Author: Natalie Teasdale

I want to share with other movie fans those amazing films that get under your skin and stay with you for days: the scary ones, the funny ones; the ones that get you thinking. With a background in creative writing, photography, psychology and neuroscience, I’ll be focusing on dialogue, what makes a great story, if the film has beautiful creative cinematography, the soundtrack and any movie that successfully scratches the surface of our existence. My aim is to always be searching for that ultimate movie, to share what I’ve found to be interesting (whether it be a great soundtrack, a great director or links to other information of interest) and to give an honest review without too much fluff. BAppSci in Psychology/Psychophysiology; Grad Dip Creative Arts and Post Grad Dip in Creative Writing. Founder of GoMovieReviews.

White Lie

Directed and Written by: Yoah Lewis, Calvin Thomas

Produced by: Yonah Lewis, Calvin Thomas, Katie Nolan, Karen Harnisch, Lindsay Tapscott

Starring: Kacey Rohl, Amber Anderson, Martin Donovan and Connor Jessup.

TIFF-nominated

White lie is the story of a girl who fakes having cancer. A story that sounds familiar, the unfortunate truth the basis of the film – see article: directors (Yoah Lewis, Calvin Thomas) on the real scams behind their film here.

I was bracing myself, wondering if I could be in the mood to watch, White Lies, but from the opening scene of Katherine (Kacey Rohl) with a ‘K’, shaving her head, I was absorbed.

Immediately we know something’s not right.

She’s on posters, she’s on the cover of a magazine, she’s the lead of a dance group.

People give her money.

People watch her and smile.

She’s the centre of attention.

Everything is going fine for Katherine, until she needs to produce her medical records.

I could not look away from the amazing performance of Kacey Rohl as the character Katherine lies to cover lies, to cover herself and see just how far this girl will go to keep her secret.

Does her girlfriend (Amber Anderson) know? I wonder as pillow talk turns to articles and donations.

Does her father (Martin Donovan) know?

How far can she take it?

That’s what kept me watching. Waiting to see the unravelling. Wondering what would drive someone to lie about having cancer. Wondering if that’s all it takes to fool people: a young, sad girl holding her nerve, allowing people to see what they want to see.

Not able to believe someone could lie but the suspicion once raised a trauma of seeing and not seeing.

Another story for the media. Another Facebook Page. Another sad story to believe and charity to donate to.

But rather than get bogged down in the sensationalism, the film directs a clinical eye to record the misdeeds of lie and cover-up, the seamless unfeeling fantasy underlined with the warped scratch of strings, the soundtrack the indication of a broken mind because watching Katherine, she seems fine.

But she’s not OK because she will never see the wrong in what she’s doing.

It’s like the audience is allowed a window to see the truth while those around her are thoroughly fooled. So instead of an unsettling fear like I expected, the film became a fascination.

Instead of another warning about social media, White Lie is an absorbing psychological thriller. A film simply told so the complication of an unsound mind becomes a watch that’s both subtle and revealing.

The Unlit (Witches of Blackwood)

Rated: MA15+

Directed by: Kate Whitbread

Produced by: Kate Whitbread

Written by: Darren Markey

Starring: Cassandra Magrath, Kevin Hofbauer, Lee Mason, John Voce, Nicholas Denton, Susan Vasiljevic, Francesca Waters.

We’ve been waiting for you

The mood of, The Unit is like the reflection of a forest on a lake. Impenetrable.

Ominous.

Until a girl answers her mobile while being driven through the forest with, ‘Hey, what’s up?’

The comment just didn’t fit the mood, awkwardly dispelling the build of tension.

But as the film continued I stopped taking notes because they’re times the story scratches at the door of scary.

Cassie (Cassandra Magrath) is a cop on the edge after witnessing the suicide of a local boy (Nicholas Denton).

The mystery of his death is revealed as the film follows Cassie back to her childhood home in Blackwood after a call from her uncle Clifford (John Voce).

There’s been a death.

Her father.

Cassie is not feeling right with the world.

Cassie tells her boyfriend (Kevin Hofbauer) she has to go home to find answers.

Where it doesn’t take long to realise, The Unlit is a witch heritage story.

Yet there’s mystery because Cassie is followed by the trauma of understanding why the young kid committed suicide in front of her.

And when she finds letters written by her uncle about her mother, Cassie discovers there’s more to her mother then she realises or remembers. She discovers her mother’s obsession with the forest while in an asylum. Her mother. Presumed dead.

