Connect with us

Reviews

‘Somewhere Quiet’ Tribeca Review – Genre-Bending Character Study Re-Examines the Final Girl

Published

on

Writer/Director Olivia West Lloyd’s feature debut, Somewhere Quiet, picks up after a Final Girl has survived her horror story to examine the psychological toll of surviving. Emphasis on psychological; Somewhere Quiet isn’t interested in the inciting horror event itself but rather in interrogating the complexities that survival brings. It results in a self-assured, genre-bending debut that plunges its heroine into a paranoid nightmare where reality is never what it seems.

We meet Meg (Jennifer Kim) amidst a harrowing escape, bloodied and wandering the street alone. Her husband Scott (Kentucker Audley) comes from an affluent family, and kidnappers held Meg captive at ransom for months until she managed to escape. Readjusting to everyday life isn’t easy for Meg, so Scott suggests a quiet weekend away at his family’s seaside estate. Plans for relaxation and recovery go awry when Scott’s cousin Madeline (Marin Ireland) arrives unannounced. Madeline’s disruptive presence and passive-aggressive behavior wreak havoc on Meg, causing recent wounds to reopen as paranoia, nightmares, and horrifying reality shifts ensue.

Kim and Adler in Somewhere Quiet

Lloyd bides her time establishing an off-kilter atmosphere that effectively removes any sense of safety, familiarity, or bearings for her protagonist to grab hold of. Are the microaggressions from Madeline a result of aristocratic arrogance or something more sinister? Why does Scott continue to sleepwalk toward strange family photos of missionary work in Korea? The strange closeness, bordering near flirtation, between Scott and Madeline unnerves. Then there are the eerie visions and nightmares that increasingly threaten to cross into Meg’s waking life.

Kim deftly navigates Meg’s complicated arc, giving every single emotional high and low that comes with PTSD the necessary weight. Tenuous attempts to resume normality give way to small fractures of Scott and Meg’s picture-perfect weekend getaway, then builds with unease as Meg increasingly becomes sure that something’s deeply amiss. Kim impressively brings Meg’s internalized anguish, mistrust, pain, and confused sense of reality to the surface, often nonverbally. There’s nothing tidy or straightforward about recovery, and neither is Meg’s story; Somewhere Quiet centers around a protagonist afforded the space to toggle between empathetic, unreliable, and even unlikable. Audley and Ireland fare just as strongly in this character study.

Somewhere Quiet

It’s in the bold choice to refuse easy answers that Lloyd’s debut will polarize. Somewhere Quiet prefers to mine its psychological terror from drama over scares, though the filmmaker does inject a few nightmarish scenarios and horror when needed. Lloyd also refuses to handhold or offer easy answers; there are none. Red herrings and thematic teases enter the equation in the bid to paint a somber portrait of a woman who survived months in captivity only to discover she’s irrevocably changed in a world no longer the same. While Lloyd refreshingly gives her characters the space to be so profoundly broken and sometimes outright untrustworthy, it can sometimes make it tough to grasp Meg’s account, especially when the genre elements ramp up.

That Lloyd matches Meg’s erratic and occasionally volatile nature in tone and genre means Somewhere Quiet defies easy categorization. But it only contributes to the fascinating character study that steadfastly withholds artificial catharsis. For those that don’t mind wading into the darker recesses of a fractured mind, Somewhere Quiet offers a melancholic, intimate, and moody seaside epilogue of a Final Girl’s story.

Somewhere Quiet made its world premiere at the Tribeca Film Festival.

3 skulls out of 5

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

Home Video

‘Killer Klowns from Outer Space’ 4K Review – It’s Time to Upgrade This Movie One More Time

Published

on

Scream Factory has just released Killer Klowns from Outer Space in 4K to celebrate its 35th Anniversary, and what an exciting time to be a fan of the 1980s movie. With the recent surge of Klownapalooza happening in the past few years, including tons of merch made available by Spirit Halloween and the much-anticipated video game scheduled to be released next month, it seems apropos for the Klowns to finally make their 4K debut.

