Lifechanger [Fantasia 2018 Review]

If Richard Linklater’s Slacker was remade as a horror film, it might resemble Lifechanger. The movie, which had its world premiere at Fantasia 2018, is ambitious and intriguing, with one heck of a twist in the final ten minutes. Writer/director Justin McConnell clearly has big ideas on his mind, which makes this something worth paying attention to.

Bill Oberst, Jr. provides the voice of Drew. We don’t really see him because he’s a “body thief.” Somehow he moves from person to person, killing them and taking over their bodies until they start to rot, at which time he finds a new host. Early scenes in the film show him inhabiting a body, spending a day or two in it, then moving to another (hence my Slacker reference). Aside from the trail of death and destruction left in his wake, there is an additional complication. Drew has fallen in love with Julia (Lora Burke, in a very good performance), so he continually works his way into her orbit with each new guise.

The heart of Lifechanger is that Drew wants to be near Julia, but he can’t if he dies, so he has to continue his murderous ways. That’s one heck of a hook! We follow him as he uses various metrics to determine whose body he should take over, and as he tries to figure out how to achieve the desired closeness with Julia in spite of his inability to remain static.

It takes a little while for the movie to get going. Understanding what’s happening and the “rules” of it takes some time. You also have to get to know Drew through his voiceover, since we don’t see the real him onscreen. That involves listening to what he says as he passes through several bodies and analyzes his predicament. Put the effort into doing those things and you’ll be rewarded. Lifechanger builds to a climax that pays off its premise in a thematically perfect way designed to make your jaw drop.

In terms of horror, there are absolutely some moments that will shock you. McConnell shows an aptitude for making things just as gruesome as they need to be to maintain effectiveness, without going overboard. The way violence is handled here makes Drew’s situation feel almost as tragic for him as for his victims. It becomes a warped, twisted version of the food chain.

Lifechanger combines an interior kind of horror with a very external kind of horror, which makes it a movie to have on your radar.

Mike McGranaghan

For more information on Fantasia 2018, please visit the official website.

For my reviews of current theatrical releases, go to the main page of The Aisle Seat.

 

The Man Who Killed Hitler and Then The Bigfoot [Fantasia 2018 Review]

From the title alone, you might expect The Man Who Killed Hitler and Then The Bigfoot to be a massive slice of cinematic insanity. It’s true that there’s a really bonkers sequence in which star Sam Elliott fights the legendary Sasquatch. Beyond that, though, the movie — which had its world premiere at Fantasia 2018 — is fairly restrained. That’s a good thing, because there’s far more depth here than the awesome and technically accurate attention-getting title suggests. Using the word “melancholy” to describe a film with such a moniker is odd, yet also perfectly apt. However you want to describe it, this is a special work that hits you in unexpected ways.

Elliott plays Calvin Barr, a man who has been carrying around a secret for decades: he assassinated Adolf Hitler. For a variety of reasons best unrevealed here, he never got credit for it, not that he cares. Despite eliminating one of history’s greatest villains, Calvin regrets having taken a life. The event also cost him his relationship with girlfriend Maxine (Caitlin FitzGerald), who is seen in the flashbacks that permeate the film. Aidan Turner plays Calvin during those scenes.

It is not a welcome event when representatives from the FBI and the Royal Canadian Mounted Police show up at Calvin’s door asking for his help. The FBI agent (Ron Livingston) knows about Hitler and now wants him to track and kill Bigfoot, who is carrying a disease that could wipe out mankind. After some initial resistance, Calvin agrees to put himself into a situation where he’ll have to kill again.

The Man Who Killed Hitler and Then The Bigfoot has two questions at its core. The first is, What if you did something truly remarkable but had ambivalent feelings about it? The second is, Would it be foolish to do something remarkable again, given those ambivalent feelings from before? Writer/director Robert Krzykowski explores how Calvin struggles to reconcile what he did with how it affected his life. Yes, he made the world better for everyone else. For himself, though? That’s another matter. He’s not sure if it was ultimately worth it. In some respects, the movie is reminiscent of Clint Eastwood’s Unforgiven in the way it maps the emotional toll getting pulled back into violence takes on the lead character, although Calvin Barr’s outcome is certainly different than William Munny’s.

