Halloween (2018) Review

Michael Myers slaughtered his way back onto our screens this weekend in David Gordon Green and Danny McBride's latest entry to the Halloween franchise, simply titled Halloween. The film retcons every sequel since the first Halloween and brings back Jamie Lee Curtis as Laurie Strode, a similar approach to Halloween H20 twenty years ago. With Curtis returning as Laurie, John Carpenter returning to score the film, and even original Michael Myers actor Nick Castle returning in a cameo, there has been a lot of hype around the new Halloween film. Thankfully, in my humble opinion, the film definitely manages to match this hype.

Fourty years after Michael Myers' fateful killing spree, survivor Laurie Strode has spent her whole life training and preparing herself for the possibility that the two may meet again one day. This has unfortunately cost her relationship with her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak), but may soon prove to be vital when Myers escapes from custody the night before Halloween.

This is a very different Laurie to when we last seen her in Halloween, or even Halloween H20. She is a reclusive survivalist, motivated only by the thought of someday putting an end to Myers and giving herself closure. Curtis really hits the ball out of the park here and gives one of the most powerful performances of her career. She plays Laurie as a tough, no-nonesense tactician, while also offering us glimpses of the sheer emotional impact her trauma has had on her. Curtis is a true powerhouse, but she's not the only strong Strode woman in Haddonfield this time, as her daughter and granddaughter are also along for the fight. Judy Greer gives a really strong performance in the final act particularly, acting as Laurie's daughter with an equal amount of emotional scar tissue due to her tough upbringing. Meanwhile newcomer Andi Matichak is equally as strong as both of her co-stars, acting as a counterpart of sorts to the Laurie we know from the original Halloween. It really is a film about three woman conquering their trauma and finally gaining some personal closure. Also, look out for young actor Jibrail Nantambu as Julian, one of the real scene-stealers of the film.

But where there's a Laurie Strode, there's inevitably a Michael Myers, and James Jude Courtney does a great job of capturing all the little nuances that made the character so unsettling the first time around (original Myers actor Nick Castle also makes a brief cameo in the suit as well). What's interesting about these characters this time however, is the change in their dynamic. Laurie is no longer a plucky underdog attempting to survive this sheer force of nature, she's now an equally powerful force that's ready for action. She's more than ready for Michael this time around, and there are times when the character who was once the prey soon becomes the predator. It was an interesting direction to take Laurie and one that works incredibly well. I think this new dynamic is really what carries the film and helps make it something unique.

Of course one of the other things that made Carpenter's original film so outstanding was his score, and for the first time since Halloween III: Season of the Witch, he returns as composer along with frequent collaborators Daniel Davis and son Cody Carpenter. The score makes brilliant use of some of the numbers from the original, often tweaking them ever so slightly to fit the new narrative. However, there are some new pieces in there that I think will really go down well with fans, one particular number entitled "The Shape Hunts Allyson" really stood out for me and I'm sure you'll know what one I'm talking about when you see it. Carpenter may have declined the opportunity to direct, but it's wonderful to see that he still excels in the music department.

The film doesn't always manage to capture the slow-building tension of the original however, and there are some moments where certain kill scenes feel a bit rushed or underwhelming. Sure, we all love a bit of gore, but to make that really hit hard it has to be preceded by a certain amount of suspense, and Halloween doesn't always hit the mark in this respect. When it does however, it does really well, and the final act particularly is packed full of nailbiting sequences of suspense. Of all the sequels, remakes, and re-calibrations within the Halloween franchise however, this film feels like it really respects and understands the original the most. It never tries to over-explain or understand Michael's motivations, but instead returns to the idea that he is simply a sheer force of evil that cannot be stopped. As well as that, there are numerous little parallels between this and the first film in instances such as the framing or the dialogue, and I feel they definitely work in the films favour. Look out for a clever re-do of the original scene where Laurie spots Michael outside her school.

While it doesn't hit every singe mark, Halloween hits more than enough to make it one of the strongest entries into the franchise yet. With an excellent cast, wonderful score, and a pair of writers who really understand what made the original so great, this really feels like it could go down as one of the best follow-ups to Carpenter's original film. As well as that, its themes of trauma, closure, and focus on abuse victims really stand out and give the film a lot of emotional leverage. In an era where women are taking a stand against abuse and in some cases, their own abusers themselves, Halloween could not be more relevant.