In 1988, the Chiodo Brothers (consisting of siblings Stephen, Charles and Edward) took their seemingly ridiculous premise of having otherworldly monsters in the form of circus clowns land on Earth to wreak havoc on a quiet little town and produced it into a full-length motion picture. Inspired by creature features and B-movies alike, their unconventional film with a deliberately hokey title would garner an initially significant following that evolved into a major cult classic close to four decades later.

In Killer Klowns, After seeing what they perceive to be a comet crash down in the woods, Mike (Grant Cramer, Hardbodies, New Year’s Evil) and Debbie (Suzanne Snyder, Weird Science, Return of the Living Dead Part 2) investigate, only to find a totally misplaced Big Top circus tent with some high-tech interior décor and loads of cotton candy. It all seems like a fun time for all, until Mike discovers that the cotton candy contains the bloody corpses of local townsfolk.

The couple seek help from the local police, who of course do not believe their whacky tale. It doesn’t help that the officers include the grumpy Curtis Mooney (played by the late John Vernon in a role almost as memorable as the Dean he portrayed in Animal House) and Debbie’s ex, Dave Hanson (John Allen Nelson, former Baywatch hunk). Hanson is more receptive to their accusations, because he still has a huge soft spot for Debbie, but also has some serious ill will towards Mike for being his replacement. This dynamic is understandably super awkward and a nice little subplot to get you to care about those characters, because who doesn’t enjoy a nice little love triangle. On the flip side, Mooney believes it is only a promotional stunt by Mike’s BFFs, the offbeat Terenzi Brothers (Michael S. Siegel and Peter Licassi), who sell ice cream out of their truck adorned with a giant clown head.

Soon the Klowns get down on the town and start their reign of terror. Will they take over the planet and turn it into one giant cotton candy cocoon? Will Dave win Debbie back or just pummel Mike to let his aggression out? Will the Terenzi Brothers score with the ladies without needing to bribe them with unlimited ice cream? Will Mooney ever crack a smile? All these questions and more are answered in the 88-minute running time.

The Chiodo Brothers created a bizarre yet beautiful carnival of creativity with the Killer Klowns universe that is a major part of the film’s appeal and hardcore fanbase. Let’s start with the Klown headliners— Jumbo, Fatso, Shorty (my boo), Rudy, Spikey, Slim, Bibbo, and Chubby. They are all great villains, vastly unique in look, personality, and weaponry. And that weaponry dreamt up by the Chiodo Brothers is as innovative as the Klowns themselves. The Klowns hunt their prey with cotton candy cocoon guns, flesh-eating popcorn, lethal shadow puppetry, super-sized mallets, animated balloon animals, and boxing gloves with some serious extra “pop.” And if you haven’t seen the film and you think those gadgets sound cool, well they are even more awesome to see in action. Even if the special effects are from the ’80s.

All this talk about extraterrestrial clowns and circus weaponry can easily overshadow our human stars. Kramer, Snyder, Nelson, and Mooney are all fantastic as the leads, playing their parts perfectly. And then there are appearances by veteran actor Royal Dano (Ghoulies 2) and Christopher Titus (Titus), well before his popularity hit its stride.

Amazon MGM klowns

Now I am sure you are wondering how Scream Factory did with the transfer, and you will be pleased to know that they did an awesome job. The picture is absolutely gorgeous and quite a step up from the previous Blu-ray release. Considering that legacy Blu-ray looked pretty good, you can imagine how great the Dolby Vision is for this 4K presentation. Wish the audio was Dolby Atmos instead of DTS, but not a deal breaker by any means because the sound is fine.

The 4K also comes with a Blu-ray that houses the bonus features. There are not a ton of extras, but the ones they have are very interesting, even if previously released: a making-of featurette, an SFX featurette and a featurette dedicated to the film’s score. There are also deleted scenes, bloopers, audio commentary with the Chiodo Brothers, Easter Eggs, and more.

If you are ready to open your wallet and grab a copy, there are a few editions to choose from. You can either grab the standard edition, the deluxe edition that includes an exclusive slipcover, two posters and a Prism sticker, or the limited edition SteelBook—which this review is based on.

You can order one of these versions now at shoutfactory.com.

Continue Reading