Sam Elliott gives yet another stellar performance here, expertly conveying the way Calvin’s ordeal and its subsequent repercussions have worn him down over the years. You can feel every drop of guilt, remorse, and sorrow. At the same time, the actor shows how his character gradually opens up to himself and finds some form of acceptance over the course of his adventure pursuing Bigfoot. It’s more great work from a performer who routinely delivers greatness.

The fact that The Man Who Killed Hitler and Then The Bigfoot is so hard to categorize is part of what makes it so special. Predicting where it will go from minute to minute is impossible. Krzykowski confidently weaves the story between past and present, reality and fantasy. A “big” moment will be followed by one that’s quieter and more introspective. He scatters little cross-references between timelines, and utilizes a clever metaphor for Calvin’s problem — one that involves his shoe. The cumulative result is that the movie takes what could have been a jokey premise and instead melds it into something mythic and meaningful.

One of the most pleasing qualities of genre films is their ability to tackle deep themes in a way that’s not as heavy-handed or obvious as they could be if tackled straight-on. The Man Who Killed Hitler and Then The Bigfoot is as good an example of that as you will find. This is a touching, affecting story about a man coming to terms with his life’s deeds. And it just happens to have him fighting Bigfoot.

Mike McGranaghan

For more information about Fantasia 2018, please visit the official website.

For my reviews of movies currently in theatrical release, please visit the main page of The Aisle Seat.

Cam [Fantasia 2018 Review]

Cam is like a really taut episode of The Twilight Zone set against the backdrop of sex work. From the opening scene, it grabs you and doesn’t let go for an hour-and-a-half. The movie, which had its world premiere at Fantasia 2018, pulls you into the world of “cam girls” — women who host sexually-explicit online shows, and often get on slightly personal terms with their fans. Graphic, but never offensively so, it delves into the psyche of one such cam girl as her world starts to fall apart.  

Madeline Brewer gives a brave, ferocious performance as Alice. She has a loyal viewership in her guise as “Lola,” but is obsessed with breaking into her web host’s top 50. That entails using extreme tactics like implications of self-harm in addition to the usual sexual teases. Alice wants to tell her mother (Melora Walters) about her profession, yet figures it’s better to wait until she’s reached the appropriate level of success first.

Trouble strikes when Alice gets locked out of her account. Worse, someone else is broadcasting on it. Someone who looks and sounds exactly like her. How is this possible? Her effort to find out puts her in contact with two creepy regular viewers, and in pursuit of the #1 cam girl around. What she discovers is shocking.

The questions of how Alice’s account gets hacked and who does it are only answered very generally. That’s perfectly okay, because Cam isn’t so much about what happens as it is about Alice’s reaction it. Despite some horror overtones, this is ultimately a story of control. On her shows, Alice has it. She decides what she’s comfortable doing, how to present herself, and in what ways she wants to interact with her viewers. Using sex appeal as leverage, she calls all the shots. Once her account is hijacked and the other Lola takes over, she no longer has that control, which threatens to derail her dream of rising in the ranks. This realization leads to taking greater risks to get that control back.

Cam was written by Isa Mazzei, a former cam girl herself. That makes a huge difference, as the movie is filled with authentic details that add exponentially to the effect. Even if you’d never watch one of these broadcasts, the way Cam delves into the behind-the-scenes preparations, the relationship-building with viewers, the technical complications, and the rivalries between hosts is captivating. Director Daniel Goldhaber paces the film like a rocket, zipping back-and-forth between Alice’s real world and her online existence, showing how the two have become intertwined.

At the center of it all is Madeline Brewer (The Handmaid’s Tale). She palpably captures Alice’s single-mindedness in wanting to be a top cam girl. Although tough and determined on the outside, Brewer also suggests an inner vulnerability, as though Alice doesn’t see much potential in herself other than that which her hotness provides, so she willingly capitalizes on it. This role deserves to make the actress a star.

Cam is destined to be compared to the work of David Lynch, particularly Mulholland Dr., with its nightmarish, surreal quality and duel identity plot. Truthfully, though, the movie is more accessible than Lynch’s (admittedly great) output. There’s also a freshness to the treatment of the subject matter that makes it unique.

All the way around, Cam is a bold, electrifying thriller.

Mike McGranaghan

For more information on Fantasia 2018, please visit the official website.

Mega Time Squad [Fantasia 2018 Review]

If you’re a fan of time-travel comedies, Mega Time Squad is going to blow your mind. The movie, which had its world premiere at Fantasia 2018, puts an ingenious and often hilariously funny spin on the whole concept of how time-travel is used in movies. If you think you can guess where this New Zealand import’s story is headed, you’re completely wrong.

