"We're not critics. We're professional fan-girls." --- This blog is dedicated to movies and the entertainment industry. We use random selection to bring into light the best and worst of streaming films and entertainment news.
Streaming Services: Shudder Movie Name/Year: Caveat (2021) Genre: Horror, Thriller Length: 88 minutes Rating: Unrated Production/Distribution: HyneSight Films, Shudder Director: Damian Mc Carthy Writer: Damian McCarthy Actors: Ben Caplan, Conor Dwane, Jonathan French, Leila Sykes Blurb from IMDb: A lone drifter suffering
from partial memory loss accepts a job to look after a psychologically troubled
woman in an abandoned house on an isolated island.
Selina’s Point of View: Caveat started, and ended, especially strong. A girl wielding a
strange bunny toy and wandering some house felt silly, but it was surprisingly
tense. I could almost hear my heart beating. The conclusion took an interesting
turn and left things a little open – it wound up leaving me relatively
fulfilled. The rest of Caveat
was kind of hit-or-miss The set-up is a
little ridiculous. Isaac, played spectacularly
by Jonathan French (Coranna, The Anniversary, Bravado), is talked into his
‘leash’ very quickly. He doesn’t seem to ask enough questions. The guy who hired
him just relies on guilt to get him into the lock, and there you have it. I don’t
know about that. I would have MANY more questions than the main character asked
– and I would still be unlikely to agree. It just didn’t
feel believable, and that hurt my immersion.
In fact, the
majority of the decisions made by the protagonist were just awful. He left no
stupid decisions for anyone else, he used them all. It bordered on parody,
maybe? Not the funny kind, either. There were also
some heavy exposition scenes that were painful to sit through. They were just boring.
I felt like a few of them could have been cut. Despite that, a
lot of the scares were effective – if a little predictable. I mean, one of
the scenes reminded me of Parasite (2019). If you’re going to be inspired
by a film for your horror moments, that’s not exactly the worst one to refer
to. For a full-length
feature film debut, I think writer/director Damian Mc Carthy (Never Ever
Open It, Hatch, Hungry Hickory) showed a lot of promise. I think this won’t
be the best film he creates in his career – but it’s a good start. I didn’t hate Caveat.
It’s not the kind of thing I could sit through again, personally – but I might
refer it to someone here or there.
Cat’s Point of View: If I had to
summarize Caveat with two words, they would be: dark and unsettling. Frankly, I
haven’t been quite so unnerved by a movie in quite a while, so I’d have to say
that Caveat was wildly successful as a minimalist horror film. The
setting was eerie, and even the shadows were utilized well. This movie featured
the creepiest toy I’ve seen employed in a flick in quite a while. I think I
might just have nightmares about that thing. Caveat makes you feel every bit of its
nearly hour and a half runtime – and yet, the time spent is on the edge of your
seat rather than watching a clock to see when it’s over. It was odd, and
confusing, at moments but it was hard to look away. Of course, I was
squinting to discern what was going on sometimes because dark can be used to
describe the tone, but also refers to the literal nature of the film.
Flashlights and their narrow beam of light are almost a whole character unto
themselves here. The light was more than just a way to watch where the
characters were going, but also unveiled some of the horrors that dwelled in
the dark.
At first, I
thought I had Caveat pegged for a typical haunted house tale when a few
familiar tropes played out, but then everything turned on its ear a bit. There was a
psychological aspect that I didn’t quite expect from the description of the
film, and it certainly helped elevate the story.
Speaking of such: what
the hell, man? The whole premise of this movie would have been a giant nope for
me if I were in the poor schmuck’s shoes. I can’t say that
I’ll be watching Caveat again in the future, but Shudder has a winner
with this movie and I’d highly recommend anyone with a subscription to give it
a go. Just…maybe not if you’re seriously claustrophobic.
