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Fantasia Film Festival

Fantasia 2019: ‘Blood on Her Name’ is a Delight for Fans of Noir

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Is there anything that helps push the best of ourselves to the forefront more than guilt weighing down on a tender conscious? The very realities of guilt and consciousness are extraordinarily potent in manipulating our behaviour to repair, mend, and reconcile with those we believe we have wronged. Serving as the backbone of our moral fibre, they are what keep us honest. Sometimes, however, our guilt sways us to commit to acts that change our destinies forever, and not necessarily for the better. This is the plight of the sinner that cannot bear to live with their crime, the one that accepts condemnation, however painful. It also permeates writer-director Matthew Pope and fellow scribe Don M. Thompson’s neo-noir, Blood on Her Name.

Set in the southern United States, the filmmakers waste no time in thrusting the audience in the thick of the drama, with automobile repair shop owner Leigh Tiller (Bethany Anne Lind) appalled and shocked by a huge mistake she evidently just make before the theatre screen was turned on. Lying in a bloody pool before her is a man with a wrench beside him. Once the utter surprise of the event subsides, Leigh tries to dispose of the corpse, but just as she is about to toss her accidental victim into a nearby lake, she renounces the act. Rather, the unwilling killer keeps the cadaver in a car trunk none too far from her shop. Upon learning that the departed had a wife named Dani (Elisabeth Rohm) and teenage son, that old guilt starts creeping up, like a dark malicious cloud. When Leigh decides one night to deliver the body to Dani’s shed, she sets herself off on a high tension course that drags in more people than she’d care for: namely her son, Ryan (Jared Ivers), co-worker Rey (Jimmy Gonzales), and a father (Will Patton) she cannot stand the sight of who happens to be the town sheriff.

Blood on Her Name Review

Few will debate the point that the Fantasia Film Festival has earned its globally recognized reputation in genre film by sporting annual lineup replete with stellar horror, science-fiction, and action movies, many of which hail from Asia. Even so, the event has taken on different shades in the last decade or so, embracing a vastly more diverse selection of movies than its original namesake purports. American independent cinema has for some years now been welcomed with open arms, and of course the grimier, grittier, and more dramatic the better. With that in mind, neo-noir fits right in with the Fantasia crowd: a crowd quieter than the cat and dog imitators, but a terrifically astute and discerning crowd just the same. 

Blood on Her Name is a gift from the formidable duo of Matthew Pope and Don M. Thompson, who expertly bathe their film in a realistic southern state atmosphere so authentic that one can practically feel the heat waves from off the screen. There is little question that they understand the ebbs of flows of noir, that most difficult to define of film movements (not a genre, as many a cinephile would quickly retort). Many of its beautifully twisted tropes resonate loudly throughout the film, with the filmmakers adding some modern flavours to the fold, in addition to the aforementioned southern personality, which, to be perfectly honest, brilliantly adds another layer of toughness to the story. There is something to be said about how certain people of the region have a habit of handling their issues with a particular forcefulness or bluntness that makes them unique in the United States. That rugged attitude serves film noir especially well, with Blood on Her Name serving as a prime example of the wonderfully and dangerously charming aura southern USA carries itself with. 

Above all else however, Pope’s picture is fuelled by Leigh’s guilty conscious, a delicious proposition for any neo-noir to relish. It is made clear that the protagonist’s past was not exempt from some rather unfortunate decision-making blunders, forcing her into an unenviable economic predicament, and ultimately exploding with the death that opens the films. Many parties deserve credit for rendering Leigh as multifaceted as she is, chief among them lead actress Bethany Anne Lind, who gives what might be one of the year’s best performances. In a stupendous balancing act, Lind invites the audience into her world and psyche. Have mistakes been made? Absolutely. Were some of those mistakes particularly stupid? Most definitely. Said past still does not define her as a bad person, certainly not considering the energy she invests in her son’s upbringing (a muted Jared Ivers), the latter having already engaged in some ne’er do well behaviour. The struggles Leigh reckons with are palpable, deep, and fraught with anxiety. Even if the rest of the picture was patently mediocre, Bethany Anne Lind alone would be reason enough to give it a chance.

Blood on Her Name Review

She is far from the only actor shining with committed, layered performances. Will Patton, having just played a cop in 2018’s Halloween, returns with a badge, only this one is sullied with stains that cannot be washed away (hence the father-daughter tension). Patton is an extraordinary actor, and giving him the role of a morally corrupt sheriff who also deeply wishes to help his troubled daughter is a terrific coup. Jimmy Gonzales as Rey is equally impressive, albeit in a far quieter role as the only chap with a justly calibrated moral compass amongst the lot.

