[Frightfest Review] - Creep

Stars; Patrick Brice, Mark Duplass
Director; Patrick Brice
Writers; Patrick Brice, Mark Duplass
Running Time; 82 mins

A videographer answers a Craigslist ad for one day of filming in a remote location. Despite his client's unusual requests all seems fairly harmless until night falls and the truth behind his client takes a frightening turn.

The found footage genre continues to prove controversial not in terms of subject matter (although 'Cannibal Holocaust' is still an exception) but saturation of market leading to a plethora of poor quality productions. 'CREEP' definitely falls into the high quality category and leaves genre leader 'Blair Witch Project' in the cold. It is also refreshing to have a found footage story idea that steps away from the usual rag tag team of film students venturing into dangerous outlands to investigate sinister and deadly occurrences, which has side-stepped the tiresome trap.

Patrick Brice and Mark Duplass had this idea of improvising the production working from nothing but a ten page outline. This creates a completely spontaneous experience that is as much of surprise to the players as the viewer. The shaky cam point of view works well in giving an uncomfortable feel to the picture making good use of the remote location. There is a welcome dynamic between the leads Brice and Duplass who clearly have an excellent working rapport that comes across in their performances. The improvisation adds unpredictability to the film making Brice's (as Aaron the videographer) shock reactions very real for the viewer.

Brice and Duplass took the notion of less is more on board keeping the focus on themselves with no additional characters except a voice on the phone and the memorable "Peachfuzz." Much effective and chilling use of the remote location amplifying the tension. Brice's discomfort coupled with Duplass's Josef increasingly disturbing antics make for edge of the seat viewing with plenty of bizarre humour, and the slow reveal of Josef's true nature culminating in a surprising finale that will surely leave one agog at the end.

The success of CREEP lies in its simplicity in every respect and gives the viewer a fresh and genuinely "scary" take on the found footage genre, something that it desperately needed. The atmosphere created is so tense it could be felt in the cinema making this a truly gripping film feeling longer than its sparse 80 minute running time. It will certain make you think twice before answering an ad on Craigslist.

[Frightfest - Review] The Babadook

Stars; Essie Davis, Noah Wiseman, Daniel Henshall, Hayley McElhinney
Director; Jennifer Kent
Writer; Jennifer Kent
Running Time; 95 mins

Single mum Amelia is struggling to come to terms with the death of her husband at the same time battling her son's obsession with monsters. Strange spooky occurrences start to take place and Amelia finds herself questioning whether she is on the verge of a breakdown or if there really is a malign presence stalking her and her son.


If The Gruffalo ever had an evil twin brother it would most likely be The Babadook since the two are similar yet so contrastingly on the opposite sides of the storytelling fence. Made on a budget of $2million (of which $30,000 was crowdfunded through Kickstarter) this chilling monster story invoking themes of madness using a children's book as the catalyst taps into the viewer's deepest darkest childhood fears and adult worries draws them to the surface and proceeds to smack said viewer firmly across the cheeks. The Babadook, Australian film maker Jennifer Kent's feature film debut, has set the bar to a high standard at this year's Film4 Frightfest.

The success behind The Babadook lies in its simplicity. The absence of big budget CGI, grand locations or even bankable star names (although fans of The Matrix films might recognise Essie Davis aka Maggie) make way for more effective storytelling. Writer and director Jennifer Kent replaces these with focus on characters, creating a real sense of place with the suburban backdrop of Adelaide, and probably the most terrifying children's pop-up book ever devised.

Throughout Kent's tale of malign monstrous spirits lurking in the closet and spelling out in macabre illustrations what horrors they intend to inflict, there is one prevalent theme; descending madness with very authentic undertones of mental health concerns such as schizophrenia and depression. In bringing this across (coincidentally in similar vein to Simon Horrocks' Third Contact) Kent spends much of the film keeping the audience guessing as to whether or not The Babadook is real with incredible performances from her lead players. Essie Davis as troubled mum Amelia turns in a very moving and visceral performance, engaging and watchable throughout. Increasingly losing her grip on reality Amelia's turn from a mum at the end of her tether to something more deadly is truly unnerving to watch and shows in Davis an ability to bring many dimensions to what is a very real character. Noah Wiseman seems to have revelled in his turn as Samuel and Kent manages to draw an incredibly multi-faceted performance from this charming little actor. Wiseman goes from brattish and infuriating (breaking windows and taking weapons to school) to charming and adorable. One's heart can't help but melt when Samuel expresses his need to protect his mother stemming from the fear of having lost one parent already and not wishing to lose another, along with the petrification that overcomes him when facing his monster.

