Bloody Ballet (2018)

unnamedBloody Ballet (aka Fantasma) certainly starts off promisingly enough. Snow falls heavily in the night sky as approaching police cars begin to illuminate the solitary figure of a young girl standing still, unmoved by the cold and completely unresponsive. The haunting score swells as the slow motion scene unfolds to reveal the bodies of her brutally murdered parents and I am officially hooked. Of course, it’s one thing to get the audience’s attention and quite another to actually hold it.

After the opening scene the movie flashes forward to follow a professional ballerina named Adriana (Kendra Carelli) who we soon learn is the girl from the beginning. Adriana’s initial excitement at being cast as the lead in the Nutcracker is quickly tempered by the fact that her fellow ballerinas startgetting murdered all around her and worst of all, the killer has the same eye-gouging m.o as whoever killed her parents.

Bloody Ballet was initially released in 2017 under the title Fantasma and the cynical part of me can’t help but notice that the new VOD re-release (under a more audience-friendly title) happens to coincide pretty closely with the theatrical release of the Suspiria remake. Of course, if there was ever a film to try and ride the coattails of into the spotlight that would be it because Bloody Ballet is more than just a little Giallo inspired.

As the masked, black-gloved killer slashes his way through synth-scored scenes drenched in red and blue light it’s clear that this film is wearing its Argento influence firmly on its sleeve. That’s actually not a bad thing in this case though because while it’s clearly not a high budget film, the production design (particularly in the more stylized scenes) is a highlight of the movie. The real star of the show however are the kills which are stylish, surprisingly brutal, and feature a significant amount of ocular trauma.

It’s always nice to see solid kills in a horror movie but in this case they are interspersed between a series of scenes featuring unconvincing acting and a plot that starts out wobbly and nose-dives into terrible toward the end of the film. The general concept is good but it doesn’t help that the character of the journalist feels completely superfluous and the supernatural elements of the story are awkwardly and clumsily shoehorned in. I’d be more willing to forgive these issues were they not coupled with the most egregious of filmmaking sins, the blatant and utterly gratuitous use of voice-over exposition.

Having the characters waste dialogue on multiple occasions explaining motivation and plot points that are already glaringly obvious is bad enough, but when the V.O kicks on at the end just to make sure it’s really, really clear I felt an overwhelming urge to throw my remote at the TV. Apparently, writer/director Brett Mullen hasn’t had the concept of “show, don’t tell” explained to him and I was somewhat surprised that he didn’t simply cut to a scene of himself reading the script out loud to the audience before climbing out of the TV to literally beat us over the head with it.

It’s really a shame that the quality visuals of this film have to be tainted by these ill-conceived and avoidable missteps, but this is definitely a case where an aggressive re-cut could greatly improve the end result. If Mullen simply removed all traces of V.O and trimmed off the scenes that didn’t move the central plot forwarded there would be a very decent film here, assuming there was enough footage left to still qualify as a feature.

2-5-stars-red

Luciferina (2018)

LuciferinaThe demonic possession sub-genre of horror is one that ebbs and flows in popular consciousness but never truly disappears. Perhaps this is because the idea of losing control to a powerful unseen force is something that can have the ability to instill a profound sense of dread within us, at least when it’s executed properly. Whether or not it factors in a heavy dose of religious anxiety, as they usually do, the general concept of demonic possession is a well that’s been dipped into many times and with the success of recent films like Hereditary, you can expect that trend to be on an upward swing. This means that for films on this topic to stand out, there needs to be more to their plot than a by-the-numbers rehashing of The Exorcist and today we’ll see if Luciferina has what it takes to stand out from the crowd.

The film centers around a young nun named Natalia (Sofía Del Tuffo) who must return home after a sudden “accident” leaves her mother dead and her father catatonic. Once home she is reunited with her troubled sister Angela (Malena Sánchez) who insists she join her and her friends on a trip to an isolated island where a shaman is going to perform an Ayahuasca based cleansing rite on them. Concerned about Angela’s safety in the presence of her abusive boyfriend, Natalia agrees to join them on the trip and, this being a horror film, it’s no surprise that things quickly take a turn for the worse.

At the heart of any film are the characters themselves and the fact that Luciferina really takes its time to effectively develop them into real people rather than stereotypes pays off, as it makes the story significantly more engaging. I wasn’t even thinking about the fact that the plot could essentially be described as a group of young, attractive people being terrorized in an isolated location the woods because it feels worlds away from schlock like Dark Forest and the myriad of others more typically associated with that general plotline.

Of course developed characters are only one piece of the puzzle but thankfully Luciferina is also able to deliver superb, realistic performances and some great, bloody, practical effects. The story is also unconventional and interesting and boasts some genuinely chilling moments and unpredictable turns. Still, there are some points where the story line itself can feel a little muddled and a few scenes that would have benefited from a bit more clarity, but not enough to significantly detract from the overall experience. As long as films of this kind are bringing this level of quality to the sub-genre, then demonic possession will remain a horror staple for years to come.

3-5-stars-red