6 Horror Films You May Have Missed This Year

With Michael Myers returning to our screens once again, Nic Cage letting loose in Mandy, and Hereditary causing us all to lose our heads, it's safe to say 2018 has been a good year for horror so far. With the likes of Suspiria and Overlord on the horizon as well, it looks like we've still got a lot to look forward to in terms of horror cinema this year. Horror can be a fairly vast genre however, and with so many films being released throughout the year it can be easy to miss out on a few. But fear not, because I'm here to recap some of the horror films that you may have missed over the past ten months.

I say may have missed, because if I just presumed that nobody reading this has seen any of the following films then I'd sound like a bollocks wouldn't I? These are just a couple of films that may have flew a bit under the radar due to their distribution or lack of heavy advertising. With Halloween just under two weeks away, now would be the perfect time to catch up on some of these underrated gems!

Tales From the Hood 2 

The original Tales From the Hood came out in the 90's and focused on various issues faced by black people in America, only under the guise of four terrifying cautionary tales. Given the current state of race relations in the US and the success of recent films such as Get Out, writer-directors Rusty Cundieff and Darin Scott decided to make a follow up effort to their original film, and oh boy is it a fun ride. Genre veteran Keith David steps into the role of Mr. Simms (originally played by Clarence Williams III) who weaves 4 tales of terror that involve various social issues from racism, to the Me Too movement. Sure, many of the segments feel a little silly and not subtle at all, but with a title like Tales From the Hood, you don't expect subtlety.

From vampires, to seances, to giant racially-insensitive dolls (don't ask), the first three segments in this anthology are quite bizarre, but each carry their own underlying theme and message much like the first film. The final segment is where the film really packs a punch however, in a poignant and thought-provoking short that feels like it could have been an episode of The Twilight Zone. Kanye could certainly learn a thing or two from watching it.

There are moments when it feels a little bit over the top, but with important messages woven into the plot and a highly entertaining performance from Keith David, Tales From the Hood 2 is a cautionary comedy-horror that's worth checking out! Plus, if you haven't seen the first one then this would be a great chance for a double bill.

The Lodgers

This Irish gothic horror had a fairly quiet release earlier this year and has since made its way to Netflix I believe, for any of you genre fans looking for a bit of homegrown horror. The Lodgers is a tale of two siblings (played by Charlotte Vega and Bill Milner) who are bound to their crumbling rural manor due to an age-old family curse, and are haunted by mysterious apparitions who visit the house at night. Not everything is what it seems in The Lodgers however, and as this gothic tale slowly unravels it soon becomes apparent that this is more than just your average family curse.

Shot on location at Loftus Hall, Ireland's most haunted building, The Lodgers is packed full of beautifully macabre imagery and its second act is absolutely bursting with atmosphere. Gothic horror is something that doesn't come around as often as it used to, so when something like The Lodgers comes out it's always a treat. The only bad thing I could say about it is that it requires a lot of patience and tends to meander a bit in the first act, but if you stick it through and watch till the end then you will be nicely rewarded. 

So if you're a fan of gothic horror and don't mind something a little slower then you should definitely give The Lodgers a watch. It's full of wonderful visuals and has a great cast to match, including the likes of Deirdre O'Kane, Moe Dunford, and The Strain star David Bradley. A perfect little ghost story for Halloween night.

Mom and Dad

Nic Cage is getting a lot of praise for his performance in Mandy at the moment (and rightly so), but earlier this year he gave an equally wild performance in a film that didn't seem to get as much hype. Written and directed by Brian Taylor of the Crank films, Mom and Dad is set during a catastrophic event where parents suddenly have the urge to kill their children. Nicholas Cage plays the father of our protagonists of course, while Selma Blair gives an equally bonkers performance as the mother of the piece. As you'd imagine it's a fast-paced, balls-to-the-wall horror comedy that never holds back.