Rotten Tomatoes Critic Score – 85% Rotten Tomatoes Audience Score – None Metascore – 60/100 Metacritic User Score – None IMDB Score – 6.6/10 Trust the Dice: Selina’s Rating – 3.5/5 Trust the Dice: Cat’s Rating – 4/5 Trust-the-Dice’s
Parental Advisory Rating:
R Movie Trailer:
Streaming Services: Amazon Prime, Hulu Movie Name/Year: Saint Maud (2019) Genre: Drama, Horror, Mystery Length: 84 minutes Rating: R Production/Distribution: Escape Plan Productions, Film4, BFI Film Fund, A24,
Diaphana Films, Elevation Pictures, M2 Films, StudioCanal UK, Epix, Sony
Pictures EspaƱa, Sony Pictures Worldwide Acquisitions, Stage 6 Films Director: Rose Glass Writer: Rose Glass Actors: Morfydd Clark, Jennifer Ehle, Lily Frazer,
Carl Prekopp, Faith Edwards, Jel Djelal, Lily Knight, Marcus Hutton, Noa
Bodner, Rosie Sansom, Takatsuna Mukai, Turlough Convery Blurb from IMDb: Follows a pious nurse who becomes dangerously
obsessed with saving the soul of her dying patient.
Cat’s Point of View: Saint Maud is one
of the many unfortunate films that experienced several delays due to the
COVID-19 pandemic. It had registered as lucky #13 on my Top 20 Movies to Look Out For in July 2020 list, though
didn’t see wide release until February 2021. Some poor reviews of Saint
Maud seem to stem from misunderstandings regarding the nature of the plot
leading to disappointment. The trailer gave a slightly different impression to
some, apparently. I can’t say that I understand that backlash because this
movie delivered pretty much what I was expecting in the wake of the trailer.
The only thing I seemed to have misunderstood was the fact that Maud was a
nurse and not a nun. I suppose I confused British nursing garb for a nun’s
habit. It’s neither here nor there – it ultimately didn’t change my opinion of
the film. I can see how it would be easy to confuse other aspects,
though. After my initial watch-through of the trailer, I also believed that
stigmata might also be involved with this movie. Apparently, my inference was
somewhere off in left field so I don’t feel I’m spoiling anything by clarifying
that is not the case.
Honestly, the only thing I was confused about regarding Saint Maud was the setting. We often see
references to Coney Island, as Maud passes by this one brightly lit place that
might be an arcade on several occasions. The name is there on a giant sign. It’s
apparent, however, by everyone’s accents in the film that this takes place in
Britain somewhere. So my only disconnect was the jarring notion of thinking ‘wait,
isn’t that in New York?’ I digress… Some serious kudos go out to Rose Glass (Storm House, The Silken Strand, A Moment of
Horror) for her film writing and directorial debut. She had several shorts
under her belt prior to Saint Maud,
and she certainly made a big leap bringing us this particular movie as her
first full-length feature. Some of the unnecessarily lengthy filler might be
attributed to her freshman offering, but otherwise, it was a sound – and profound
beginning to a promising next step in her career. I’m interested in seeing
where she goes from here.
The cast was phenomenal. Jennifer Ehle (The Fundamentals of Caring, Vox Lux, The Professor and the Madman)
captured the essence of a former starlet fading in the grip of cancer, consumed
by her vices and drinking in as much life as possible before the final curtain.
Morfydd Clark (Pride and Prejudice and
Zombies, Crawl, The Personal History of David Copperfield) was eerie in her
portrayal of Maud. She gave me chills with her feverish performance that had to
be physically demanding, even though this was far from an action movie. She
brought the zealotry of her character to blazing life. In the end, I still have so many questions. Saint Maud plays out on a psychological
level more than anything. Are we really witnessing a religious experience and a
dance with the supernatural or divine? Is this all taking place in Maud’s head?
Did her psychological trauma manifest her beliefs? I loved how the ending played
to both scenarios and left me wondering as I watched with my jaw dropped. My best suggestion is to try and watch this film without
any preconceived notions – maybe just toss the trailer right out of your mind.
It’s solid, if feeling a little lengthy, and something interesting and new for
fans of psychological horror.