a breakdown with her father. He takes her to an open field where they scream at the top of their lungs, allowing her to release some of the pent-up terror. She begins to reconnect with her family and starts seeing a therapist. She also agrees with Mia that while their bond is forever, they need to find a way to live in the real world again.

This layered film is hauntingly realistic and Ortega is powerful and convincing in the lead. It's certainly more of an emotional character study than a straight story, but it deals with a topic which seems to be more of a problem as time goes on, particularly in the 'free' West. Makes you wonder, eh. It's poignant, dark and thoughtful - and alongside Ortega, the whole cast do a great job in support.

Not showing the violence was a masterstroke, I reckon, as it gives the audience a close-up, first-hand insight into the tension, anxiety and terror that would be felt by anyone thrown into that situation. The script is great and the original score, by Finneas O'Connell (Billie Eilish's brother), is certainly worthy of inclusion. The Fallout is very much about what happens after such an event and why survivors need support.

The end of the film provides a surprise but says a lot about the situation too. How can people be expected to move on? Can they really ever get 'closure'? Or should people, as per the old-fashioned 'stiff upper lip' mentality, pull themselves together and 'get over it'? However you view that, this makes for an interesting film, even if you're only in it, at the outset, like me, to gaze upon pint-sized cutie Jenna!

Now for the bad news - it's one of those 'locked-into-America' films which is quite difficult to get hold of. It’s five years old now and has had limited release outside of the USA. You might have to resort to importing the DVD or scouring eBay, heading for a VPN, the BFI Player, Mubi or waiting for it to turn up on terrestrial TV. I wish they wouldn't do that! Let us all enjoy it easily, sooner rather than later, please!