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Freaky Review | A Killer Time



Vince Vaughn playing a 17-year-old teenage girl is a casting choice that nobody would ever have expected. It’s something you’d never think you’d get to see but it’s glorious. Not only does Freaky indeed have Vince Vaughn playing a teenage girl but it’s also the absolute standout of the filmand it makes the film incredible entertaining and enjoyable.

The film puts a twisted take on the body-swap movie as it sees 17-year-old Millie Kessler (played by Kathryn Newton) swapping bodies with the terrifying serial killer known as The Blissfield Butcher (Vaughn). Millie is a quiet, awkward teenager who’s just trying to make it through high school when she gets stabbed by her town’s infamous serial killer’s mysteriously mystical dagger. The two end up swapping bodies and Millie (now trapped in Vince Vaughn’s body) has less than 24 hours until the switch is permanent and they’re stuck in each other’s bodies forever.

It’s a really great premise, it’s Freaky Friday meets Friday the 13th or Scream or pretty much any other slasher film. The reason why Freaky works so well and is such a good film is because it gets the blend of genres absolutely spot-on. It’s a horror-comedy but it manages to fulfil both of these genres perfectly. Very often when films try to straddle the line between these two genres it ends up falling very much to one side with it either being very funny but not particularly scary, or really scary but you’re not laughing at all. Freaky manages to land right in the middle.

It manages to be scary, it feels tense and it’s got some gory kills; exactly what you want from a slasher film. The opening scene immediately sets the rules and establishes itself as a slasher with quite a few brutal kills. But as well as the horror, it’s also really funny as well. There are numerous moments that will leave you laughing out loud in the cinema. Most of the jokes do come from the body-swapping and from the comedy that comes from a 50-year-old man trapped in a teen’s body and vice-versa.

All the jokes land thanks to Vince Vaughn and Kathryn Newton’s incredible performances. The two leads look like they’re having so much fun in their roles and they’re both so good and really make the body swapping feel so much more believable. It’s directed by Christopher Landon (Happy Death Day), and it does feel a bit similar to the two Happy Death Day films except everything’s been turned up a notch. The kills are more gruesome, it’s much funnier and it makes for a much more entertaining and enjoyable film. All the kills and the comedy land in just the right way and it all hits the mark so well that you cannot help yourself but be swept away by the film’s fun. It really is infectious and it’s so exhilarating.

It’s a furiously entertaining 100-minute thrill ride that’s begging to be watched over and over again because it really is just so much fun. The cast elevate this strong concept and fulfill its potential making it a joy to watch. The only slight problem with it is the ending. Whilst it’s not a bad ending, it feels almost as if it has two endings. Without diving into spoilers, the film reaches a natural conclusion but then keeps going for a little longer when perhaps it didn’t need to.

If you like slasher films and a good laugh it’s impossible not to love Freaky. It’s got kills, it’s got comedy and it’s a killer time. And of course, Freaky also has Vince Vaughn playing a teenage girl, something no other film has.


Freaky is released in UK cinemas on Friday July 2nd.

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Malignant | Official Trailer

Madison is paralyzed by shocking visions of grisly murders, and her torment worsens as she discovers that these waking dreams are in fact terrifying realities.





Crime, Drama, Horror

Release Date:

September 10, 2021


James Wan


Annabelle Wallis, Maddie Hasson, Paula Marshall, George Young, Michole Briana White, Jacqueline McKenzie, Ingrid Bisu, Jake Abel

Plot Summary:

Madison is paralyzed by shocking visions of grisly murders, and her torment worsens as she discovers that these waking dreams are in fact terrifying realities.

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Interview: Director Rob Jabbaz talks “The Sadness” Ahead of Fantasia Film Festival Premiere



Having been selected for numerous festivals including Fantasia, Locarno and Fantastic Festival, The Sadness is the latest extremely violent Taiwanese horror film. The film sees a virus spontaneously mutate giving rise to a mind-altering plague causing the streets to erupt into violence as those infected are driven to enact the most cruel and ghastly things they can think of. The age of civility is no more. There is only “The Sadness”. We were lucky enough to talk to the film’s writer/director/editor Rob Jabbaz about his process making the film during the pandemic.