Yet still haunting the town of Blackwood.

The haunting is shown in the dark smudge across the eyes of the women who still live there, amongst the absence of men and children. The absence, or what isn’t said, noted by writer Darren Markey (at the recent Q&A screening at Lido Cinema) as an essential part of the structure of the story.

So there’s mystery but more than anything, there’s atmosphere, created by director, Kate Whitbread in 13 days of shooting.

What made me sit up was the scene set amongst the twisted pines just behind Lorne’s (Victoria) main beach. A fantastic setting to tap into the mood: a woman stood-too, questioned under the twisted branches of pine, otherworldly.

The trees and ocean are used well to speak like the voices of the dead as the mystery of Cassie and her heritage deepens.

There’s some clever here. But also some gloss. Or smudge, like the dark under the eyes of the haunted women of Blackwood is contrived, breaking that careful tone of mystery; like the use of a lamp to create atmosphere fails because, why wouldn’t you use the flashlight on your phone? Which is in hand, and used for just that function later?

There were times I wondered if the ominous trees were going to be the best part of the film.

So yes, The Unlit is a low budget film.

But as the story progressed the writing shone with some great acting: lead, Cassandra Magrath holding her nerve searching those haunted dark rooms, Nicholas Denton as the dead young Luke a powerful spectre and Nikola Dubois as the haunted friend absorbing in her twisted monologue.

The highlight for me was when John Voce as the uncle speaks of people not being sick, just knowing things we don’t. Goosebumps.

So, the film doesn’t always suspend reality and is a little obvious at times, but some of the scenes that play out the dark dialogue really tap at the door making, The Unlit, worth a watch.

Nat’s Top 5 Movies for 2020

Goodbye 2020. It’s been a strange year. I wasn’t at the cinema much this year so I’ve put together my top 5 instead of the usual 10. Here is what I did get to see, here is what kept me smiling, thinking, keeping me on the edge of my seat.

5. The Vigil

4. The Invisible Man

3. 1917

2. The Gentlemen

1. Deerskin

The Dry

Rated: MA15+

Directed by: Robert Connolly

Produced by: Bruna Papandrea, Jodi Matterson and Steve Hutensky, Robert Connolly, Eric Bana

Screenplay Written by: Harry Cripps and Robert Connolly

Based on the Book Written by: Jane Harper

Starring: Eric Bana, Genevieve O’Reilly, Keir O’Donnell, John Polson, Julia Blake, Bruce Spence, Matt Nable, William Zappa, James Frecheville, Joe Klocek, Claude Scott-Mitchell, Sam Corlett, BeBe Bettencourt, Miranda Tapsell.

The tone of, The Dry is set in the opening moments: from above, the landscape looks barren, drawing the eye like water into drought-stricken dirt.

A baby cries.

The floorboards of a farmhouse are soaked in blood.

On the back of a note to attend the funeral of a childhood friend, Federal Agent Aaron Falk (Eric Bana) reads, You lied.

The Dry is a mystery of two crimes separated by twenty years that slowly unfolds in the town of Kiewarra. A town where a spark could start a blaze, a town suffering 324 days without rain.

It’s a country town that holds secrets revealed in the subtleties as Aaron gets caught up investigating a suicide murder case while his own past catches up, locals banging on his door in the middle of the night.

What happened all those years ago? Why do the locals hate Aaron returning to his childhood home?

What happened to Ellie Deacon (BeBe Bettencourt)?

It’s a slow and quiet mystery that was gripping because of the many moments that ground the story, the local school principle planting a tree in memory of the dead, a kind gesture but bitter sweet: ‘God knows what I’m supposed to tell the kids when it dies,’ he says, knowing the tree will die like so many others in the never ending drought.

And there are so many layers to this story, handled with care by director Robert Connolly – all those subtle moments hinting at character, questioning the action of something as simple as closing a glass sliding door.

There’s some light moments to offset the foreboding drive of drama, from classic characters like the memorable publican, McMurdo (Eddie Baroo) – the pub overrun with customers (said with tongue-in-cheek) or the order of the sea food basket a risky choice being oh so far from the ocean.

Alongside a solid storyline, it’s those moments that nod to the Australian countryside that ground the film in the authentic and is such a pleasure to watch on the big screen.

