Archives For Serial Kaller

Here’s a round up of everything I’ve written in March.

Annihilation (2018, Dir: Alex Garland)‘A surprisingly deep film…’

Anti Matter (2016, Dir: Keir Burrows)‘A satisfying experience.’ 

Black Roses (1988, Dir: John Fasano) – ‘Death by stereo indeed.’ 

Death Note (2017, Dir: Adam Wingard)‘Death Note is a sluggish, tonally uneven film which cribs from the Donnie Darko style guide.’

Deliver Us From Evil (2014, Dir: Scott Derrickson)‘Should you see this in your partner’s Netflix queue, break up with them immediately.’ 

Game Over, Man! (2018, Dir: Kyle Newacheck)‘Unbelievably smug.’ 

Inside No 9 S4E1 Zanzibar (2018, Dir: David Kerr) – ‘A sparkling start to the series.’ 

Inside No 9 S4E2 Bernie Clifton’s Dressing Room (2018, Dir: Graeme Harper)‘Poignant piece of TV.’ 

Inside No 9 S4E3 Once Removed (2018, Dir: Jim O’Hanlon)‘…impish comedic behaviour.’

Insidious (2010, Dir: James Wan)‘…eerily like the dream world of Drop Dead Fred.’

Kangaroo: A Love Hate Story (2018, Dir: Kate McIntyre Clere, Michael McIntyre)‘A well-made and emotive film.’ 

Kangaroo: Love it or Cull it Interview with Kangaroo: A Love Hate Story director, Mick McIntyre 

Killer Barbys (1996, Dir: Jess Franco)‘It’ll be hard to find anyone who would wilfully cheer this one on from the sidelines.’

Leprechaun: Origins (2014, Dir: Zach Lipovsky) ‘No limericks, no green hats and no fun.’ 

Les Diaboliques (1955, Dir: Henri-Georges Clouzot) – ‘Buy it, treasure it, and never let it leave your side.’

Paranormal Entity (2009, Dir: Shane Van Dyke) ‘Boring.’ 

Prayer of the Rollerboys (1990, Dir: Rick King) – ‘I’d like to acknowledge the glacial romance between Haim and Arquette that is more comical than it is sexy.’ 

Prevenge (2016, Dir: Alice Lowe)‘The film manages to comfortably navigate through nihilism and comedy.

Red Sparrow (2018, Dir: Francis Lawrence)‘A rollicking spy thriller.’ 

See No Evil (2006, Dir: Gregory Dark)‘Thankfully, it ends.’ 

Serial Kaller (2014, Dir: Dan Brownlie) ‘Tepid Entertainment.’

Stepping Out of the Hundred Acre WoodInterview with Christopher Robin’s Director, Marc Forster

Straight on Till Morning (1972, Dir: Peter Collinson) – ‘Mean-spirited, gritty and with a gut punch of an ending…’ 

The Bat (1959, Dir: Crane Wilbur) – ‘They don’t make them like Vinnie anymore.’ 

The Killing of a Sacred Deer (2017, Dir: Yorgos Lanthimos)‘More accessible than The Lobster, but just as confronting.’ 

The Nanny (1965, Dir: Seth Holt) – ‘The Nanny demands a spot on anyone’s DVD shelf.’ 

The Open House (2018, Dir: Matt Angel) – ‘All the fast pace action of an iceberg.’ 

Unforgettable (2017, Dir: Denise Di Novi) – ‘Trundles along.’

Veronica (2018, Dir: Paco Plaza) – ‘Veronica is the kind of film you want to succeed, which makes its failure to do so even more disappointing.’


Written and directed by Alice Lowe (Sightseers), this brilliant comedy horror sees the aforementioned Lowe play Ruth, a heavily pregnant woman who stalks London, killing various men at the behest of her unborn child. Rather than simply being a still in the womb Omen story, Prevenge ventures into some surprisingly touching areas about mourning and accepting one’s grief. There’s a sense that deep down Ruth doesn’t what to do what she’s doing, but once she’s pressured and her blood begins to boil, she sees no other options.

Filmed on a ridiculously small budget, Prevenge is cinematic in scope.The strongest scenes come with Ruth’s regular visits to her midwife (Jo Hartly) and her admissions of anger towards what her baby makes her do is seen as pre-natal depression. Acting like a spiritual sequel to Sightseers, the film manages to comfortably navigate through nihilism and comedy without spilling over too much into either.

Serial Kaller

Here’s a fairy tale for you. There once was a men’s magazine called Loaded, who got their won TV channel despite lad culture’s death rattle being heard across the universe. Still, they persisted and decided to make a film under the Loaded Film banner. Enter director Dan Brownlie who wanted to mark his directorial debut with a script about sex line workers being stalked and killed. Off Brownlie went to film his debut, but alas, Loaded TV folded and off went 90% of his crew. Still, he persisted and now Serial Kaller is here for everyone to see. Lucky you.

Going into this film, knowing the garbage hand that Brownlie had been dealt, you cross your fingers that this’ll turn out to be a rough little gem. Unfortunately, despite a knowing sense of what it is, Serial Kaller is a slog to get through. Out of the mixed bag of acting on display, Dani Thompson (Cute Little Buggers) and veteran genre actor, Debbie Rochon (Vampire’s Kiss) make a fair bash of it. However, unless you’re looking for tepid entertainment that relies on nudity more than it does scares, you’re best looking elsewhere.

The Bat

One of the joyous things about Crane Wilbur’s The Bat is the abundance of exposition around every corner. Practically everyone talks to each other like they’ve never met before. ‘Hello, Donald. You remember my wife. We met two years ago and were married at Christmas. It was a lovely affair. Well, I must be going now.’

The other joyous element is the brilliant Vincent Price, playing Dr Malcolm Wells; an expert on the habits of bats who may also be the creature terrorising small town America known only as the Bat! Spoiler alert – He’s not. But we have a wonderful time watching him play red herring for 80 minutes. Criminally, they don’t make them like Vinnie anymore.