The concept of parents savagely hunting down their kids is fairly disturbing as it is, and there are moments in Mom and Dad where we catch a glimpse of how truly dark things can get, such as a woman attempting to kill her newborn child moments after birthing it. Yet Taylor never lets this bleakness overshadow the film, and packs in enough bonkers humor and insanity from both leads to make for a thrill-ride of insanity. It's almost like a more violent episode of Tom and Jerry where Cage and Blair are both the manic cat while their children are the persistent mouse. There's even a hilarious cameo from Lance Henriksen himself, so if that's not enough to peak your interest then I don't know what is.

So if you like your horror films with a pinch of humour and your Nic Cage, well, un-caged, then you should definitely give Mom and Dad a watch. If you're planning to watch Mandy soon then why not gear yourself up for it with this gleefully gonzo gem. 

Ghost Stories

Based on the stage play by Jeremy Dyson and Andy Nyman, Ghost Stories is the second anthology film on this list, albeit with a bit of a twist. Nyman himself plays professor Philip Goodman, a sort of paranormal-debunker who specialises in disproving instances of the supernatural. We follow him as he attempts to crack three separate cases of ghostly activity, where nothing is quite what it seems.

With Jeremy Dyson being one of the writers behind The League of Gentlemen, and Andy Nyman known for his work with Derren Brown, you'll know when you sit down to watch Ghost Stories that there is some sort of trickery afoot, but I'll say no more about that because it's such a fun film to watch. The individual segments themselves are entertaining enough, from haunted asylums, to demonic goat-men, the film feels very old school as do its various scares. However, what makes this more than your average anthology is what ties the film together, Philip Goodman's own journey that's laden with a number of overarching themes. It's the type of film that you'll want to watch a second time to look out for things you may have missed the first time around.

On top of all that Ghost Stories also boasts a strong cast, as along with Nyman are the likes of Paul Whitehouse, Martin Freeman, and Alex Lawther from End of the F***ing World(who gives a hilarious performance in his segment). It's the perfect film to watch on Halloween as, not only is it packed full of gloriously ghoulish moments, but 'The Monster Mash' also graces the end credits, so it seems very appropriate for this time of year.

Puppet Master: The Littlest Reich

The long-running Puppet Master franchise got a bit of a re-boot treatment this year, from the mind of Bone Tomahawk's S Craig Zahler. Written by Zahler and directed by Sonny Laguna and Tommy Wiklund, The Littlest Reich is set at a convention focused around the infamous 'Toulon murders', where the various puppets are brought to life by a mysterious force, sending them on a bloody killing spree. It's something of a re-working of the franchise itself so long-time Puppet Master fans may feel a bit let down, but if you're new to the franchise and enjoy a bit of gory fun then oh boy are you in for a treat.

Zahler and co. have great fun coming up with nasty and gnarly ways to dispose of innocent victims via puppets, and they never hold back. The film is full of raw and graphic death scenes that all feel equally as creative as the last. It's a hardcore film to say the least, so if you've got a weak stomach then you might want to sit this one out. It's not all about the blood and guts however, The Littlest Reich manages to weave in some biting social commentary about the alt-right and hate crimes, as well as some characters who are memorable and in many cases, quite likeable. Look out for smooth-talking bartender Cuddly Bear (Skeeta Jenkins).

By far the goriest film of the year, Puppet Master: The Littlest Reich is a highly entertaining reboot that's just as sharp as some of the puppets themselves. Beware though, it's definitely not for the faint of heart.

Climax

From the twisted mind of Gaspar Noé came this waking nightmare of a film, don't be fooled by its dazzling choreography and banging soundtrack because Climax doesn't mess about. The film focuses on a French dance troupe who decide to have a bit of a shindig on the final night of rehearsals, only to discover later on that their sangria had been laced with LSD. Thus begins a nightmarish descent into madness and taboo, that personally had my jaw gaping for much of the films latter half.

I found it similar to last years mother! only much more grounded and claustrophobic. In fact out of all the films on this list Climax is probably the most grounded of them all, but in a way that's part of what makes it so bloody terrifying. Full of distorted camera angles, long-takes, and moments that will have your jaw dropping, the film really knows how to get under your skin and takes full advantage of this as things progress. It's a highly disturbing 96 minutes and the less said about what makes it so, the better. 