The landscape reminded me of childhood growing up in country Victoria, those century old gum trees, finding that special spot, that magic tree while watching the dust form whirlwinds across the paddock.

The backbone of the film is Aaron returning home, the flashbacks to those days of growing up and swimming in the river with friends. Director Robert Connolly explains, “If I was […] to go right to the crux of THE DRY, it’s about the emotional impact of returning to the place you grew up.”

The landscape is captured beautifully here (filmed in the Wimmera Region), the past when the river was flowing. The tragedy of a young death. The return to childhood memories to now see the town dry, the once flowing river empty.

What sums up the film for me is the use of the soundtrack – there to amplify those dramatic moments, but noticed even more when absent, with only the sound of the wind.

Overall, I found, The Dry to be a quiet film, mysterious with a subtle slow burn, that’s gripping in the telling.

A Call To Spy

Rated: M

Directed by: Lydia Dean Pitcher

Written by: Sarah Megan Thomas (original screenplay)

Produced by: Sarah Megan Thomas p.g.a.

Edited by: Paul Tothill (BAFTA nominee)

Starring: Sarah Megan Thomas, Stana Katic, Radhika Apte, Linus Roache and Rossif Sutherland.

It’s your light that lights the world

Inspired by true events, A Call To Spy follows two civilians recruited by Churchill’s new spy agency’s (Special Operations Executive (SOE)) Vera Atkins (Stana Katic), to become the first female spies in the recently fallen France during WWII.

Nazi domination in Europe 1941 asks for extreme measures to disrupt Occupation, to create rebellion, to set France on fire.

Virginia Hall (Sarah Megan Thomas, also producer and writer) is to lead on the ground.

Noor Inayat Khan (Radhika Atpe), the fastest wireless in her unit, to radio the messages.

Operation Brigitte (Virginia’s byline as alias journalist: Brigitte LeContre) is born.

It’s inspiring to watch the courage of the unlikely spies being trained: Virginia the rich American with a wooden leg who dreamt of being a diplomat, and the Muslim pacifist, a descendant of Indian Royalty and believer of peace and truth who refuses to give up, who has resolved to resist the Nazi Occupation of the country she grew up in and loved, France.

The film sheds new light on the hideous grip Nazi Germany had over the French population, the lack of food, forced labour – the betrayal of friends bred out of desperation.

It’s not that the film becomes too bloody or gory, but I always find war movies a difficult watch.

The seeming lightness of, A Call To Spy at the beginning drew me into the exciting world of rescue and secret messages; the danger of getting caught, yet escaping.

But as the war progresses, the deeper the conflict and the more at stake.

As mistakes are made the Colonel Maurice Buckmaster (Linus Roache) admits the horror when doing your best just isn’t enough. When making the wrong decision means lives are lost.

The task given to Britain’s amateur spies is described by the Colonel as a lonely courage.

So the reality of war, the murder, the betrayal and the secrets even amongst the spies is revealed as the sadness and horror of the brutality of war continues. Which is why I find watching war movies difficult. It gets me every time. The anger.

Yet, I got swept up in this story, which provoked admiration of the courage to keep going, no matter the danger.

Bon courage.

Which shows the quality of the cast and the restraint by director, Lydia Dean Pilcher.

If you’re sensitive to those war provoked emotions. This one sneaks up.

Virginia Hall is the subject of three 2019 biographies. Her prosthesis, Cuthbert, is named on the Congressional Gold Medal awarded to OSS (precursor to CIA). Noor Inayat Khan was recently commemorated with Britain’s prestigious Blue Plaque.

A Christmas Gift From Bob

Rated: PG

Directed by: Charles Martin Smith

Written and Executive Produced by: Garry Jenkins

Produced by: Adam Rolston, Tracy Jarvis, Steve Jarvis, Andrew Boswell and Sunny Vohra

Starring: Luke Treadaway, Bob the Cat, Kristina Tonteri-Young, Phaldut Sharma.

Based on the autobiographical books about James Bowen and a stray cat (Bob) that befriended him on the streets of London, A Christmas Gift From Bob is the sequel to the international Indie film, A Street Cat Named Bob”

While James was homeless and addicted to heroin, the cat’s relentless affection and companionship eventually inspired James to make a go of life.

And the third book of the series, A Gift From Bob documents one of the last Christmases James and his ginger cat spent together before they became famous.