Time will reveal what sort of distribution Blood on Her Name earns, but hopefully, it’s the sort that enables as many movies lovers to discover it as possible. Plenty of solid movies come and go, with the film festival circuit being a mere transition between a tireless production beforehand and total obscurity afterward. If the movies gods see to it that any justice is served, Matthew Pope’s lovingly made drama will be enjoyed by more than those that were fortunate enough to see it at Fantasia in 2019. You wouldn’t want to feel guilty of missing it, would you?

The Fantasia Film Festival runs July 11 – August 1. Visit the official website for more information.

A native of Montréal, Québec, Edgar has been writing about film since 2008. At first relegated to a personal blog back when those things were all the rage, he eventually became a Sound on Sight staff member in late 2011, a site managed by non-other than Ricky D himself. Theatrical reviews, festival coverage, film noir and martial arts flicks columns, he even co-hosted a podcast for a couple of years from 2012 to 2014 with Ricky and Simon Howell. His true cinematic love however, his unshakable obsession, is the 007 franchise. In late 2017, together with another 00 agent stationed in Montreal, he helped create The James Bond Complex podcast (alas, not part of the Goombastomp network) in which they discuss the James Bond phenomenon, from Fleming to the films and everything in between. After all, nobody does it better.

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Fantasia Film Festival

‘Harpoon’ — A Nasty Thriller that Mostly Hits the Target

Fantasia 2019

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Harpoon is best described as Dead Calm meets Alive. It follows Jonah (Munro Chambers), Sasha (Emily Tyra), and Richard (Christopher Gray)— a trio of unlikable friends with some serious issues who do horrible things to one another for roughly eighty-two minutes.

After Richard, the son of a mob boss suspects his best friend Jonah and long-time girlfriend Sasha are having an affair, it sends him into an uncontrollable rage that leaves Jonah a bruised and bloody mess. Only it seems Richard is wrong (or so they say), and after convincing Richard the allegations are false, Richard invites them on his family’s yacht to celebrate his birthday. It was meant to be a fun day trip in order to win back their trust but as tensions boil and the yacht’s engine fails, Richard’s anger management issues kick in and his birthday present (a speargun mistaken for a harpoon) becomes a threat. Stranded without food, drinking water, and other supplies, their only hope of survival is to set aside their differences and work together. But as secrets continue to be revealed and accusations are made, it seems this fuc*ed-up trio has little to no hope of ever reaching land alive.

Harpoon Movie Review

At its core, Harpoon is really a film about friendship, albeit a toxic friendship between three young adults who have drifted apart but somehow remain bound only by the amount of time they’ve known each other. When the trio are left stranded in the middle of the ocean, both their friendships and their lives are tested in excruciating ways. Rob Grant and co-screenwriter Mike Kovac’s script features an unseen narrator (Brett Gelman) who offers insight into the interpersonal background of the trio along with a clever and amusing history lesson about sailors and their superstitions. It seems the uncontrollable nature of the sea has given way to many a nautical lore, each one as curious as the next and Harpoon dives deep into these myths and legends feeding us snippets of info during a swift montage. As the plot twists, and turns (of which it does plenty), the trio realizes they’ve jinxed themselves in a barrage of ways. As they wait in hopes that someone will come to their rescue, they pass the time looking for ways to survive while discussing stories such as Edgar Allan Poe’s novel, The Narrative of Arthur Gordon Pym of Nantucket and the true tale of Richard Parker, whose life at sea unbelievably mirrored the plot of Poe‘s writing which was released 50 years earlier.

Harpoon Movie Review

For what is essentially a horror film shot on a single location, director Rob Grant does a superb job in delivering a nasty little thriller. In spite of the short running time and limited claustrophobic setting, Grant keeps the film interesting with his camera choices and clever editing. As the film progresses the camerawork slowly draws in ever tighter on the three leads heightening the suspense at key moments while also further adding to the claustrophobic feel. It really is impressive how much mileage the filmmakers get when working with so little.

Held together by three impressive performances, Harpoon deftly plays with our emotions as we become less and less sympathetic to the trio, no matter what horrible things they may be experiencing. What makes Harpoon different than your average survival thriller is how it continuously encourages the audience to laugh at the series of unfortunate events. No matter how deceitful, violent and psychotic these three friends are, Harpoon somehow manages to remain darkly funny.

I must once again stress how annoying these characters are and because of this, Harpoon is a film I admire more than I enjoyed. Often the trio’s bickering is exhausting to sit through and despite a running commentary on toxic masculinity and male insecurity, Harpoon eventually runs out of steam— or rather, is left with no more wind in its sails. In the end, these terrible human beings couldn’t be any more deserving of each other but I can’t say I enjoyed their company.

