Possessor (2020): I pretty much liked Cronenberg Jr.’s Antiviral (2012), which goes to show that I have some sort of predilection for these conceptual sci-fi brutalities. Well, Possessor takes it up a notch and while the plot is conceptually simple (people can be possessed by an external actor and are used to commit murders for some monetary gain), the execution is spectacular. The movie establishes a very strong visual identity, not so much because of its all out violence, but rather thanks to the sharp edits which provide emotional contrast to the more mundane action. While B. Cronenberg could be accused of going all style over substance, there’s just enough of the latter to justify this dazzling horror trip with the occasional Gaspar Noe vibe as a must see for genre fans. 8
The Integrity of Joseph Chambers (2022): Director Robert Machoian has teamed up again with Claine Crawford, after their excellent The Killing of Two Lovers (2020). Once more we are treated to an atmospheric take, this time on a man who strives to be able to provide for his family in case of an end of days scenario. Alas, Joe is just an insurance salesman and an amateur survivalist, a fool, but the movie takes the measure of his manliness on an unexpected metric. It might not bite as deep as it wants to, but Crawford is captivating and he captures the frailty of his character with panache. A slow burner which is worth its time. 7
The Baby (1973): Some years ago, I delved more deeply in the cult phenom that is The Baby. Finally being able to organize a rewatch with some innocent viewers, it still stands solid as a film that is very different to the mainstream we are so used to, with some entertaining twists along the way. I also stand by what I wrote in my original review, that Ruth Roman in particular puts in a performance ripe with a different kind of menace, to which I’ll add that Anjanette Comer’s more over the top interpretation of her role works just as well and David Mooney’s dedication to his part is admirable and surprisingly effective. The movie walks the line when it comes to the trite and the absurd, but in spite of its shortcomings, it is memorable enough to be worthy of a watch. 7
Society (1989): Brian Yuzna was on my director’s map because he did Return of the Living Dead III (1989), the last half-decent entry in the series that was kicked off by one of my seminal horror experiences. But Yuzna’s career had a lot more promise upon his debut feature Society, a film that seems as timely as anything released today. It features a teenage jock who is skeptical of his rich family and this paranoid antagonism evolves into a Cronenbergian body horror movie with narrative articulations similar to the ones in Get Out. It’s part of this week’s theme of smaller movies that find a way to stand out in the ever-more-crowded cinematic space by following through on its vision even when all the pieces don’t come together smoothly. 7
Malum (2023): There’s always something to be experienced in a solid horror movie that has some style. I haven’t seen Anthony DiBlasi’s Late Shift (2014), which this is a reboot of by the same director, but it’s on the list following the violent unease and occasional jump scares Malum had to provide (I yelped like a little boy at one point). The wider commentary on the burden of guilt that police officers have to bear in modern day America is interesting enough, but even without too much extrapolation, this cultist-themed, phantasmatic ride proves a rollercoaster of an experience. 7
tributary stu 