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Fantasia 2020: ‘For the Sake of Vicious’ is a Chaotic, Violent Ride

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For the Sake of Vicious

On all Hallow’s Eve, all hell breaks loose. For the Sake of Vicious starts on a bold high note and just gets more violent and hectic from there. In the film, a nurse comes home to find a tortured maniac and a suspicious hostage bleeding in her kitchen. What starts as a bad night turns inexplicably worse when they must face off against a wave of ruthless intruders laying siege to her home on Halloween night. It’s 81 gripping minutes of pure stress and crazed action. 

Co-directors Gabriel Carrer (The Demolisher) and Reese Eveneshen (Defective) — who also served as the film’s production designers, editor, and composer — have pooled their talents to create a film that fights tooth and nail. They start by building tension with a hostage plot; Chris (Nick Smyth) suspects Alan (Colin Paradine) of an atrocious crime that cannot be forgiven. Nurse Romina (Lora Burke) gets caught in the conflict when Chris asks her to patch up Alan, so he can continue his very hands-on questioning session. That alone is an interesting premise to work with, but Carrer and Eveneshen aren’t ready to let the other shoe drop just yet. 

They crank it up to an 11 with a vicious onslaught of masked maniacs that basically turn the last 40 minutes of For the Sake of Vicious into one continuous attack. The music — by Carrer with Foxgrndr — pulsates a heavy bassline that thumps like a heartbeat through the film. But they know when to pull back for maximum effect; one particularly savage fight sequence is scored by nothing but the sounds of violence, cranked up to overpowering levels of blunt chaos by a sound editor who must really love his job.

How is it that on a night with trick-or-treaters canvassing the block, no one heard the most raucous fight the neighbourhood has surely ever seen, you might ask? Shhh, it’s Halloween, don’t worry about it. Allow yourself to get swept up in the sheer brutality of the fights, and make a small mental note that all the stunts were performed by the actors themselves. 

Smyth proves to be quite capable during these fight sequences. Chris throws himself at the intruders with everything he’s got — he’s in a fight for his life, and you believe it. But it’s Burke who you can’t take your eyes off of. She has a strong presence that draws energy like a magnet.

Romina is a tenacious character to begin with, and Burke blends into her character so smoothly that she just lives it. You immediately empathize with her thanks to a poignant character introduction, and through the film it’s hard to not think of the fact that she’s in way over her head — she’s completely innocent in all this (as is her now thoroughly trashed house).

“It’s not about being the best, it’s about being better than you were yesterday” reads a serene plaque hanging in the kitchen. It’s a (completely unintentional) read into Romina’s character and why she silently agrees to help with the rather unconventional situation she comes home to. She could have called the police, but she instead decides to dig deeper and help, recognizing that without her interference this situation could get much worse. 

The plot — which is delivered in the broadest of strokes — feels a tad clumsy. But, much like your concerns about the shocking lack of noise complaints, it’s something you can overlook. The story hits the beats it needs to hit, even if it’s a bit loose along the way. 

The first half of For the Sake of Vicious is heavy with emotion, but the punch of tension doesn’t hit quite as hard. That said, the scene in which Chris recalls the traumatic event  — and what he suspects Alan of doing — works well (despite the realistically unlikely scenario). But with multiple interruptions to talk things through outside, perhaps the pacing is clipped a bit too many times for the first act to really build up momentum. 

It’s the second act that throws it all out the window, forcing the three unlikely allies together in a full out brawl for survival. Something is happening that is entirely out of their control. The fights (by stunt coordinators Adam Ewing and T.J. Kennedy) aren’t stylized or graceful, they’re panicked, head-bashing, gut-stabbing, anything-makes-a-weapon hectic. Our three main characters are beaten bloody but have no choice but to drag themselves onward. It’s gnarly as fuck. 


For the Sake of Vicious is a taut, heavy, ferocious action thriller. Right from the start, it draws you in with a crackling fire that erupts into a full-on blaze by the end of the film. With all its weight, it’s hard to describe this film as “fun”, but it drives fast and hard, and it’s an enjoyable — and completely vicious — watch. 

For the Sake of Vicious

For the Sake of Vicious is playing as part of Fantasia Fest 2020. For more Fantasia coverage, click here to read our review of The Dark and the Wicked.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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