Anton Tennet plays Johnny, a low-level drug dealer who performs errands and chores for a local kingpin, Shelton (Johnny Brugh). One day, he gets the bright idea to stage a heist of his own, making off with the money Shelton has ordered him to steal from a local Chinese-run antique store with ties to a triad. In the process, he also swipes a magical ancient bracelet — one that, when a button on it is pushed, allows him to travel a short way back in time. There’s just one hitch: it also creates another version of him. And according to legend, a demon appears if a time-traveler meets himself.

Needless to say, Johnny uses it. What follows is a madcap adventure in which five different iterations of Johnny are pursued by people trying to get the money back.

Early scenes in Mega Time Squad are highly comical, as Johnny repeatedly gets out of trouble by foolishly generating new copies of himself. One scene, set in a public restroom, is especially uproarious. Then there’s a unique twist in the second half. Without spoiling anything, let’s just say that Johnny and his duplicates don’t necessarily trust each other. (That the character is self-aware about his own disreputable nature is one of the film’s shrewdest jokes.) Everything leads to a climax that finds Johnny and Shelton confronting each other. The way this resolves itself is deeply satisfying.

The special effects used in the movie are so seamless that I assumed director Tim van Dammen had somehow found quintuplet actors to play Johnny. You can’t see the seams anywhere. There’s a jaw-dropping sequence in which all the Johnnies confuse Shelton and his goons by wandering through a house simultaneously. Done in long, steady shots where he repeatedly passes himself, the scene is astonishing to watch. These are, however, just effects. There is only one Johnny, and Anton Tennet does a terrific job playing all the many versions of the hapless character. It is a testament to his abilities that we can keep them all straight.

One of the hardest things for any time-travel movie to achieve is to have everything be airtight, so that there are no “holes” in the plot and so that everything adds up 100%. I’m not entirely sure Mega Time Squad does that. Then again, it really doesn’t matter. The clever premise and appealingly offbeat sense of humor are more than sufficient to make this a comedy worth savoring.

Mike McGranaghan

For more information on Fantasia 2018, please visit the official website.

Boiled Angels: The Trial of Mike Diana [Fantasia 2018 Review]

Mike Diana drew insanely offensive art. That was his whole point. He wanted to be appreciated not by the masses, but by people who were on his own demented wavelength. Odds are you’ve never heard of Diana. He is the first U.S. artist convicted of obscenity. Now he’s the subject of an important documentary from director Frank Henenlotter (Basket Case, Frankenhooker) called Boiled Angels: The Trial of Mike Diana. The film had its international premiere at Fantasia 2018.

After a brief, informative history of underground comics, the documentary zeroes in on its subject. Diana was a young Florida man who published a zine (a homemade magazine sent out to subscribers by mail) called Boiled Angels. It was filled with cartoons that spoke to his personal obsessions: sexuality, religion, and violence. The sexual assault of children and infants was a common theme in his work, although it was presented in an extremely exaggerated fashion.

Through a freak confluence of events, Diana’s drawings came to the attention of the police. A traffic stop turned up a copy of one issue, and the officer noticed some similarities between the illustrations and a series of brutal murders that had taken place in Gainesville, Florida. Authorities tracked him down and immediately began investigating to see if he might be the killer. He wasn’t. That said, his work was deemed obscene, leading to an arrest and trial, at the end of which he was convicted of obscenity. No one had been hurt, and the zine only went into the hands of 200 or 300 people, all of whom voluntarily subscribed to it.

Henenlotter interviews Diana about his ordeal, but also talks to his parents, the prosecutor who won the case, a woman who followed the story in the media and showed up in court to confront him, and multiple fellow artists. Each offers a unique perspective on the trial and its long-term ramifications.

Boiled Angels: The Trial of Mike Diana uses these interviews to get at its main point, which is that it’s absolutely absurd for anyone to have been convicted for drawing provocative pictures. It’s precisely the thing the First Amendment is supposed to protect, and yet somehow, in this particular instance, justice was not served. If anything, Diana used his artwork as a means of getting rid of his demons in a productive, non-violent way. The problem is not what he drew, it’s that people couldn’t deal with those drawings once they saw them.