  • Ricky D

Editor’s Note. The review was originally published on August 7, 2019, as part of our coverage of the Fantasia Film Festival. Harpoon is now streaming on Showtime and available on Sho Extreme & on-demand.

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Fantasia Film Festival

‘The Divine Fury’ is a Cool Horror-Action Hybrid that Offers Something for Fans of Both Genres

Fantasia 2019

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Divine Fury Movie Review

The Divine Fury has a premise you could only find in a film that would premiere at a genre film festival like Fantasia. Yong-hoo Park, champion MMA fighter, develops a bleeding wound on the palm of his hand, and medical science cannot help him. Further assailed by voices and terrifying visions, Yong-hoo turns to a medium, who directs him to Father Ahn. Ahn is a sanctioned exorcist, and one of many Vatican agents on the trail of the sinister Black Bishop, an occult practitioner who has amassed demonic powers. Father Ahn informs Yong-hoo that his wound is a stigmata, a powerful tool in the battle against evil. This comes as something of a surprise to Yong-hoo, a devout atheist since the death of his father. With his new mentor, Yong-hoo becomes a force for good — a demon-punching holy avenger who uses his physical and spiritual gifts to battle the Black Bishop.

From that description, you couldn’t be blamed for imagining something like that one scene from Peter Jackson’s Braindead, or maybe Ninja 3: The Domination, if you’re a fan of 80s Cannon Group cheese. Even worse, you might be imagining some kind of hokey, low-rent religious superhero movie, like a South Korean Bibleman. But you’re in for a surprise; while it could easily have set its sights on camp and gunned the engine, The Divine Fury instead goes a different route, playing its bonkers premise almost entirely straight. From the outset, Joo-hwan Kim’s film remains utterly sincere about itself, mixing horror and action with some deft direction and a stellar cast to create a dark, engaging, and fun hybrid.

Painting a dark and stylish portrait of modern Seoul, Kim’s direction comes off almost from the first frame as slick and confident. Smooth, elegant camera movements glide through the dimly-lit streets, where shadows lurk and fear reigns. The film often surprises with some wonderful imagery, and walks a fine line between stylish and efficient. When things start hitting the fan and demons emerge to menace our heroes, the film also busts out some serious effects wizardry, with top-notch makeup and creature effects bolstered by clever and dynamic camera work. There are flashes of terrific art direction, with brief tantalizing glimpses of a beautifully realized world of demonic forces, and even real-world locations like the Black Bishop’s luridly-lit nightclub make for interesting and unique backdrops.

As Yong-hoo and Father Anh grow closer, it becomes apparent that their chemistry and onscreen charm is one of the cornerstones the film rests on. Even when they’re just sharing a meal, the two leads are terrific to watch together, with an easy and natural chemistry that makes them eminently believable as friends, despite their vast differences in outlook. Of course, Father Ahn’s platitudes and homilies often come across as stock and predictable, and the film’s attempts at a theological discourse are pretty shallow. But when it can’t muster a convincing theological argument, the film defaults to much more universal fare in its message: defend the defenseless, oppose evil. Who can argue with that?

The Divine Fury will make you wait before it delivers the goods, but when the time is right, it delivers them in spades. 

The confident direction and charming leads do help make up for one crucial shortcoming, though: the film may have a lot of the divine, but it’s a tad short on fury. After a tantalizing fight scene early in the film teases some great action, no punches fly until the film’s showstopper of an ending. For those expecting a rock ‘em-sock ‘em actionfest, much of The Divine Fury’s middle section — the vast majority of the film — may leave them cold. But be patient. Enjoy the atmosphere and the more horror-oriented segments, because that patience will be rewarded. When the film reaches its final sequence and Yong-hoo finally unleashes his holy fisticuffs, the result is, well, divine. The climactic action sequence in The Divine Fury is one worth waiting for, a slick and deftly delivered pair of fight scenes that will have action fans cheering in the aisles. The camera maintains a perfect distance, allowing the physical performances of the actors to take center stage, and never obscures the action with jittery movement or rapid-fire editing. The presentation is dynamic, but never overwhelms or distracts from the solid physical performances by star Park Seo-joon and the stunt team. The Divine Fury will make you wait before it delivers the goods, but when the time is right, it delivers them in spades. 


The Divine Fury is a fun, surprising and just plain cool horror-action hybrid that offers something for fans of both genres. Kept aloft by two engaging and charismatic leads and some top-notch direction, it pulls you into its ridiculous world of exorcisms and action with gusto. While it does make you wait before it fully unleashes its premise, which can and has strained the patience of some viewers and critics, its final action sequences are worth waiting for.