How does it feel to have your first feature film being selected for big festivals like Fantasia, Locarno and FrightFest?

At the risk of sounding pompous, it seemed pretty obvious to me. I’m very critical of my own work and I think the film is really good. When I made The Sadness, I was really uncompromising and just running on pure willpower. Anytime I ran into an obstacle of people trying to tone something down or make something less hard, I just had to bulldoze over them. And I really stressed myself out. I didn’t realise that I was getting so stressed until after it was all over. I was sleeping 16 hours a day for a couple weeks; I was just so tired. I was like, why am I so tired? And then it obviously dawned on me, like, oh, it’s because you’ve just been stressing yourself out for six weeks. Not necessarily physically, but just mentally and emotionally too.

“This is gonna make people shit their fucking pants!”

When I was editing it, I thought, this is awesome, this is working exactly the way that I wanted. When I finished the first cut of the film, I felt really strongly about it like this is gonna make people shit their fucking pants. And then once I found Raven Banner as our distributor and seeing real horror people appreciate the film as opposed to just the casual horror audience like the Taiwanese horror audience and them realising what I had done, it was awesome. And then at that point, when they said that they wanted to do a festival run with it, what other movies got made during the pandemic? So I knew even just by default I would have at least one of the top 5 horror movies of 2021. So that’s part of what informs me to say it didn’t surprise me that we got into Fantasia and Fantastic Fest. Locarno did surprise me; it was really nice to see it get picked up by arthouse festival like that. That was the one that was really flattering.


How did the idea for the film come about?

I was working as a staff writer for this entertainment company, writing scripts that may or may not get made. This was before the pandemic when being able to work from home was cool and attractive at the time. But then when the pandemic happened, my boss was like, okay, Hollywood’s closed, we can make a movie right now and we won’t have any competition but we need to release it soon. And then he says it has to be a virus or zombie movie. I thought I don’t want to write a zombie movie, that’s boring, it’s all been done to death, what’s left to say with that? So I started thinking about ways to push the envelope without pushing the small budget. And I thought, what if we make them really cruel and really sadistic. They’re sadists, they take pleasure in harming other people. This made me think of a comic from years ago called Crossed. I took a look at those comics and I was like, this is cool, but this isn’t quite right because these characters are still being treated like zombies. They’re not talking enough, they’re not expressing themselves enough. So I tried to give myself memorable villains to work with and some ideas, but what you need is that one auxiliary idea connects it all together.

It really was just based around creating a lot of good gore gags and very painful effects and set pieces and stringing them all together. I’ve watched a lot of horror movies and I know where I can cut the fat. And I know where I could give a second helping. I really just thought let’s give the audience all the good stuff and keep the story enough there so that we know what needs to happen next. But I don’t want the story to trip over itself. Because there’s nothing worse than in a horror movie when you just you halt everything and then all of a sudden there’s an explanation and it’s about this and that. Show me someone getting their fucking lungs ripped out, show me something cool. Or show me something I’ve never seen before. Don’t just show me these stupid obvious emotional beats. If you want to show me an emotional beat, do it in a way that I’ve never seen before. And that’s what I tried to do with the very end of the film.

“I told them I want to always have at least 15 gallons of blood on hand every day so that we never run out”

Given your background in VFX and animation was there ever a tendency to rely on VFX or did you try and do things practically?

You use the right tool for the right task and The Sadness was all gore. I’ve yet to really see CG create realistic effects. It just doesn’t feel painful enough to me. What that boils down to is it needs to be messy, and you need to see the mess go all over the place and get stuck in hair. I knew right from the beginning that it needed to be practical effects. There are a couple of things where we use some VFX and there’s a bit of an amalgam of VFX and practical effects. You’re just trying to be practical and figuring out what works best and what is the cheapest, but at the same time not at the expense of it looking awesome.