Narrated by punk rocker Jello Biafra and featuring a healthy swath of its subject’s work, Boiled Angels makes a strong statement about the need for art to push boundaries, to confront us, and to occasionally assault our sensibilities. Diana is clearly a shy man, so he doesn’t necessarily go deep into his feelings, but Henenlotter makes sure to fill everything out, leading to a documentary that will offend and enlighten you simultaneously.

Mike McGranaghan

For more information on Fantasia 2018, please visit the official website.

Four Must-See Movies at Fantasia

The annual Fantasia International Film Festival is soon upon us. The event, which takes place from July 12 through August 2, brings together some of the most innovative, cutting-edge genre films from around the world. The 2018 fest has an amazing-looking roster of titles.

Here are four must-see movies playing at Fantasia this year, which are certain to get a lot of attention:

Arizona – Danny McBride stars in this dark comedy, set during the 2009 housing crisis, as a disturbed guy who takes out his frustrations on anyone who displeases him. McBride is, of course, best known for goofy comedy, but there’s always been an underlying angry edge in his work. Here, he appears to indulge in that edginess, which promises an unforgettable ride. The screenplay was written by Brooklyn Nine-Nine scribe Luke Del Tredici, so you just know the dialogue is going to crackle. This could be a picture that shows its star in a whole new light.

Tales from the Hood 2 – Rusty Cundieff’s Tales from the Hood is one of the most important horror movies of the 1990s. The anthology uses issues related to race in each of its segments, leading to a viewing experience that is both provocative and entertaining. Years later, Cundieff delivers a sequel starring the great Keith David as the new Mr. Simms. (He takes over for Clarence Williams III.) It will be exciting to see how the director weaves in contemporary issues of race, especially in light of recent events that have rocked America. Tales from the Hood 2 looks to be a much-needed cinematic barn-burner.

Puppet Master: The Littlest Reich – If you grew up in the era of VHS, you doubtlessly know the Puppet Master franchise. These low-budget productions are notable for their murderous puppet creations, twisted violence, and wicked sense of humor. The latest installment, Puppet Master: The Littlest Reich, is more than just another sequel, though. It was made by the people behind the acclaimed genre film Bone Tomahawk, so it’s obviously going to be a totally original take, especially since it revolves around a Nazi puppetmaker played by Udo Kier. Thomas Lennon and the always-awesome Barbara Crampton co-star.

Our House – Thomas Mann plays a young guy working on an invention that allows for wireless electricity, while also caring for his brother and sister following the tragic death of their parents. What he doesn’t initially realize is that his gizmo actually opens up a portal allowing contact from the Other Side. I’m including Our House on this must-see list for a simple reason: I’ve already seen it, and it’s terrific. (The movie has begun screening for critics in advance of its July 27 opening.) A full review will follow in the weeks ahead. For now, I’ll just say that it continues the trend — started by A Quiet Place and Hereditary — of 2018 horror films that are as concerned with character and emotion as they are with scares.

Of course, there are many other awesome films playing at Fantasia, and I’ll be covering some of them here. For more information on what’s screening, check out the official Fantastia 2018 website.

 

The Night Watchmen [Fantasia International Film Festival Review]

The Night Watchmen could end up being the next horror/comedy cult favorite. There are admittedly some storytelling flaws, but the movie — which is kind of like a far more violent version of Killer Klowns from Outer Space — effectively mixes good old-fashioned carnage with a cheerfully kooky sense of humor. If you don’t care too much about plotting and only want to see some glorious cinematic lunacy, Mitchell Altieri’s film delivers the goods, and then some.

Baltimore’s favorite clown, Blimpo, has mysteriously died while touring Romania. When his body is shipped back to Charm City, it’s accidentally delivered to the offices of the city newspaper. The night watchmen, including new guy “Rajeeve” (Max Gray Wilbur), agree to keep an eye on the casket until the next morning. But Blimpo rises from the dead and starts snacking on the building’s employees, turning them into bloodthirsty vampires. The watchmen are primarily concerned with making sure the office hottie, Karen (Kara Ruiz), stays alive.

To give you an idea of how utterly crazy The Night Watchmen is, here’s one small example. The guys are trying to figure out how to slay their attackers. One of them shoots a vampire, who is tied to a chair, in the head. Blood starts spurting everywhere, so he sticks his finger into the bullet hole, where it promptly becomes stuck. And the victim still isn’t dead. The film repeatedly mixes gore with off-kilter comedy, making you squirm and giggle simultaneously. The longer it goes on, the more over-the-top things become.