Editor’s Note: This article was originally published on August 2, 2019, as part of our coverage of the Fantasia Film Festival.

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Anime

‘Promare’ Feels Like the Younger Brother of ‘Gurren Lagann’

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Gurren Lagann is a cult classic directed by Hiroyuki Imaishi, and written by Kazuki Nakashima. It has over-the-top action, constant bravado, quotable lines, and non-stop escalation into madness. Subtly is not a common word used in Imaishi and Nakashima’s vocabulary, and luckily, fans of their work will not be disappointed with their newest animated movie, Promare. Hot-headedness (literal and metaphorical) and grandiose speeches are rampant when Promare kicks logic to the curb and goes beyond the impossible in its own unique way. What it lacks in a cohesive story, it makes up for in elaborate visuals, eye-popping action, and charismatic characters.


No matter how many times Spider-Man or Superman saves someone from a burning building, the real heroes are the firefighters; they are the ones on the ground, first on the scene. In the world of Promare, firefighters are not just stopping regular old fires; they are tasked with extinguishing supernatural infernos caused by the Burnish — humans mutated to become pyrokinetics. Called the Burning Rescue, they heroically save any and every civilian threatened by these eternal flames, doing so with advanced gear, amped-up water cannons, and hand to hand combat. In addition, they have high-tech equipment that includes drones, an armory of ice and water-powered firearms, and numerous models of mech suits.

These heroes are tasked to stop the flaming terrorists and the havoc they wreak, and in the first act of Promare, a Burning Rescue team led by a young man named Galo take on one of the most feared Burnish terrorists. They use their pyrokinesis to give themselves black, spiky armour and motorcycles that would make Ghost Rider jealous, and after a rousing success with eleventh-hour powers, Galo floats in his victory. Soon, the more militaristic, anti-Burnish organization called Freeze Force barges in and detains the Burnish, taking some of the credit and diminishing Burning Rescue’s efforts. This testosterone-driven act kindles a small spark in the back of Galo’s head, later pushing him to discover a conspiracy that suggests not all is as it appears to be.

Galo is essentially a carbon copy of Kamina from Gurren Lagann. He’s a shirtless, blue-haired, brash young man who jumps in head first to save everyone, and makes sure he looks cool doing it every time. His peers and rivals mock his intelligence and audacity, but in a rare twist, Galo immediately proves that his not simply all bark; he is also a talented rescuer, and is able to stop multiple Burnish solo. Eventually, he develops a rival with Lio, a blonde-haired, light-eyed, somewhat effeminate villain with his own code of honour. He also runs across Kray Foresight, the governor, who is appreciative of Burning Rescue and all their work. However, though Burning Rescue is comprised of many equally talented members, they are mostly pushed to the background outside of being given a few moments to shine.  

Promare takes advantage of new animation styles, and combines both hand-drawn and computer-animated designs. The vapourwave art style is bombastic and chaotic, while the angular designs of the Burnish’s powers add a little edge to the action scenes, guaranteeing that there is no wasted space on screen. The movie runs from inferno-hot to sub-zero cold with no in-between; one would expect nothing less from Imaishi and Nakashima.

Walking into this film and expecting some kind of subtly, even when it comes to the most mundane of actions, is expecting far too much. In classic fashion, the filmmakers keep making every scene more grandiose and epic. Fight scenes aren’t simply adding an extra bad guy or giving the hero a handicap; everything grows to an exponential scale. The moment you expect that Promare has reached its limit, suddenly everything goes to the extreme. But this does has its disadvantages, as subtly and clear explanations of events go by the wayside. The plot moves fast and glosses over the details of the world, history, and lore. Instead of questioning “why is this weird thing happening,” it’s better to accept that it’s happening simply “just because” — far better to just watch the bonker visuals and series of events. This pacing also makes it difficult for character growth, where relationships are created and destroyed on a whim, yet could have benefited more with extra content. It’s like the difference between the Gurren Lagann series and the movies. Sure, the movies cover a lot of ground, but they are very much more loud, operatic spectacles rather than the growing confidence of a young shy boy into a full-fledged legend.

Promare is certainly a movie that stimulates the lizard-brain neurons. It’s flashy, over the top, and outright ridiculous. The heroes and villains are operatic, and there is no nuance stored anywhere in the character’s development. But that’s why the movie is wonderful; the creators are able to depict these extreme levels of silliness, then lampoon and expand on it. There are even moments where the characters themselves have to acknowledge that this level of weirdness is actually happening. But that’s why this movie is spectacular — it’s loud, it’s big, but it’s 100% unfiltered fun.

Editor’s Note: This article was originally published on August 4, 2019 as part of our Fantasia Film Festival coverage. 

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