I can't really say much else about Climax at the risk of spoiling it all, but coming from someone who doesn't really get scared or disturbed easily by films, this really had me on the edge of my seat. So if you ever find yourself sitting at home alone, why not pour yourself a refreshing glass of sangria and give Climax a go, you'll be well and truly rattled. 

Hibernian Horror: 'Tin Can Man'

Welcome back to Hibernian Horror, a series where I look at the best of Irish horror cinema from over the years. Two weeks ago I took a look at Leitrim indie zombie romp 'Dead Meat', probably the only film where a zombie is decapitated by a hurl. This week however I dive into something a little bit stranger, a film I was only made aware of a couple of months ago, but one that I've been dying to talk about ever since. This week, I look at the bizarro odyssey that is Ivan Kavanagh's Tin Can Man. 

Shot in black and white and completed in 2007, Tin Can Man is a bit of an obscurity, but it's a hidden gem that every Irish horror fan must see. The film was recommended to me after watching Ivan Kavanagh's more recent film The Canal (I'll discuss that another day), and after watching the trailer it's safe to say I was very intrigued. Eventually I got around to watching Tin Can Man earlier this year and without a doubt it's one of the most unsettling Irish films that I've ever seen.

The film follows Pete (Patrick O'Donnell), a down-on-his-luck man who has recently been dumped by his girlfriend and is stuck in a dead-end job. One night, Pete receives a knock on the door from a dapper, but unusual man named Dave (Michael Parle) who brings Pete on a dark and surreal journey that will change his life forever. That's the basic premise to Tin Can Man, and what follows is a nightmarish odyssey curated by Michael Parle's unhinged Dave. It's not a film you'll forget anytime soon.

So first of all, the most striking thing about Tin Can Man is that it's shot in black and white. A lot of indie films do this for things like lighting consistency and stuff like that, but something about this film makes me feel like it was a deliberate choice by director Ivan Kavanagh. The imagery is very reminiscent of the likes of Eraserhead, and not just because it's in black and white, but because Kavanagh does everything that he can to make the film as claustrophobic as possible. The dialogue between Pete and Dave near the beginning of the film is made up of extreme close-up shots and low-key lighting, creating this really uncomfortable mood. As the conversation delves into more sinister territory, this air of claustrophobia begins to turn up to eleven and grabs us right the way through. This use of uncomfortable camerawork is frequent throughout the film and paired with the black and white visuals, gives the film a very dizzying, nightmarish feeling.

Anyway, Dave proceeds to whisk Pete off into the night on a surreal odyssey across Dublin, moving from place to place for the sheer purpose of tormenting the poor lad. Be it through his own taunting words or him forcing Pete to visit his estranged father, Dave's sole purpose appears to be simply tormenting Pete for his own personal enjoyment. He eventually takes things a step further when he introduces Pete to the eponymous tin can man, a disturbed individual clad in clanging cans who Dave forces to dance for his enjoyment. The scene with the tin can man, like most of this film, is strange and unsettling, with undertones of humor courtesy of Parle's performance as Dave. There is something undeniably Lynchian about Pete's journey, but it never feels like Kavanagh is mimicking anything particular about the filmmaker. Rather, he created a similar atmosphere that he uses to carry his own ideas, and it works extremely well.

O'Donnell and Parle are both really strong as Pete and Dave respectively. Parle is particularly sinister as Dave, with his dark sense of humor and exotic accent, he's a really interesting character that we know very little about. We know he has a lot of connections, including a mysterious clown, and it's clear that he's wrapped up in some shady sort of underworld. We may only get a sneak peek into Dave's unusual lifestyle, but it's more than enough to grab our curiosity. Pete on the other hand is much more reserved, he's just a regular lad who has been randomly pulled into this abnormal world. His gradual descent into madness is depicted wonderfully by O'Donnell, and we can't help but attach ourselves to him amid all the insanity. They share a brilliant dynamic together, with Dave constantly acting as the tormentor on Pete's shoulder.