I was pushed against trying to do like a lot of this stuff practically. One of the people who was working for me had a lot of experience and he was said you shouldn’t do practical effects, because maybe the blood isn’t going to work the way that you want it to and if one of those things doesn’t work properly, it’s going to take a long time to reset. Every day when we make a film like this you’re just shovelling money into a furnace essentially so you have to be efficient with time. I was just like, what the fuck are you talking about? Have you ever heard of editing? We just shoot everything. We do every gore gag as an insert so the audience can see it. It’s not like I want these things happening in the background. I want the camera in there so you can see it. I’m not trying to do some bullshit like The Revenant where the cameras are doing everything in one take. It’s distracting, I don’t like that shit. Ironically, I think that a long take for an action scene is less cinematic then if it’s edited because editing is part of cinema. I don’t want to do any of this all in one take. I want to do this like a movie. I told them one thing you need to remember, I don’t want to run out of blood. I want to always have at least 15 gallons of blood on hand every day so that we never run out.

How did you end up directing The Sadness? Was it something you always wanted to do?

I wrote the script, and I gave it to the guy. He said he liked it and then he went to go look for a director and no one wanted to do it for the price that we had. And then he came to me and said, ‘Hey, Rob, do you want to try doing it?’ And I said, ‘Oh, God, I don’t know.’ We hear all the horror stories of directing a film and then getting fucked with the whole time, people telling you not to do this, or people telling you that you’ve got to do it this way. You end up stressing yourself out every single day and then in the 11th hour, they give it to some fucking shithead to do the edit and you don’t get final cut. I said I can do this film but there’s only two ways I can do it. The first way is I can phone the whole thing in, and I’ll show up to the job, I’ll facilitate the production and I won’t give a fuck about it but I’ll get it done. Or I can make it my life and I can take it to heart as much as one can take something to heart. But in order to do this, you need to let me do it exactly the way that I want and you need to give me final cut. He said I don’t want you to phone it in, I want to give you number two.

Once I had that, I felt happy about it. I’ve done shorts and I like telling stories and I can create worlds so I I’ve always wanted to do a feature. I liked this script and I like the energy of the film and how it works as it is, but if you were to read the screenplay of The Sadness, it’s not the best screenplay to be honest. It’s decent, but it’s not showcasing my ability as a writer as much. I knew that if anyone was going to do it properly, it was going to be me. And I’m looking forward to The Sadness heralding the beginning of my feature filmmaking career. I look at some of my favourite filmmakers like Paul Thomas Anderson and I just think ‘how does he do that?’. That’s what I aspire to be like. I don’t know if that’s really possible for me but it’s about having an aspiration and working towards that.


When you were making The Sadness did you ever have any second thoughts about how extreme and violent you were making it?

For me that kind of just seemed like fair play. There’s a particular tone to it, maybe my film feels more violent because it’s happening to innocent people, and it’s presented in a more realistic way. Whenever you’re making a horror movie you’re trying to tap into people’s fears at the time. And at the time, the spread of the virus actually wasn’t really a big concern in Taiwan. People weren’t wearing masks, people were out at bars dancing with no masks and the rest of the world was fucked. You guys were all inside, depressed, and meanwhile Taiwan is having outdoor music festivals and stuff. The virus aspect of the film was not really that much of a big deal.

For me, what was kind of a big deal was tapping into a fear that is very specifically Taiwanese and East Asian, this fear of unprovoked violence. There’s this idea that you just mind your own business and you do your job, work hard, and don’t get involved in someone else’s affairs if you don’t have to. It’s like a fundamental foundation for morality in East Asian culture from my perspective at least. The idea of just a random act of violence, like somebody on the train, just pulling out a knife and starting to stab people. And then you’re like, holy shit, and next thing you know, a guy is stabbing a pregnant woman with a set of keys and then another guy is biting off a guy’s Achilles tendon and some guy’s stabbing a girl in the face with an umbrella. It’s just completely senseless. There’s no political motivation, there’s no reason or logic to any of it. It’s just mindless, senseless violence. I was trying to tap into that fear of unprovoked violence. And I think that a lot of people here in Taiwan might have thought that crossed the line. But you know, that’s the price we pay for the freedom of artistic expression.

I’ve been spoiled. I wrote it, directed it, edited and had final cut, I’m spoiled. I’m like when the Coen brothers did Blood Simple and they didn’t have to listen to anybody. It’s kind of like a precedent was set, I don’t go backwards, I go forwards. I’m going to try to maintain that kind of control over the work that I do. And my argument for that would be in order for you to get me to create something like The Sadness, you’re going to have to try to recreate the similar circumstances. I can’t work feeling like the shit’s gonna get pulled out from under me. I have to feel in control of the work. I have to be in love with the work.