There isn’t any depth here, which is the primary drawback. The Night Watchmen could have introduced the characters better and developed them more. For instance, playing up the idea that Rajeeve’s first day at his new job ends up being so perilous would have given the central joke even more punch. There really needed to be some kind of arc for the humans here, rather than simply having them try to survive.

Then again, if you’re going to see a movie about a vampire clown, the most important thing is that the picture provides a healthy dose of violent mayhem. On that count, The Night Watchmen delivers. It’s relentless in devising insane, tongue-in-cheek, bloody entertainment. In fact, this is a perfect film to watch with a group of friends who all share an affinity for such things. You’ll have a blast.

For more information on the 2017 Fantasia International Film Festival and the titles screening, please visit their official website.

Follow me on Twitter: @AisleSeat

Drib [Fantasia International Film Festival Review]

Amir Asgharnejad is a performance artist who released a series of videos several years ago in which he provoked strangers to the point of violence. They became a viral sensation, leading an energy drink company to approach him with a novel marketing campaign that was, like “Springtime for Hitler” in Mel Brooks’ The Producers, specifically designed to fail, thereby generating a ton of publicity. He neglected to tell the company that the videos were all staged, especially since they intended to pay him. Things went disastrously wrong. Asgharnejad’s friend, filmmaker Kristoffer Borgli, wanted to make a movie about these events. The prankster agreed, on the condition that he play himself. The result of all this is Drib, a picture that’s half-documentary, half-dramatization.

That set-up is really fascinating. Unfortunately, once you get past it, everything goes downhill quickly.

Drib, named for the fictitious company in the storyis an example of the current trend of “anti-comedy” in which laughter is mined through the presentation of absurd things in a manner that intentionally isn’t funny. (Some people get this approach, others do not. I acknowledge mostly being in the latter category.) There are plenty of opportunities for jokes — the way an obnoxious advertising executive (Brett Gerlman) attempts to put the unconventional Amir into a conventional box, the myriad poor ideas that cause the campaign to fall apart, etc. Rather than assembling these things into a humorous cautionary tale about the perils of trying to force something to go viral, Drib plays out as a series of long conversational scenes. Characters talk and talk and talk, oftentimes saying things that are either of little direct connection to the ostensible plot or belabor their point needlessly. That completely robs it of comedic momentum.

Of course, the question of whether any of this is true looms over the entire film. That’s another element Drib could have explored in a much more intriguing fashion. Asgharnejad is an avowed prankster. What if none of this really happened? Did Borgli have any doubts about the tale’s veracity, and if so, why not openly grill his subject about them during the documentary moments?

Drib is certainly an outside-the-box movie, which means it deserves at least a bit of respect. One can’t shake the feeling, though, that it could have been a really stinging satire about the manipulative nature of modern advertising, rather than just a rambling, unfocused missed opportunity.

For more information on the titles screening at this year’s Fantasia International Film Festival, please visit their official website.

Follow me on Twitter: @AisleSeat

Tragedy Girls [Fantasia International Film Festival Review]

If the characters from Mean Girls found themselves participating in The Purge, it might look something like Tragedy Girls. This impressively ballsy, stingingly funny horror-comedy grabs you by the throat in such a way that you never want it to let go. And it doesn’t. The hazard of a story like this is that it might go soft at the end. Tragedy Girls never does. It stays true to its vision right down to the final second. That marks it as a genuine you’ve-gotta-see-it genre film.

Brianna Hildebrand (Deadpool) and Alexandra Shipp (X-Men: Apocalypse) play Sadie and McKayla, two high school besties who are obsessed with raising their social media profiles. In the opening scene, they kidnap Lowell (Kevin Durand), a lunatic who’s been killing people around their small town. The girls beg their captive for help in learning the ways of murder. When he refuses, they go it on their own, then blog memorials to the deceased or complain about local law enforcement’s alleged lack of community protection. Their accompanying videos and tweets do indeed garner them significant attention. The only hitch is Sadie’s would-be suitor, Jordan (Jack Quaid), who suspects something fishy is going on.

There have been other movies about characters doing extreme things in an effort to go viral. Tragedy Girls is different. Sadie and McKayla aren’t just looking for fame; they want people to see the world through their eyes. They want to be the commentators, to be the ones others turn to for perspective and insight. It’s a crucial difference that sets the movie apart, while also adding significant depth to the theme of how narcissism can become dangerous.