Based on this moment in time, the film opens on a glamorous premiere, launching the first book, following James (Luke Treadaway returning in his role) and Bob (starring as himself) curled around his shoulder, James wondering why he’s there.

He’s meant to write a second book – it’s expected soon and he has no idea where or how to start.

How do you continue a story of redemption once you’re off the streets? What comes next, except wondering how to keep paying the bills and have food in the fridge?

And what happens when Animal Welfare start investigating, asking questions about James’ ability to care for his friend and companion: the cat who saved his life?

It’s all a little bit inspirational because through hardship there’s growth.

And a hell of a lot of light cheese filled with those aw, moments. But it’s good cheese, well, absolutely pushing the Bob-the-cat: it’s from Bob, this song is about Bob, this is a card… from Bob…

Cue sweet soundtrack on repeat.

But it’s a Christmas card from Bob as he sits there on his blanket, next to James as he hands out those cards to the other characters in the story, the busker and his cat creating a community of people through their support of the pair.

It’s a movie about what Christmas means to people and how hard it can be for people who have lost their loved ones or have nothing or no one to celebrate, so the film pulls those heart strings, giving those clichéd moments meaning like, what goes around comes around. And stronger together.

Because like Bea (Kristina Tonteri-Young ) constant friend and supporter of James says: Christmas isn’t a season, it’s feeling.

Bob has now passed. So it’s kinda sweet to see him there on the screen for everyone to share.

Here’s what James had to say: ”Bob saved my life. It’s as simple as that. He gave me so much more than companionship. With him at my side, I found a direction and purpose that I’d been missing. The success we achieved together through our books and films was miraculous. He’s met thousands of people, touched millions of lives. There’s never been a cat like him. And never will again. I feel like the light has gone out in my life. I will never forget him.”

Ip Man: Kung Fu Master

Rated: MA15+

Directed by: Li Liming

Produced by: Kai Pictures/Palm Entertainment

Starring: Dennis To, Yuan Li Ruo Xin, Michael Wong.

Mandarin with subtitles

‘It’s not important when you die, but how to live,’ says San Ye (Michael Wong), an honourable mobster who will deal in anything. But opium.

San Ye believes in the Axes – a gang of axe wielding martial artists. Ip Man (Dennis To) is a police captain. He believes in the law.

But when the Japanese start smuggling opium through the docks of Foshan, the Axes and the Law make unlikely allies.

The story gets way more complicated than just a drug smuggling feud.

There’re double crosses, triple crosses, with each rapid shift of scene spliced with another story so a Kung Fu fight cuts to a game of checkers, the game pieces like the black hats wielding axes. Or a misunderstanding leading to more Kung Fu fighting cutting to Ip Man’s wife having a baby (named Chun, of course).

Then there’s the classic comic character, the drunken uncle, who’s really a master in disguise and willing to fight. When bribed with the promise to pay for his wine for two years.

And that’s before the introduction of the Masked Man.

Based on the legendary teacher of Bruce Lee, Ip Man, there’s many other previous instalments of Ip Man movies out there: Ip Man (2008), Ip Man 2 (2010), Ip Man 3 (2015), the spin-off Master Z: Ip Man Legacy (2018) and another sequel Ip Man 4: The Finale (2019). The above directed by Wilson Yip and starring Donnie Yen.

This is the third time Dennis To plays the role of Ip Man, after 2010’s Ip Man: The Legend is born (directed by Herman Yau), and 2018’s Kung Fu League (directed by Jeff Lau).

So it’s a popular character, Ip Chun, the son of Ip Man, praising Dennis To as the most accurate portrayal of his father.

And there’s a lot of action here as the film dives from one thought to the next, keeping up the pace.

What wasn’t successful was the change in emotional tone.

The drama in, Ip Man: Kung Fu Master relies heavily on a cheesy soundtrack, at one point the lyrics part of the scene, so there’s this superficial skating over every opportunity for depth in the relationships just to get to the next part of the story as quickly as possible. But that pace doesn’t stop the story going to those tearful goodbyes at the train station or a sacrifice for family. And that’s OK because the film isn’t about the drama, the theme is more about Kung Fu versus Karate. Or is it?

The only foundation of the story is the honour of Ip Man and the setting up of those action, martial art scenes.

Although emotionally transparent, some of those action scenes were shot with vision, the camera shot from above to see the patterns of fighters running like water down a drain. A little like the emotional content of the film.

