Mørke sjeler

The narrative unfolds around an abundance of oil, both literal and symbolic, as we follow the harrowing journey of Johanna, a young girl left for dead after a brutal attack. Caught in the throes of mystery and intrigue, her father, Morten, finds himself ensnared in a labyrinth of secrets that threaten to consume him.

Directors Mathieu Petuel and César Ducasse exhibit a deft hand in the genre, utilizing a deliberate pace to gradually intensify the tension. Unlike conventional American slashers, "Dark Souls" eschews gratuitous jump scares in favor of a more psychological approach, interspersed with moments of visceral horror.

While the thematic use of oil adds a layer of complexity, it's the grotesque body horror that truly leaves an indelible impression. With subtle nods to horror classics and standout performances, particularly from Morten Ruda, the film strikes a delicate balance between unease and macabre humor.

For an immersive cinematic experience, "Dark Souls" demands to be witnessed on the grand scale, where its evocative imagery can truly envelop and unsettle audiences, ensuring an unforgettable journey into the heart of darkness.

SPOILER: Mørke sjeler AKA Dark Souls is bit different compared to most horror films, which is a good thing in my book. It's always good to see people trying something new with the genre, the whole movie's about the struggle of a father who tries to take care of his daughter who became sick after she got attacked for unknown reasons. Her appearance slowly disintegrates as the film continues including heavy vomiting of a black liquid, and what's with these men in orange jumpsuits attacking women with a drill. It's all part of the mystery hahaha, it's a interesting film but there were some moments that i was thinking that i was watching a made for TV crime film (Which it isn't). I don't want to spoil too much but there were a few scenes (especialy the scene near the end in the hospital) which slightly reminded me of Fulci, which is always a good thing. If anyone would ask me how to describe the film i have to say, a horror/thriller with a bit of drama. Go have a look for it yourself if you're interested, anyway you won't get bored.

Alwasys liked the thriller movie, and this movie has full of thriller, suspens and twist. I liked this movie, hopefully you also. In narrative films, story refers to the account that film narrates. It also refers to events that the audience infers and assumes to have taken place in the film. In narratives, the story appears in chronological order with a duration and frequency. The Story differs from the plot because the plot presents specific events in a narrative. Some stood out more than other and some were even worse or better than other. Many things were learned such as the art that goes into these movies and not to mention.

This is the definition of a real classic movie.

I just have goosebumps when ever I watch the movie, it's a piece of art.

Directors and writers Mathieu Petuel and César Ducasse obviously know their horror. There's a deliberate, unhurried pace from start to end and, as with so many other effective horror movies over the years, the pacing is used to build tension and to unsettle the viewer. This isn't your average American slasher, filled with jump cuts and loud bursts on the soundtrack in a vain attempt to summon up scares, everything here is designed more to pick at your nerves and unsettle, apart from the occasional head drilling, of course. The acting is generally fit for purpose, so while it won't win any awards, it does engage your sympathy in all the right ways, and Morten Ruda is the stand out, carrying more of the narrative as the movie progresses and allowing the mix of off-kilter laughs to blend perfectly with the feeling and the pain.

The Pitch: Oily Vomit Of The Living Dead.

The Review: I will be honest, this, in nearly 100 reviews I've written, has been one of if not the most difficult one line pitches to write. Part of that is down to how much is going on in this quiet little Norwegian chiller, which while running to only just over an hour and a half covers an awful lot of territory in that time. The one substance in abundance in this movie is oil, but it's not the only black entity around, as much of the humour is of the dark variety. Dark Souls attempts to put a smile on your face as it drills into your brain, and it succeeds to a large extent in that endeavour.

We start with a young girl, Johanna (Johanna Gustavson), who is attacked by a man in an orange boiler suit with an electric drill and left for dead, found face down in the mud by the police who pronounce her dead and have her taken to the mortuary. This comes as a surprise to her loving father, Morten (Morten Ruda), who's seen her walk in the door not moments earlier. But there's something not quite right about Johanna any more, and she's not alone. While detective Askestad (Kyrre H. Sydness) attempts to uncover the truth behind these mystery murders, and the local doctor (Jan Harstad) attempts to uncover the truth behind these rather lively corpses and their strange symptoms, Morten attempts to re-establish family life with Johanna as best as possible, but is slowly but surely drawn into the secret world behind it all.

Directors and writers Mathieu Petuel and César Ducasse obviously know their horror. There's a deliberate, unhurried pace from start to end and, as with so many other effective horror movies over the years, the pacing is used to build tension and to unsettle the viewer. This isn't your average American slasher, filled with jump cuts and loud bursts on the soundtrack in a vain attempt to summon up scares, everything here is designed more to pick at your nerves and unsettle, apart from the occasional head drilling, of course. The acting is generally fit for purpose, so while it won't win any awards, it does engage your sympathy in all the right ways, and Morten Ruda is the stand out, carrying more of the narrative as the movie progresses and allowing the mix of off-kilter laughs to blend perfectly with the feeling and the pain.

The use of oil is also an interesting motif, but its allegorical use pales in comparison to the body horror of watching it exude from every pore of its victims, and it gives them a distinctive and effective look. There are also a lot of references to other horror movies thrown into the mix (more than this casual horror fan could ever detect), but the overall narrative, while taking occasional tangents, hangs together very effectively, and the abiding impression is of a deliciously dark movie that will creep under your skin like the oil in its victims.

Why see it at the cinema: There's plenty of effective imagery, both subtle and in-your-face, and of course this is at its core a horror movie, so why not guarantee yourself a dark room with a large screen to make the most of the chills?

The Score: 8/10