The film begins to culminate as the duo wind up at Dave's own home, where his family consisting of an older woman and two younger woman reside with him. He is clearly the patriarch of the family, but it soon becomes clear that they are just as demented as him as they too hop on the tormenting Pete train. They're almost like a more feminine version of the Sawyer family from The Texas Chainsaw Massacre as they tie Pete up at the end of their dinner table, but Dave's families motives are much more stranger than just cannibalism. We've spent quite some time following Pete down this dark highway into the bizarre, and the films climax acts as a twisted culmination of it all as we learn the significance of the titular Tin Can Man. But I won't spoil the ending.

Tin Can Man is like some sort of twisted dark carnival, with Pete forcibly strapped in for the ride and Dave as the sinister ringmaster. Part Eraserhead, part Texas Chainsaw, and part Ivan Kavanagh's dark imagination, the film is a nightmarish descent into this surreal underbelly in which Dave operates. Whether he likes it or not Pete is destined to become a part of this world, and the more he descends down this twisted rabbit hole, the less likely he is to escape. Rich with atmosphere and nightmarish imagery, Tin Can Man is a must see film for Irish horror fans. If you're looking for something different, unconventional, and downright disturbing, then I'd highly recommend strapping in and joining Pete and Dave on this twisted odyssey into the darkness.

Revisiting Rob Zombie's 'Halloween'

With Michael Myers about to return to our screens yet again next week, now would be a good time to look back at the rest of the Halloween films... Only, I already did that last year, so instead I thought I'd look back at the last time Michael Myers made a dramatic return to our screens. That's right ladies and gentlemen, I'm revisiting Rob Zombie's remake of Halloween. Released in 2007, 5 years after Halloween: Resurrection seemingly killed the franchise, Zombie's iteration of the film sought to explore Michael Myers' backstory while simultaneously re-telling the story of the original. The film was different to say the least, and Zombie certainly made it his own, overall however it's often considered a lackluster remake to say the least. But recently I revisited Zombies version of Halloween, and while it's definitely a very flawed film, I feel as though it's not without its merits either.

Before Zombie made the film, John Carpenter gave him permission to do his own thing instead of retreading everything Carpenter did in the original. With this in mind, Zombie set out to delve into the childhood of Michael Myers, exploring the events that shaped him into the killer he is, before picking up with Laurie Strode and co. in modern day Haddonfield. Now Rob Zombie is a filmmaker that you either love or you hate, his style is unique to say the least, and he never really holds back when it comes to explicit content. Halloween is no different, and Zombie applies all of the greasy, white-trash aesthetic and hardcore violence of his previous efforts to this slasher remake.

Now a lot of people take issue with how Zombie chooses to explore so much of Michael's backstory, essentially bringing too much humanity to the stone-cold killer. I actually enjoy the flashback sequences, and I'll explain why in a minute, but for me the problem is that they lead to some serious pacing issues. The whole first half of the film is all young Michael, before abruptly plunging us into the present day and rushing into the events of Laurie's arc. It feels very uneven and the transition between the two can be quite jarring. However, what I do like about this new origin story is how it keeps Michael grounded once again. A lot of the Halloween sequels made such a mess of Michael's backstory, in an overly-convoluted origin involving pagan rituals and an enigmatic cult. Zombie retconned all of that and instead went for a much more grounded approach to the killers origin. This time around, Michael is simply a troubled young boy who is frequently bullied by his peers, his sister, and his stepfather (hilariously played by Michael Forsythe). While he has a close relationship with his mother (Sheri-Moon Zombie) and infant sister, he is a fairly lonely child who already displays the early signs of a serial killer.

This new origin brings Myers back down to Earth, and in a way feels somewhat refreshing after the sequels over-complicated his backstory. But this isn't the only change Zombie makes as he ensures to inject his own style into this remake as well, and the results are actually hilarious at times, whether it was intentional or not. Zombie relishes in vulgar dialogue and doesn't hold back here, William Forsythe gets to deliver some of the most memorable of these lines ("I will crawl over there and skull-fuck you!") in a bizarre role as Michael's stepdad Ronnie. The dialogue and script in general is laughable at times, but a lot of it is so bizarre and so unusual that you can't help but go along with it. As well as that, like any Rob Zombie film most of the characters look like they're rednecks and have long, greasy hair, for whatever reason that is. At times it feels as though he would rather be remaking Texas Chainsaw Massacre than Halloween. Regardless, it's a unique take on the Myers mythos to say the least, and if you're willing to sit back and have a laugh then trust me, you'll have a great time.