But if you can stomach the cheesy attempt at drama and the patriotic tone of good (Chinese) versus bad (Japanese), there’s some fun twists in the story that keeps the action entertaining.

Honest Thief

Rated: M

Written and Directed by: Mark Williams

Produced by: Mark Williams, Myles Nestel, Tai Duncan, Craig Chapman and Jonah Loop

Production Designer: Tom Lisowski

Editor: Michael P Shawver

Music by: Mark Isham

Starring: Liam Neeson, Kate Walsh, Jeffrey Donovan, Jai Courtney, Anthony Ramos, Robert Patrick and Jasmine Cephas Jones.

‘I met a woman.’

Honest Thief is a classic formula that plays-out like a movie I felt like I’d seen before.

Set in Boston (including that Boston accent and typical dirty cops), the In-And-Out Bandit, AKA Tom Carter (Liam Neeson) has been robbing banks without leaving a trace (hence the nickname and yes, he doesn’t like it either) for eight years.

Until he meets Annie (Kate Walsh – the actress from Grey’s Anatomy. She looks nothing like Dr. Addison Montgomery here as Annie and that’s OK. She’s well-cast).

It’s a real meet-cute, setting the tone of the film – a romantic crime drama set to the gravitas of Liam Neeson’s deep-bass voice.

Tom wants to the do the right thing. To build his relationship with Annie on an honest foundation (see the title), and be an, ‘Honest Thief’.

After twelve bank robberies over seven states and nine million in cash, Tom wants to turn himself in.

‘He met a woman,’ Agent Meyers (Jeffrey Donovan) explains.

‘Poor guy,’ replies Agent Baker (Robert Patrick).

The robber-turned-soft romantic overtones of this film are somewhat offset by the humour of this Agent Baker, desperately trying not to be bitter after being left with a dog (instead of a house) after his divorce.

And we get some dirty cop crime thrown in with some explosive action.

Writer and director Mark Williams (A Family Man (2016)) states, “It has the action, the thrills, car chases, guns going off, things exploding. But at the heart of it, it’s a love story, and to me that’s the most important thing.”

So, Honest Thief isn’t one of those shoot-em-up action flicks, or crime thriller.

This is more Tom proving he’s the In-And-Out bandit – an excuse to show some strategy in the film – then after being double-crossed by dirty cops, proving he might be a robber, but he’s no killer.

At one point Tom’s asked, ‘What do you want?’

‘To prove my innocence.’

Because as stated above, he’s met a woman.

It’s just not that exciting.

But the addition of Robert Patrick as Agent Baker (Robert Patrick) and his increasing affection for his fluffy companion, Tassy lifted the tone and added that extra bit of humour.

‘Poor guy.’

Hilarious.

Deerskin

Rated: MA15+

Directed and Written by: Quentin Dupieux

Photography, Editing: Quentin Dupieux

Art and Set Direction: Joan Le Boru

Sound: Guillaume Le Braz, Alexis Place, Gadou Naudin, Cyril Holtz

Starring: Jean Dujardin, Adele Haenel

French with English subtitles

‘I swear never to wear a jacket as long as I live.’

Deerskin first introduces Georges (Jean Dujardin) wearing a green jacket with three plastic buttons. He parks on the wrong side of the petrol bowser. And looking at his reflection in the car window he frowns at what he sees. Then he flushes the jacket in the public toilet.

Yep, Georges is losing it.

The music flares.

And I think to myself, I already like this movie.

The film is character driven and continues to follow Georges. But there’s another character in this movie. A jacket. We meet the beast. The new jacket: 100% Deerskin.

The way the film flashes to a live deer in the wilderness seals it somehow. Just how cool the jacket is. But It’s not. It’s made from the skin of this beautiful innocent animal (see previous flash to said deer in the wilderness). And, it’s got… fringes. But Georges LOVES it: ‘Style de tueur (Killer style),’ he says, looking in the mirror.

It just makes me grin.

After that Georges keeps driving.

‘You’re no-where Georges. You no longer exist.’ That’s what his ex-wife tells him, over the phone.

Georges ends up in the bar of a small village, where he meets the barmaid, Denise (Adele Haenel). She’s been burnt by love too. But Georges is a brand-new man in his deerskin jacket. He tells Denise he’s a film maker.

It makes sense to say he’s a film maker. He’s been recording film all day, so it’s kinda the same. ‘No it’s not,’ says the jacket.

