The Black Mass
January 14th, 1978. While a mysterious man shaves, a warped voiceover explains how murderers have no identifiable features, which means that anybody in your life could be demonic. That chilling realisation lingers as the unnamed man (Andy Sykes), walks into a store intending to charm people, pick their pockets, and find his next victim. Unfolding over a single day, Devanny Pinn makes her directorial debut with this chilling feature inspired by true events, working off a screenplay written by Eric Pereira and Brandon Slagle.
As the man arrives at a sorority the focus shifts to the resident college girls who, while worrying about everyday issues such as struggling to find used books for their studies, are not offered respite from the danger lurking outside. Their stories play out to the sounds of heavy breathing and noticeable blinking as the predator bides his time, and although some scenes can feel heavy-handed (such as an emotional mother dropping off her daughter for the semester), the film doesn’t forget what is at risk.
Referred to in the credits as simply “Me”, Andy Sykes delivers an effective portrayal as a serial killer. Using fake names and made-up stories, the killer puts on a composed exterior to lure victims into a false sense of security for his horrific plans. That being said, there is no intention of getting viewers to fall for his charms in the same way as the framing regularly obscures the killer’s face, conveying a lingering sense of discomfort around him.
Bringing alive this well-acted piece is Pinn’s terrific directorial style, effectively building tension as it gets into the killer’s headspace.
Bringing alive this well-acted piece is Pinn’s terrific directorial style, effectively building tension as it gets into the killer’s headspace. The most notable instance is when he spies on an undressing woman, imagining her with blood and gore that captures the intersection of sex and violence as he sees it – something that is set-up by the highly suggestive image of a fist repeatedly thrusting into a bloody wound.
As his plans fall apart the killer increasingly loses his cool and finds his nastiness leaking out as his façade crumbles. Long takes are shown from his point-of-view, capturing the uncomfortable feeling of those held by his gaze as he loses his composure. After two acts of simmering tension the killer’s “urges” are released in horrifying fashion, and his short fuse leads to some unsettling and realistic violence. While this act does threaten to become exploitative, the shift in focus away from the killer and to his victims allows the story to settle down.
Admittedly, this feature does become less interesting with knowledge of the real-life story this is based upon, and although there remain some reservations about the film treading on well-worn ground, what sets it apart is the focus on the murderer’s actions and the impact these leave on the survivors. As the on-screen text highlights, their actions in the aftermath of the events and the legacy these women left behind is a more effective and sensitive way to close the story instead of the usual focus on the killer.
James Rodrigues
Black Mold
When a shorter length horror movie has multiple threads laced throughout it’s plot, it’s perhaps no surprise, by the end, everything seems to become a little bit muddled. That’s certainly the case here with director John Pata’s Black Mold – a promising yet ultimately flawed entry at this years Fright Fest.
Brooke – a promising photographer who has an exhibition planned and funding to back her project, wants to get the best pictures she can so she encourages her photography partner, Tanner, to accompany her to an old abandoned building rife with mold. Despite his misgivings Tanner agrees, and the pair set off on their exploration which quickly becomes a tale of paranoia and hallucinations.
After this there are a few decent scares – a stand-out scene involving a scarecrow chase being the highlight, but as the plot unfolds it becomes clear there’s no real cohesion to it.
Upon entry into the building they come across a squatter who reminds Brooke of her of her long-deceased father, whose death she blames herself for. After this there are a few decent scares – a stand-out scene involving a scarecrow chase being the highlight, but as the plot unfolds it becomes clear there’s no real cohesion to it. Why does Brooke blame herself for her fathers death? Why does the mold have such a hallucinatory effect? Is the squatter linked to Brooke’s past? All of these points are never really explored and lack enough detail to reach a satisfying conclusion.
In terms of scares and creepiness Black Mold does have it’s moments, but the loose plot hampers it and leaves you feeling frustrated that there wasn’t a little more flesh added to the bones.
Andy Connor