The best thing about Zombie's film however, is by far the casting. While Scout Taylor-Compton is okay as Laurie and some of the supporting cast fall a little flat, Malcolm McDowell was without a doubt the perfect choice to play Dr. Loomis. Just as persistent as Donald Pleasance, with a little hint of arrogance, McDowell's version of Loomis is the MVP of this remake and it's much more his story than it is Laurie's. He has a genuine connection to Michael and the moments where he blames himself for failing the killer as a child are actually quite compelling. As well as McDowell, Brad Dourif makes for a very likeable Sheriff Brackett and the two play off eachother nicely, while Sheri-Moon Zombie gives quite an emotional performance as Michael's mother. People criticise Zombie for constantly casting his wife in his films, but in Halloween she really justifies this choice and gives one of the best performances of her career. The supporting cast is full of B-movie legends as well, from Udo Kier, to Ken Foree, and of course the great Dee Wallace to name a few. As well as that, the casting of Halloween alum Danielle Harris as Annie Brackett feels very inspired in my opinion.

Then of course there's Michael himself, played by Canadian actor and stuntman Tyler Mane. Many of you will recognise Mane as Sabretooth from the first X-Men film, and here he dons the iconic boiler suit and Shatner mask to step into the role of Myers. Mane is the tallest actor to have ever played Myers, and his large frame already gives him a very imposing onscreen presence. However, he goes beyond this and gives us a terrifying physical performance, stalking and chasing his way through the quiet streets of Haddonfield. The film drew criticism for its heavy reliance on violence as opposed to suspense, but I feel like Mane is terrifying enough even when he's not slashing throats or disemboweling. Sure there is a lot of raw violence, which wasn't a problem for me, but had a less capable actor stepped into the role of Myers then it may not have worked so well. But Mane really does feel like a true force to be reckoned with.

Rob Zombie's Halloween is far from perfect, the script is bad, the pacing is all off, and overall the whole narrative feels very muddled in terms of who our protagonist is. However, it's not without its merits, and where Zombie succeeds he really succeeds. The casting is close to perfect, Michael is pure terrifying, and the franchise feels much more grounded again, in a weird, greasy sort of way. It's very much Rob Zombie's Halloween, and the fact that he did his own thing instead of copying Carpenter shot-for-shot is admirable. The original film is a sleek, suburban slasher, while this is a grungy grindhouse homage, where Carpenter's whispers, Zombie's version roars like a chainsaw. It's a fun companion piece to Carpenter's film I think, an updated reimagining that turns the violence and white-trash levels up to eleven. It's far from perfect, but as far as remakes go I'd say it's definitely one of the better ones from the past two decades. And sure look, even if you can't enjoy any of those things, you can at least laugh at some of the dialogue or have a nice game of B-movie star bingo.

After a momentous box-office success, Rob Zombie returned to the franchise two years later with Halloween II, but that's another story altogether...

Hibernian Horror: 'Dead Meat'

Back in March I did a blog post highlighting the top 10 Irish horror films, in celebration of St. Patrick's Day. Ireland's not a country that's as heavily associated with the genre as the likes of America or the UK, but if you look hard enough there are a surprising number of gems scattered throughout our countries filmography. I felt like in that post I couldn't really go too in-depth on each individual film, so now I've decided to a fortnightly series where I will look at a different individual film each week. This will be the first entry to this series, where I look at the Leitrim-set zombie horror Dead Meat.

Dead Meat is a 2004 zombie film written and directed by Conor McMahon that sees a zombie virus spread through rural Leitrim due to a mutant strain of mad-cow disease. Spanish actress Marian Araujo stars as a tourist who gets caught up in the carnage, while her grave-digging companion is portrayed by David Muyllaert (who also sings the films theme-song). The film was greenlit by the Irish Film Board under a microbudget funding scheme that was targeted at independent filmmakers. Subsequently McMahon shot the film for a budget of €110,000, which feels like small-change when you compare it to standard film budgets. Ultimately Dead Meat proved that you could actually do a lot with very little, and to me is a highly entertaining Irish zombie romp.