In creating the Babadook, Kent has successfully drawn upon everyone's most deep rooted childhood fears of monsters hiding in the cupboard. What makes this even more eerie is Kent's clever creation of a malign fairy tale and the  juxtaposition of the story of a fearsome monster told through the innocence of a child's pop-up book. The opening line "If it's in a word or in a look, you can't get rid of the Babadook. A rumbling sound then three hard knocks, ba ba badook dook dook," is sure to send shivers up a spine or two and is reminiscent of many a limerick that have featured in classic horrors such as A Nightmare on Elm Street and Candyman. The book has a sinister character all of its own and in the Babadook itself, Kent has created a monster that is simple yet utterly terrifying more so than the most sophisticated CGI creation. The creature's look, all in black with a top hat and razor sharp teeth is truly sinister even to many a veteran horror viewer. Excellent camera work and conservative use of lighting all contained within Amelia and Samuel's seemingly cramped and dilapidated home add to creating a real sense of atmosphere.

The Babadook is a truly gripping and unnerving story which terrifies on two levels; the possibility the monster is real and that Amelia and Sam could be fighting a losing battle or that it is a figment of their imagination causing them to spiral hopelessly into a delusion that threatens both their physical and mental safety. A chilling story and creature created through the innocence of a child's book, with incredible performances and a real spooky atmosphere all make this a thoroughly enjoyable but nerve-wrecking watch.

[Frightfest Review] - The Sleeping Room

Stars; Leila Mimmack, Joseph Beattie, Christopher Adamson, Julie Graham
Director; John Shackleton
Writers; Alex Chandon, Ross Jameson, John Shackleton
Running Time; 75 mins

Blue, an orphaned 19 year old call girl living in Brighton falls for her latest client Bill and is intrigued by his renovation project of a Victorian house that used to be brothel.  When a secret room is uncovered Blue learns of its link to her family which could hold the answers to her mother's death. As she delves deeper Blue suddenly finds herself at the heart of an unsettled score with only one possible and fatal outcome.


Marking  the second feature from Cardiff-based Movie Mogul Films, The Sleeping Room is the first film to be funded through equity-based crowdfunding, and is an impressive directorial debut from John Shackleton. It is a quintessentially British ghost story with influences from The Shinning and The Haunting of Hill House based on the real life discovery of a Victorian sleeping room  by writer Ross Jameson. Working with director John Shackleton and Cradle of Fear writer/director Alex Chandon the screenwriting trio have crafted a ghost story with real chills and scares.

Steeping the film's story and setting deep in Victorian history anchored in present day Brighton makes The Sleeping Room an engaging tale. Using the Victorian architecture of this seaside town along with some of its most recogniseable  landmarks all give the viewer that feeling of having stepped back in time. The inclusion of the Mutoscope, which features throughout the film is put to especially effective use as a window to the past that en-crouches in the present. The Sleeping Room is a ghost story that is also reminiscent of the British gangster thriller Brighton Rock, encapsulated particularly in the character of Freddie, the husband of Blue's Madame (played by Julie Graham). There is a little nod to Brighton's more recent chequered past of sex scandal in the name of Julie Graham's character, Cynthia - a nod to that infamous Mrs Payne perhaps.

The script and story are brought to life by first time director John Shackleton. He has certainly made his bones on this chilling ghost story by truly creating an atmosphere to hold the viewer's attention and send shivers up the spine. Shackleton's directorial style is clearly influenced by Stanley Kubrick and reminiscent of The Shinning coupled with the gritty realism that is only really a trait of British film. There is also an effective use and contrast of scale from the stunning open aerial shots of Brighton to the more claustrophobic setting of the renovated building and sleeping room. All this help create a tense and uncomfortable yet gripping atmosphere exuding from the screen. Shackleton also employs some time honoured tricks of the trade to keep viewer attention and build up tension; the effective use of the two way mirror that hides the Sleeping Room and the lingering slow motion shots of the Mutoscope's machinations coupled with the heightened sound bringing to the fore a foreboding feel.

Where the film also succeeds is in the performances from a largely unknown cast (although TV viewers might recognise Julie Graham from William & Mary or Survivors). Leila Mimmack's performance is interesting with elements of Victorian reserve coupled with what could be perceived to be as traits brought on by Blue's troubled past. Her character evolves throughout the film to someone who is more than the traditional "scream queen" of horror and Mimmack's portrayal guides the viewer on this personal journey. Joseph Beattie as Blue's client Bill is excellent in his equally shy role and excels when he indulges in the darker aspects of his character in a spine tingling turn. David Sibley and Julie Graham although not on film very much are excellent in their roles as enforcer and Madame respectively as is Chris Waller as Blue's friend Glenny. The villainous star however has to be Christopher Adamson who seems to be having entirely too much fun in his sinister role (and which does not in any detract from the feel or execution of the story).

It was pointed out during the Q&A at Film4 Frightfest that The Sleeping Room is the sort of film that the recently revived Hammer studios should be producing. The writers have crafted an engaging spooky tale with real sense of time & place, and under the direction of John Shackleton packed full of tension, atmosphere, all fused together with some fantastic innovative cinematography along with stellar performances from the cast. Where many other such films fail, The Sleeping Room succeeds as a debauched ghostly tale of Victorian revenge.

Movie Mogul Films are currently running a crowdfunding campaign to promote the film to as wide an audience as possible. Click here to read all about the Kickstarter campaign, the rewards on offer and to pledge support.