The Lurking Fear (2023): I’m not enough of an optimist to expect something like a Tubi adaptation of one of Lovecraft’s worst – though also fun despite of itself – stories to be much good, even though you could arguably make a nice ninety minute piece of pulp entertainment out of the material. What we actually get in Darren Dalton’s film is a bit of mock-POV horror, followed by long, long, long sequences of characters wandering through underground tunnels, disrupted by bad make-up effects and what the film laughingly calls its plot. Add to that an inability to edit action sequences or parallel plot lines – of different character groupings wandering through those damn tunnels, so don’t get too excited – that borders on the anti-genius (the Anti-Christ’s less fun brother), and not even Robert Davi playing a bad guy wearing a ridiculous hat can do much to save this thing.
Reportage November (2022): In some aspects this fake documentary style piece of POV horror from Sweden by Carl Sundström is a bit more competently made than your usual movie about filmmakers/ghost hunters/random fools walking panicked through the woods, wielding cameras. At least, the script seems to have a basic understanding of dramatic structure, so there’s a pleasant lack of scenes where characters just fart around, and the plot progresses in a reasonable and mostly efficient manner.
Of course, the narrative still only works like the filmmakers want it to because a quartet of supposed professionals acts ridiculously unprofessional, and most of it consists of the usual tropes and clichés of your typical wood wandering POV horror movie (without the green night camera, though), with a bit of a vague conspiracy angle pasted on. It’s still watchable, which is more than I’d say about many of its peers. Plus, at least the forests are Swedish for a change.
The Odessa File (1974): Ronald Neame’s Odessa File recommends itself mainly through its very post-War sensibility, a portrayal of an early 70s Europe that still lies under the shadow of the kind of people responsible for World War II. This makes it unpleasantly topical in a Europe where the Right is on the rise yet again. And like the Nazis here, there’s still the assumption of victimhood, the pretence at culture, and so on, and so forth coming from these people. The films hits the tone of parts of particularly German post-War culture and the things it liked to hide from itself rather well, so much so that its more contrived conspiracy elements as well as its general sense of paranoia feel plausibly grounded.
As a thriller, the film’s pacing tends to be a little slow, but once it gets going, it does develop more than enough drive to satisfy. The acting, with a merry mix of German and British actors playing the Nazis, and Jon Voight pretending to be Gerrman, as well, is strong throughout. Maximilian Schell hits the note of the whiny, self-satisfied mass murderer, particularly well.