The film begins with Spanish tourist Helena (Araujo) and her partner driving through the Irish countryside before picking up a roadside hitcher á la Texas Chainsaw Massacre.  The hitcher (played by Ned Dennehy who has since starred in the likes of Game of Thrones and Mandy) winds up being infected however, and thus kickstarts the events that follow. Helena soon allies herself with local gravedigger Desmond (Muyllaert), a shovel-wielding zombie slayer who is more than a match for the undead. The duo then begin their travels across rural Leitrim, encountering a variety of dead and living folk along the way. It sounds formulaic, but Dead Meat is a very dynamic film that constantly progresses at a satisfying pace. Every zombie encounter feels like it has stakes, and the film never manages to come off as sluggish.

Writer/director Conor McMahon takes clear inspiration from Sam Raimi's Evil Dead franchise, both in his direction and the films tone itself. Swooping camerawork that feels almost POV-like dominates the film, but it's the balance maintained between hardcore gore and tongue-in-cheek humor that really makes this feel like a Raimi-homage. An early scene sees Helena face off against a zombie in an abandoned home, using a vaccum cleaner to suck out the ghouls eyeball. It's gnarly, but there's just something so creative and funny about using a hoover to kill a zombie, especially using it that way. But it's not just one big homage however, as Dead Meat finds its own unique sense of personality as things progress. The film later returns to its mad-cow-disease concept in a scene that pits our protagonists against a zombified cow, who terrorises them from outside their vehicle. Sure, there are echoes of Peter Jackson and Sam Raimi, but McMahon does manage to find his own voice and present a zombie film that is uniquely Irish.

Speaking of which, I have yet to talk about the films own unsung hero Cathal (Eoin Whelan). Cathal meets our main duo about halfway through the film, along with a couple of other survivors. Clad in a jumper and flat cap, with his trusty hurl in hand, Cathal is almost like a modern day Cú Chullain who slays zombies instead of vicious dogs. In one of the films most hilarious scenes, Cathal reaches out of his moving car, hurl in hand, and flat out decapitates a zombie. I don't know about you, but there's just something incredibly surreal about a man using a hurl as a weapon against a zombie, and its moments like this that make Dead Meat feel uniquely Irish. It's almost like Father Ted or the Barrytown trilogy with zombies, in the sense that the brand of humor will appeal primarily to Irish people themselves. However, the sense of homage and impressive practical effects allow the film to have a much wider appeal.

For a film with such a low budget I have to say the effects are fairly impressive. While the visual quality or sound quality can feel a bit grainy at times, I feel the effects definitely make up for this and always feel very high-standard for a film with such a low budget. From the aforementioned eyeball scene, to the previous image of the zombie with the shovel in its head,  There's one particular scene that I remember, in which this hag-like zombie is attacking Helena and it gets very gory, I'm talking Lucio Fulci level gory. The sequence never feels hammy or fake, but its actually quite gnarly and stomach-turning. McMahon and his crew definitely put a lot of effort and care into the practical effects and it really shows by the end of it all.

I won't spoil the ending, but as the film reaches its climactic moments our survivors are forced into this ancient castle where they must face off against hordes of the undead, making for a fittingly macabre finale.

Dead Meat received a very limited release and has since faded into obscurity, bare in mind that Shaun of the Dead was also released in 2004, so it was a hard film to go up against. But if you're an Irish horror fan, or just a fan of film in general, then it's definitely worth a watch. For a film with such a minimal budget it manages to rise above this obstacle with its practical effects and tongue-in-cheek humour. If you've ever wanted to see a zombie cow or, even better, a zombie being decapitated with a hurl, then this is the film for you. As for Conor McMahon, he has since worked as a director and editor on a number of small projects, but his most notable work is the Irish comedy-horror Stitches that came out in 2012. However, that is for another week.