Instead of getting to know an available woman, Georges gets to know the jacket as his relationship with this 100% deerskin jacket becomes the subject of Georges’ movie to be.

Killer style indeed.

Director and writer Quentin Dupieux says, ‘I wanted to film insanity.’

And Georges has lost it. But wow, he’s really enthusiastic about it.

The way Georges insanity is shown is somehow shocking and hilarious.

It’s the same dark humour used in, The Lobster, but less confronting even though there’s more killing… And this whole jacket business is just so ticklish.

Jean Dujardin (who plays Georges in the film) explains it’s Quentin’s use of space that creates the comedy, ‘It’s in those moments of hesitation that the comedy and drama blend. You’re right on the borderline. All those scenes, for example, in which Georges demands money, or can’t pay. Quentin takes the time to stretch out the sense of malaise, to allow for some lingering doubt. Is Georges going to turn violent? Weep? Laugh? You never know what will happen. Time stands still for a moment, and those little agonies make me want to die laughing.’

Then there’s Georges dream in life – for him, it’s all about wearing this deerskin jacket. To be the only person wearing… a jacket. It doesn’t make sense. But from the perspective of Georges, as he makes a film about his dream, it kinda does.

The character Denise gets it. She reckons the jacket is like a shell to protect the wearer from the outside world.

I think it’s because Georges hates who he used to be, wearing that green blazer with the three plastic buttons.

Or perhaps Deerskin is just a weirdo movie that’s put together in a way that somehow makes sense.

Whether you analyse the layers or not, I was thoroughly absorbed and entertained from start to finish.

Like Denise says, ‘I’m into it.’

The Vigil

Rated: MA15+

Directed and Written by: Keith Thomas

Produced by: J. D. Lifshitz & Raphael Margules of BoulderLight Pictures and Adam Margules

Cinematographer: Zach Kuperstein

Score: Micael Yezerski

Starring: Dave Davis, Menashe Lustig, Malky Goldman, Lynn Cohen, Fred Melamed, Ronald Cohen, Nati Rabinowitz, Moshe Lobel, Efraim Miller, Lea Kalisch and Ethan Stone.

The Vigil has the style of a classic horror, of creaking floorboards and shadows hiding in the dark combined with a different style of story: a Jewish shomer or watchman of the dead, haunted by a monster awakened in a forest during the Holocaust.

Recently moving to ‘Boro’ Park, Brooklyn (a Hasidic community), Yakov (Dave Davis) is adapting to his new life in America. Having just lost his faith and struggling – having to choose between buying medication or food – the leader of a support group for Jews adapting to their new life says, ‘What matters is that we’re moving forward.’

And underneath all the shadows and monsters, moving forward is the driving theme of the film.

When Yakov is offered the job of shomer, he weighs up his hesitation to return to a life he wants to leave behind versus the offer of money he desperately needs to pay his bills.

All he has to do is sit for five hours and wait for morning.

It only takes fifteen minutes for him to believe he’s losing his mind.

Set over one night, most of The Vigil is set in the house of recently deceased Rubin Lutvak and his wife. A known recluse, Mr Lutvak was the only surviving member of his family after the Second World War.

It’s all dark and creepy and goes down that path of history and memory so there’s a complete story behind the monster haunting, damned to look back at the past.

Writer and director Keith Thomas has a background as a novelist (The Clarity (2018) and Dahlia Black (2019)) as well as a screenwriter, and he’s taken time to round out the backstory so The Vigil becomes a horror movie, with a difference.

There’s a feeling that this is a unique storyline because the supernatural of the horror is based on Jewish culture and mysticism. Where four hundred dollars for five hours of time becomes the price of the shomer’s soul, as he becomes haunted by a monster that feeds on the memories of the broken.

And there’s some scares here, I yelped at one point, after being left on the edge with moments where Yakov thinks he can see something, there in the shadows, so I look, not knowing if the mind is playing tricks or if there’s actually something there.

Dave Davis as Yakov is well-cast, believable in his nonchalance and questioning of his sanity.

And the thumping and scratching, the sharp intake of breath and winding soundtrack adds that extra tension, even more during the silence, the pause, the waiting.

The only drawback for me was the portrayal of the monster, those claws not quite convincing. Not quite as scary as those shadows used to build the suspense.

But overall, The Vigil is worth a watch.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: