With Eli Roth’s The Green Inferno finally hitting UK cinemas next week (on limited release) we thought we’d present our review a little differently, with not one but Two reviews of the cannibalistic horror film from two horror loving guest reviewers… Check out both reviews below; and if The Green Inferno isn’t showing near you next week, don’t worry – it’s released on DVD and Blu-ray on February 22nd.
Stars: Lorenza Izzo, Ariel Levy, Daryl Sabara, Kirby Bliss Blanton, Sky Ferreira | Written by Eli Roth, Guillermo Amoedo | Directed by Eli Roth
Green Inferno – Con
Review by Scott Clark
I’ve said it before and I’ll say it again: I have a love/hate relationship with horror. I love its ingenuity and its ability to ponder the greater mysteries from behind a gory veil, but I’m realistic, I can enjoy entertainment horror when it comes pounding my way,...
Stars: Lorenza Izzo, Ariel Levy, Daryl Sabara, Kirby Bliss Blanton, Sky Ferreira | Written by Eli Roth, Guillermo Amoedo | Directed by Eli Roth
Green Inferno – Con
Review by Scott Clark
I’ve said it before and I’ll say it again: I have a love/hate relationship with horror. I love its ingenuity and its ability to ponder the greater mysteries from behind a gory veil, but I’m realistic, I can enjoy entertainment horror when it comes pounding my way,...
- 2/4/2016
- by Phil Wheat
- Nerdly
Review by Andrew McArthur…
Stars: Liam Cunningham ,Pollyanna McIntosh, Sophie Stephanie Farmer, Niall Greig Fulton | Written by David Cairns, Fiona Watson | Directed by Brian O’Malley
Despite a promising opening and some interesting thematic concepts, Scottish horror Let Us Prey quickly goes off the rails veering into sloppy bog-standard genre territory. Brian O’Malley’s feature sees the workings of a small Inveree police station flipped upside down when a mysterious figure (Liam Cunningham) arrives bringing madness and bloodshed with him.
The rich Gothic opening sees the a figure in a long cloak standing beside roaring waves and masses of shrieking crows. Initially reminiscent of Hitchcock’s The Birds, Let Us Prey is a film that wears its influences on its sleeve with hints of Assault on Precinct 13 and The Silence of the Lambs all suggested, yet sadly this is a film that pales in comparison to these features.
Stars: Liam Cunningham ,Pollyanna McIntosh, Sophie Stephanie Farmer, Niall Greig Fulton | Written by David Cairns, Fiona Watson | Directed by Brian O’Malley
Despite a promising opening and some interesting thematic concepts, Scottish horror Let Us Prey quickly goes off the rails veering into sloppy bog-standard genre territory. Brian O’Malley’s feature sees the workings of a small Inveree police station flipped upside down when a mysterious figure (Liam Cunningham) arrives bringing madness and bloodshed with him.
The rich Gothic opening sees the a figure in a long cloak standing beside roaring waves and masses of shrieking crows. Initially reminiscent of Hitchcock’s The Birds, Let Us Prey is a film that wears its influences on its sleeve with hints of Assault on Precinct 13 and The Silence of the Lambs all suggested, yet sadly this is a film that pales in comparison to these features.
- 10/16/2015
- by Guest
- Nerdly
Stars: Joseph Mawle, Bojana Novakovic, Michael McElhatton, Gary Lydon, Stuart Graham, Conor Craig Stephens, Joss Wyre, Sean Tyrell, James Meryk, Billie Traynor, Alan Archbold, Luc Walsh, Gerard Flatherty, Padraig Mac Cathmhaoil, Seamus Mac Cathmhaoil | Written by Corin Hardy, Felipe Marino | Directed by Corin Hardy
Review by Andrew McArthur
In what has been a somewhat unremarkable year for the horror genre thus far (minus It Follows), Corin Hardy‘s Irish flick The Hallow sadly refuses to buck the trend, despite some initial potential. Writer-director Hardy centres The Hallow in a remote rural Irish millhouse where newly moved in tree-surgeon Adam (Joseph Mawle) and his family come under attack by creatures living in the woods.
There’s a noticeable ambition in Hardy’s narrative for The Hallow which straddles several genre areas including: a home invasion angle, cat and mouse (or monster and human) chases, and a possession storyline. Mixing these already...
Review by Andrew McArthur
In what has been a somewhat unremarkable year for the horror genre thus far (minus It Follows), Corin Hardy‘s Irish flick The Hallow sadly refuses to buck the trend, despite some initial potential. Writer-director Hardy centres The Hallow in a remote rural Irish millhouse where newly moved in tree-surgeon Adam (Joseph Mawle) and his family come under attack by creatures living in the woods.
There’s a noticeable ambition in Hardy’s narrative for The Hallow which straddles several genre areas including: a home invasion angle, cat and mouse (or monster and human) chases, and a possession storyline. Mixing these already...
- 8/29/2015
- by Guest
- Nerdly
Stars: Peter Ferdinando, Stephen Graham ,Neil Maskell, Richard Domer, Myanna Burring | Written and Directed by Gerard Johnson
Review by Andrew McArthur
Gerald Johnson (2009′s Tony) writes and directs Hyena which follows corrupt cop Michael (Peter Ferdinando) who leads a special task-force that tackles London’s biggest drug traffickers. Michael turns a blind eye against the illegal activity of the Turkish and Albanian criminal community of the city, however the reappearance of an old colleague from his past threatens to expose he and his unit’s corruption.
From its opening the visceral style of Hyena hits like a sledgehammer. We see Michael and his crew in a silent, slow-motion attack in a pulsating blue and neon white nightclub. This bold and brutal visual style continues in the film’s graphic and unrestrained nature from stomach-turning mutilations and killings to the equally traumatising sight of the erect penis of an overweight Turkish...
Review by Andrew McArthur
Gerald Johnson (2009′s Tony) writes and directs Hyena which follows corrupt cop Michael (Peter Ferdinando) who leads a special task-force that tackles London’s biggest drug traffickers. Michael turns a blind eye against the illegal activity of the Turkish and Albanian criminal community of the city, however the reappearance of an old colleague from his past threatens to expose he and his unit’s corruption.
From its opening the visceral style of Hyena hits like a sledgehammer. We see Michael and his crew in a silent, slow-motion attack in a pulsating blue and neon white nightclub. This bold and brutal visual style continues in the film’s graphic and unrestrained nature from stomach-turning mutilations and killings to the equally traumatising sight of the erect penis of an overweight Turkish...
- 7/3/2015
- by Guest
- Nerdly
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