The Sadness had its European premiere at the Locarno Film Festival and will have its North American premiere at Fantasia later this month.

Read our review of The Sadness HERE

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Censor | Don’t Go in the Woods



In 1984 the ‘Video Recordings Act’ enforced that commercial VHS sold in the UK must have classification from the BBFC leading to increased horror censorship. Victim to this oppressive wave was the ‘video nasties’, a unique type of film which gained reputation for extreme gore and outrageous violence.

Stamping a strangely satirical spin on the censorship crazies of the 80s is writer/director Prano Bailey-Bond’s feature length debut Censor. A film which stalks the story of an isolated film censor named Enid (Niamh Algar) who has her childhood trauma brought to life in the form of a ‘video nasty’. The name of the nasty, ‘Don’t Go in the Church’, an appropriately unnerving flick which hooks Enid’s attention due to its uncanny similarity to a childhood event.

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What follows is a slowly surreal drama that occasionally dips its bloody toes into Lynchian landscapes while keeping firmly rooted to its topic. Photographed by Annika Summerson (Mowgul Mowgli) the darkly lit external setting of damp offices makes everything in the fuzzy TV screen all the more enticing and fascinating. The contrast between the bright light of the scratchy VHS setting and the dulled tone of the British exterior heightens the oppressive status of video censors and the trauma that is restricting Enid’s life from colour and expression.

Perhaps for certain audience members none of this will feel quite as cathartic as the film was willing it to be. Despite a deliciously dream-like ending – the rest is quite emotionally stunted. There were moments in which the commentary on culture and VHS-related nightmares overtook the cinematic story that fronted it. Most likely, this will excite some and frustrate others.

Harnessing the obsessive fixation of the central protagonist is the excellent Niamh Algar. Opposing the political and parental mobs of anti-exploitative material, Enid’s infatuations and intrigues are with the films she’s employed to censor. With apt contextual backing for her descent into a killer craze – the protagonist is neither sympathetic or unfeeling. She is a stern in-between who doesn’t exude the blood of body horror, rather the haunting shivers of guilt and the ice-cold sting of trauma.

Despite the questionable acting of the VHS horrors to which her character is ruthlessly editing, Algar is believable and grounded throughout. Echoing Morfydd Clark’s role in Saint Maud (2020), Algar is an anchor for the film, convincingly reanimating the distress and trauma caused by the repressed memories of Enid’s childhood.

Enid (Niamh Algar) taking a late night, blood soaked stroll through her memories

Appropriately British and appropriately gloomy, Bailey-Bond resists any temptation to jump into 80s nostalgia. This is a grim depiction of trauma wrapped around the intrigue of British censorship and authoritarian editing. For those who remember the parental hysteria of VHS gore, there are segments of Censor which will recapture the Zombies, Werewolves and Yetis of yesteryear. Ironically, it may lack the twisted oomph required for those who have instead been raised on the ooze of big screen blood and the modern embrace of cinematic horror.

Aspects of Censor feel well-intended, with backdrops of Thatcher-era Britain providing the appropriate subtext for the screenplay. But the subtext only deepened the background commentary while the foreground and central story lacked proper substance and emotion. A sting of superficiality tarnished the story, as character and plot simply needed more ‘meat on the bone’ to truly harness any impact or cathartic bite.

Often leaning further into laboured exercise than emotional exorcise, for a film mocking and examining video nasty mayhem much of it didn’t feel nasty enough. Moments of violence lacked the cathartic thrill of exploitative body horror, and the screenplay at times felt like skin and bones begging to be fleshed out.

Moving to a dull beat at times, Censor does take time to push the story to its climax. Some earlier moments begged the headline ‘Videodrone’, but it did eventually rise from the dead with a bloody bite. It is an admirable film with enough substance for an intriguing Tuesday night watch. But it lacks the unflinching audacity and power of the video nasties of the 80s. In many ways, it felt like a cinephile’s dream and an average viewers nightmare.

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