(2021) Horror (Magnet) Niamh Algar, Michael Smiley, Nicholas Burns, Vincent Franklin, Sophia La Porta, Adrian Schiller, Clare Holman, Andrew Havill, Felicity Montagu, Danny Lee Wynter, Clare Perkins, Guillaume Delaunay, Richard Glover, Erin Shanagher, Beau Gadsdon, Amelie Child-Villiers, Matthew Earley, Richard Renton, Bo Bragason, Amelia Craighill, Madeleine Hutchins. Directed by Prano Bailey-Bond
We all have different tolerances for horror movies. Some of us delight in them, loving the thrill ride feeling of being scared. Others may find the feeling uncomfortable and shy away from horror films. Still others, who carry past traumas like demons that are summoned at the flicker of a screen, can find a horror movie to be something of a time bomb.
Enid Baines (Algar) is a tightly-wound British film censor back in the 1980s during an age of horror films that are looked back upon fondly by aficionados of the genre. Called “video nasties” by the tabloid press and right-wing politicians, the moral outcry was because the new technology of VCRs would allow movies like The Driller Killer and I Spit on Your Grave into the home where children could be exposed to them without supervision. It is her task to determine what sort of cuts needed to be made in order to bring a film up to code, or whether to ban a film outright. She takes her job seriously.
Perhaps that’s because her job is essentially all she has. Her relationship with her mum (Holman) and Dad (Havill) is strained at the moment – that’s because they have elected to declare her sister Nina, who disappeared twenty years earlier, dead. Enid sees this as a betrayal, largely because of the guilt feelings that she has because she was present when Nina disappeared and can’t remember any details.
Then, when reviewing a film called Don’t Go In the Church by cult film director Frederick North (Schiller) whose sleazy producer Doug Smart (Smiley) puts the moves on the increasingly agitated Enid, she notices that the actress Alice Lee (La Porta) looks very much the way Nina might as an adult. Also, she notices that the events of the film – in which two little girls enter a deserted cabin in the middle of the woods – mirror the fractured memories of her sister’s disappearance to an uncomfortable degree.
This sends Enid, convinced that the red-headed actress IS her sister, down a spiral as she looks into the films of Frederick North, including the one he’s currently filming, in an effort to rescue her long-lost sister and bring her home. Is Enid right, and is she about to solve a mystery that has haunted her for 20 years? Or has the years of watching massive amounts of violence and mayhem ultimately unhinged her?
First-time feature director Bailey-Bond has a self-assured hand on the tiller, and together with cinematographer Annika Summerson has nicely recreated the look of horror movies from the 80s with neon-glow lighting, earthtoned costumes and dull, drab office spaces. She does a good job building up the tension, aided by the sound designer Tim Harrison whose use of electronic pulses, barely audible screams and loud thumps keeps the viewer off-balance. Although the movie goes a bit off the rails near the end when the director gets, in my opinion, a bit self-indulgent, she immediately makes up for it with an ending that is absolutely amazing, one that left me grinning ear to ear, not something that happens often at the conclusion of a film.
Algar, an up and coming Irish actress, does a mesmerizing job, evolving Enid from a buttoned-down schoolmarm-ish sort and unraveling into someone whose entire world has been shattered and doesn’t know which end is up or down any longer. It’s the kind of performance that bodes well for us seeing more of her in the future in higher profile films.
This is more or less a psychological horror film with a nod to British horror films of the 60s made in the style of the video nasties of the 80s. While there is a good deal of gore on the screen, it largely comes from the clips that Enid is reviewing, mostly from actual films of the era (the Frederick North films are the exception). This is a solid debut that horror fans should be keeping an eye out for when it hits streaming platforms this Friday – until then, check your local listings for the nearest theater in which it’s playing.
REASONS TO SEE: An exceptionally clever ending. The use of sound to create an unsettling atmosphere is masterful.
REASONS TO AVOID: Does go off the rails a little bit.
FAMILY VALUES: There is all sorts of violence and profanity – a true video nasty!
TRIVIAL PURSUIT: Algar is probably best-known to American audiences as Sue in the Apple TV Ridley Scott sci-fi series Raised By Wolves.
CRITICAL MASS: As of 6/16/21: Rotten Tomatoes: 86% positive reviews; Metacritic: 66/100.
COMPARISON SHOPPING: Peeping Tom
FINAL RATING: 7.5/10
NEXT: Those Who Wish Me Dead
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