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Toronto After Dark Review: ‘Trench 11’ Digs Up the Dread
DIrected by Leo Scherman (White Knuckles), Trench 11 is a claustrophobic Canadian zombie horror set during WWI. Now, historically-set horror is nothing new, but Trench 11 strikes a kitsch-free balance of tension and drama with enough horror to satisfy.
The film follows a small team of British and American soldiers as they seek to investigate a secret underground facility that has been used by the Germans to – supposedly – experiment with the creation of a new and horrible bio-weapon. They are joined by Canadian tunneler, Berton (Rossif Sutherland, son of legendary Canadian actor Donald Sutherland), whose harrowing experiences have primed him for survival.
And survive he must. Once the team of six are fully entombed in the labyrinth of tunnels they are confronted with the shocking remains of the experiments. The virus targets and enhances aggression in the infected, causing them to frantically and violently attack the band of brothers. Pressures mount as the squad fight for survival while still trying to carry out their vital mission.
I’m always incredibly fond of practical effects (they win every time). Trench 11 works a simple concept with effective results. The practical effects here are visceral and – paired with the skills of a great foley arist – they squirm under your skin. You might feel the need to skip your next spaghetti dinner.
The film shows a subtle dichotomy between the potential risk of being openly exposed in enemy territory and the subjective safety of being behind closed doors. Even when the soldiers feel secure in their position, they are in constant peril.
Using an underground setting with enemies on all sides, Trench 11 heightens the threat of a violently dangerous infection. With minimal lighting and a drab, bare-bones set, the tensely claustrophobic film is pumped full of an inescapable dread.
For more reviews from Toronto After Dark, check out Victor Crowley and My Friend Dahmer
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‘Evil Dead’ Film Franchise Getting TWO New Installments
It was a risk for Fede Alvarez to reboot Sam Raimi’s horror classic The Evil Dead in 2013, but that risk paid off and so did its spiritual sequel Evil Dead Rise in 2023. Now Deadline is reporting that the series is getting, not one, but two fresh entries.
We already knew about the Sébastien Vaniček upcoming film that delves into the Deadite universe and should be a proper sequel to the latest film, but we are broadsided that Francis Galluppi and Ghost House Pictures are doing a one-off project set in Raimi’s universe based off of an idea that Galluppi pitched to Raimi himself. That concept is being kept under wraps.
“Francis Galluppi is a storyteller who knows when to keep us waiting in simmering tension and when to hit us with explosive violence,” Raimi told Deadline. “He is a director that shows uncommon control in his feature debut.”
That feature is titled The Last Stop In Yuma County which will release theatrically in the United States on May 4. It follows a traveling salesman, “stranded at a rural Arizona rest stop,” and “is thrust into a dire hostage situation by the arrival of two bank robbers with no qualms about using cruelty-or cold, hard steel-to protect their bloodstained fortune.”
Galluppi is an award-winning sci-fi/horror shorts director whose acclaimed works include High Desert Hell and The Gemini Project. You can view the full edit of High Desert Hell and the teaser for Gemini below:
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‘Invisible Man 2’ Is “Closer Than Its Ever Been” to Happening
Elisabeth Moss in a very well-thought-out statement said in an interview for Happy Sad Confused that even though there have been some logistical issues for doing Invisible Man 2 there is hope on the horizon.
Podcast host Josh Horowitz asked about the follow-up and if Moss and director Leigh Whannell were any closer to cracking a solution to getting it made. “We are closer than we have ever been to cracking it,” said Moss with a huge grin. You can see her reaction at the 35:52 mark in the below video.
Whannell is currently in New Zealand filming another monster movie for Universal, Wolf Man, which might be the spark that ignites Universal’s troubled Dark Universe concept which hasn’t gained any momentum since Tom Cruise’s failed attempt at resurrecting The Mummy.
Also, in the podcast video, Moss says she is not in the Wolf Man film so any speculation that it’s a crossover project is left in the air.
Meanwhile, Universal Studios is in the middle of constructing a year-round haunt house in Las Vegas which will showcase some of their classic cinematic monsters. Depending on attendance, this could be the boost the studio needs to get audiences interested in their creature IPs once more and to get more films made based on them.
The Las Vegas project is set to open in 2025, coinciding with their new proper theme park in Orlando called Epic Universe.
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Jake Gyllenhaal’s Thriller ‘Presumed Innocent’ Series Gets Early Release Date
Jake Gyllenhaal’s limited series Presumed Innocent is dropping on AppleTV+ on June 12 instead of June 14 as originally planned. The star, whose Road House reboot has brought mixed reviews on Amazon Prime, is embracing the small screen for the first time since his appearance on Homicide: Life on the Street in 1994.
Presumed Innocent is being produced by David E. Kelley, J.J. Abrams’ Bad Robot, and Warner Bros. It is an adaptation of Scott Turow’s 1990 film in which Harrison Ford plays a lawyer doing double duty as an investigator looking for the murderer of his colleague.
These types of sexy thrillers were popular in the ’90s and usually contained twist endings. Here’s the trailer for the original:
According to Deadline, Presumed Innocent doesn’t stray far from the source material: “…the Presumed Innocent series will explore obsession, sex, politics and the power and limits of love as the accused fights to hold his family and marriage together.”
Up next for Gyllenhaal is the Guy Ritchie action movie titled In the Grey scheduled for release in January 2025.
Presumed Innocent is an eight-episode limited series set to stream on AppleTV+ starting June 12.
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