![]() A scene in a barn between Wilmarth and the young Hannah is particularly troubling as it comes after the action has started to really kick in and it feels as if it puts the brakes on the entire movie. The movie feels a little over long, and some scenes could be trimmed a bit. There are a couple of bumps along the road, though. I enjoy the cinematic elements the team has brought to the story, it’s what makes this a film instead of just trying to recreate a short story visually. The brain-communication system is especially lovely. I love the technological elements they give to the film’s baddies, the feel of which is in the middle ground between dieselpunk and raygun gothic that the audience will recognize as classic “mad scientist”. The film is beautifully shot and the prop work takes my breath away. I’m also quite found of Andrew Leman ( The Call of Chthulhu‘s director) playing real-life weirdness expert Charles Fort. Noyes to the hilt) are gleefully up to the challenge. ![]() Given the nature of the film there’s room for some actors to ham it up and Stephen Blackehart (as world-romping playboy Charlie Tower) and Daniel Kaemon (playing the sleazy used car feel of P.F. ![]() As an in-over-his-head academic Foyer plays a lead that isn’t bound by contemporary Hollywood bland-handsomeness. Playing the role of Albert Wilmarth, Foyer is well cast, his wonderfully expressive face conveying the character’s frequent confusion and frustration. Matt Foyer takes the lead (we also saw him as “The Man” in The Call of Chthulhu). It took them some time but the result is a beautiful piece and stands along side the best of the Lovecraft film interpretations. So it’s in the details that some stories shine over others, especially in how quickly they’re able to conjure up mood and deliver sometimes complex ideas.The Whisperer in Darkness is the second film brought to us by The HP Lovecraft Historical Society (under the HPLHS Motion Pictures) following after the 2005 release of the amazing The Call of Chthulhu.Īs opposed to its older kin (which was executed perfectly in the style of a vintage silent filme), The Whisperer in Darkness attempts to evoke the feeling of 1930s monster films (a la King Kong, Frankenstein or Dracula). Time, though, in the anthology’s packed-in presentation, is crucial in making an impression. All unveil the breadth and depth of the local talent pool: there’s no lack of exciting, diverse national filmmakers working in these spaces. In the Australian context, there are Tracey Moffat’s Bedevil and Warwick Thornton’s The Darkside, as well as the recent all-Indigenous-helmed Dark Places. Isabel Peppard’s 2006 stop-motion Gloomy Valentine finds tragic melancholy in its Corpse Bride-like leading lady her sunken facial features and shattered heart gorge a visceral, bloody grief.Īnthologies have had a formidable part to play in the horror film genre, with 1945’s Dead of Night helping to popularise the format. Asher Keddie and Bree Desborough in The IntruderĪnother highlight is Kaitlin Tinker’s The Man Who Caught a Mermaid (2016), which plays tonally as a light, jovial comedy before unleashing its disillusioned and delusional male protagonist, Herb (Roy Barker).
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