cjmccracken

Among Friends is a new movie about a group of friends who get together for a dinner party which turns into a violent, horrific and ultimately hilarious ordeal. Bernadette (Alyssa Lobit) organises a 1980's themed murder mystery for her BFFs, who unsuspectingly arrive in anticipation of nothing more than a playful evening of cocktails, drugs and the possibility of hopping into bed together. What they don't realise is that Bernadette has a bone to pick with each one of them, and before long the party becomes a trial, with their deliciously manic host serving as judge, jury and executioner.

Featuring cameos from the likes of Kane Hodder and Michael Biehn, in addition to being the directorial debut of Danielle Harris (Rob Zombie's Halloween, Hatchet I-III), Among Friends certainly comes with a genre pedigree. The writing, construction and shoot of the film was overseen by an almost entirely female crew. Elements of The Perfect Host (2010) and The Last Supper (1995) are combined with a unique and energetic method of delivery. Harris' direction is sharp, frenetic and delightfully sinister and the performances from Lobit, Brianne Davis, Jennifer Blanc-Biehn and AJ Bowen are particularly noteworthy.

A Day-Glo descent into Hell, Among Friends is a brilliantly funny, acerbic examination of friendships, lies and betrayal. Gory, gleeful and gorgeous, it manages to consistently digress from stereotype, creating a very unique feature in the process. It's as if the Breakfast Club had a get together twenty years later at the Firefly homestead from House of 1000 Corpses. Incredibly enjoyable, this movie has a lot of heart, and a lot of blood to go with it.

American Mary is, without a doubt, one of the most talked about movies of 2012. The Soska sisters' sophomore offering maintains all the charm and wit which made their debut 'Dead Hooker in a Trunk' such a success, but displays a significant development in style and technique which will undoubtedly solidify their high ranking status within the genre.

Universal Pictures has recently acquired distribution for the film, which has been causing delight amongst festival audiences all year, and has scheduled a limited UK/Ireland theatrical release to coincide with the DVD / BLU RAY launch which will take place on January 21st.

I have been fortunate enough to attend two screenings of the movie so far this year and so what can the uninitiated expect from the unexpected sensation of 2012?

The story centres around a young, gifted medical student named Mary Mason (Katharine Isabelle) who, whilst being exceptionally capable, is suffering from extraneous pressures caused by financial and personal difficulties. This, inevitably, affects her ability to devote her full and undivided attention to her studies. Her fragmented academic performance does not go unnoticed by her tutor, who curtly reprimands her, threatening her exclusion from the class lest she falter once again.

The strain builds and Mary is forced to look into new potential methods of financially supporting herself. Without giving too much away, her investigations lead her further from the conventional world of surgery and deeper into the underground realm of extreme body modification.

The reason that I am choosing not to divulge more of the story is that American Mary manages to be one of the few horror movies which I have watched this year that genuinely had me guessing as to what would happen next. The Soskas manage to veer away from almost every pitfall and stereotype that mars so many genre features.

What I found particularly effective was their definition of character. This was present, not only in the gender roles which were beautifully constructed, but in the very idea of our own personal perception. The unforgettable Beatress Johnson (Tristan Risk) is without a doubt one of the strongest on screen presences in the movie, the pathos which she creates elicits is reminiscent of Tod Browning's 'Freaks'. Indeed, just as Browning portrayed 'regular' society as beastly and cruel whilst simultaneously highlighting the sense of camaraderie and familial ties which existed amongst his outcasts, Jen and Sylvia Soska examine similar themes.

There is strength to the female characters in the movie which manages to remain both honest and believable. They are neither over-exaggerated butch heroines, nor are they whimpering slasher fodder. They are well constructed, authentic characters with depth that combines faults and strengths in a testament to the writing skills of the twins.

Tension is built throughout and plays alongside a growing air of intrigue and suspense, the like of which is very unique to this movie.

American Mary is a blood soaked dreamscape which completely immerses to the extent that the running time simply flashes by. There is so much that remains to be said on the subject. This is not only an exceptionally well made horror film, this is a turning point.

Colin McCracken also writes extensively at his website zombiehamster.com and can be found on Twitter as @zombiehamster

What Before Dawn has managed to do is give a well needed dose of life and energy into a sub-genre which has been faltering somewhat of late. The tone, pace and aesthetic of the film are all marvellous. The relationship between Alex and Meg is so engrossing and believable that it draws you right in. This is very much an examination of human interaction, in which the zombie apocalypse just so happens to be occurring in the background. It's too easy to make the Mike Leigh and Ken Loach comparisons, because they are very unique filmmakers, thankfully, so is Dominic Brunt.

The pathos which is generated by the shambling, partially alcoholic Alex is a stark contrast to the energetic and productive Meg; however, an emptiness exists in them both, cleverly accentuated by sharp, penetrating dialogue. The subtle jibes which they make at each other, even in the midst of kind gestures will ring true to anyone whose relationship has passed the point of no return. Alex's strained interactions with this mother in law are also particularly well written and delivered.

Nicky Evans' Alex is one of the finest examples of survivalist character to appear in many years. He manages to generate both suspicion and empathy simultaneously, his appearance climaxing in a particularly effecting manner.

This is not to categorise the film as a kitchen sink drama with zombies either, for that would be an injustice. It is merely the fact that the richness and depth of the characters on screen generates a connection that is rarely seen in genre features. A marvellous combination of astute filmmaking and deft knowledge of the horror film, Before Dawn is a film which warrants multiple viewings to allow the multitude of subtleties to sink in.

Where the film really succeeds is that it delivers on the gore front as well. The zombies are of a new ilk, one which manages to create a new strain of terror, just when we thought we'd seen it all. Their stripped, shorn faces, accentuated by blood red eyes and frantic lunges become terrifying and we begin to feel as edgy as the characters within the piece.

Before Dawn is a rare treat, an intelligent genre piece which has so much to offer. The performances are a testament to all involved and certainly one of the most talked about movies at Grimmfest. If there is any justice in the, this movie will take pride of place in any discerning horror fans collection. I can only hope that this is merely the first that we've seen of Dominic Brunt and Joanne Mitchell.

Colin McCracken also writes extensively for zombiehamster.com as well as a number of genre publications. He can be found on Twitter as @zombiehamster