Humor springs from the contrast between social media vapidity and the seriousness of what the girls do. To them, only things that happen online have any actual consequence. This mindset allows them to carry out a series of gruesome (and, from a cinematic perspective, ingeniously designed) murders without blinking an eye. When one attempt to kill a classmate ends up taking some unexpectedly gory turns, one of the girls jokes that the death was akin to something in a Final Destination movie. Moments like that, scattered throughout the picture, help create the idea that these characters lack real-world insight, seeing things only through a lens of pop culture, Twitter, and Instagram.

Hildebrand and Shipp give magnificent performances, capturing the tighter-than-tight bond between Sadie and McKayla, while also perfectly conveying the girls’ warped sense of entitlement. Even as they callously dispatch of other people, we come to care about them. The murderous aspect of Tragedy Girls is exaggerated for comic effect, but the friendship feels very, very real. Both actresses give star-making turns. Craig Robinson (The Office) also does strong work in a small supporting role as a firefighter who wants to lead the charge to find whoever is doing all the town’s bloodletting.

Energetically directed by Tyler MacIntyre, Tragedy Girls is as provocative as it is funny. We live in a world where you can literally make a living just by posting videos to YouTube, and where being in the right place at the right time with a cell phone can result in insta-celebrity. What will this do to the current generation and future ones? Will they live only for the virtual world and sacrifice the real one? Can they accept that their thoughts and ideas still have value, even if the whole world isn’t paying attention to them? Tragedy Girls, in a bit of horror even more disturbing than any of the onscreen murders, suggests that too many young people are already on the wrong path.

If you’re a fan of horror-comedies, do not miss this ambitious, massively entertaining movie.

(*** 1/2 out of four)

For more information on the Fantasia International Film Festival and the titles screening this year, please visit their official website.

Follow me on Twitter: @AisleSeat

 

Sequence Break [Fantasia International Film Festival Review]

Graham Skipper and Chase Williamson starred together in Beyond the Gates, a massively entertaining old school horror flick centered around nostalgia for VHS board games. They reunite for Sequence Break — the former as writer/director, the latter as leading man. Like their previous collaboration, it also has a heavy nostalgia factor. At the center of this visually arresting chiller is a mysterious arcade game.

Oz (Williamson) repairs old machines at a videogame shop. One evening, he discovers a circuit board that he’s never seen around before. Out of curiosity, he hooks it up to a game cabinet and starts playing. Immediately afterward, Oz starts having bizarre hallucinations. The game keeps luring him back, which gets in the way of his new relationship with fellow arcade enthusiast Tess (Fabianne Therese). Eventually, it becomes clear that the game is evil and must be defeated. The only way to do this is to have a “sequence break,” an act in which the player essentially violates the order of the game.

Sequence Break is like Tron meets David Cronenberg’s Videodrome. As with Disney’s ’80s cult favorite, it’s about a man fighting a videogame. And like the video equipment in Cronenberg’s landmark film, the game Oz plays comes alive, with a sexual element emerging. The joystick becomes fleshy and oozy in his hand as he caresses it. His finger plunges erotically into the button, while orgasmic noises are heard emanating from the machine. The inner workings of the game pulsate as he plays. We sense that it is luring him in both hypnotically and erotically. It’s a delightfully provocative depiction of the addictive nature of videogames.

To spoil anything else that happens would be unfair. What’s important is that Williamson and Therese give solid performances that bring some humanity to the otherworldly events. As director, Skipper employs all manner of visual tricks to create an ambiance of danger. Lighting effects, editing techniques, onscreen gaming graphics, and some creatively rendered shots of things bursting out of the machine and onto (or into) Oz combine to craft a film that’s entertaining for its unpredictable nature. The grand finale, in particular, goes into deliriously weird territory, in the best possible way.

At 75 minutes, the film could have used a little more story development; the “rules” of how the game works its dark magic and how, specifically, Oz attempts to beat it are never quite clear. Clarifying those things more would have kicked it all up another notch. That aside, Sequence Break is the kind of imaginative, risk-taking horror that’s always thrilling to behold.

For more on the Fantasia International Film Festival and the titles screening this year, visit their official website.

Follow Mike McGranaghan on Twitter: @aisleseat