Tag Archive: Vincenzo Natali


There was always the possibility that you get the opportunity to step into the cornfield in Field of Dreams and find it isn’t all that pleasant.  That seems to be the case with In the Tall Grass, an adaptation of a Stephen King and son Joe Hill novella.  The movie is arriving direct to Netflix in a few weeks and the trailer looks like prime viewing material for the Halloween season.

It’s anyone’s guess how much or little it will follow the 2012 novella, but the trailer has a nice and creepy closed room mystery vibe, with a touch King’s original foray into the field, 1977’s Children of the Corn and M. Night Shyamalan’s The Happening.  The horror movie street cred comes from versatile actor Patrick Wilson, who took on The Phantom of the Opera before joining the Watchmen, faced aliens in Prometheus, and cannibals in Bone Tomahawk, before his co-starring role in Aquaman.  Now he’s the top horror film pick as a staple of the Insidious and The Conjuring franchises with four Conjuring films so far (and another coming next year).

In the Tall Grass is directed by familiar TV filmmaker Vincenzo Natali (The Returned, Orphan Black, Wayward Pines, Luke Cage, The Strain, American Gods, Lost in Space, Westworld) and co-stars Laysla De Oliveira (Locke & Key, iZombie) and Rachel Wilson (Charmed, Impulse), with spooky music by Mark Korven (The Lighthouse).

Check out the trailer for In the Tall Grass:

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Breslin Haunter

Review by Elizabeth C. Bunce

It’s no secret I’m a big fan of ghost stories, and I’ve lamented before how hard they are to find among all the slasher horror gore fest flicks that pass for scary fare these days.  So I’m always excited to stumble across a new one on film.  One such recent discovery is Vincenzo Natali’s quiet Canadian production Haunter, starring Abigail Breslin (Maggie, Ender’s Game, Signs), Peter Outerbridge (Orphan Black, Nikita), Michelle Nolden (RED, Lost Girl, Everwood, Nero Wolfe), and veteran TV fixture Stephen McHattie (Adam-12, Kojak, The Twilight Zone, The X-Files, Quantum Leap, Deep Space Nine, Enterprise, Haven, Watchmen, 300, A History of Violence).

It’s 1984, and Lisa Johnson (Breslin) feels stuck in a rut:  Every day is just like the next.  Just like the next, and she’s the only one in her family of four who’s noticed.  The same Walkie-Talkie wakeup call from little brother Robbie (Peter DaCunha), the same pancake breakfast, the same friendly quarrel with Mom (Nolden) over the same load of laundry.  (“I did the laundry yesterday.  You just don’t remember that I did.”)  Wearily she trudges though clarinet practice, Dad fixing the car in the garage, a conversation about a birthday celebration that never comes, and the same episode of Murder She Wrote.  Until one morning, she’s startled Awake by a creepy noise in the laundry room, and discovers that her house, and her family, are at the heart of a long history of dark secrets.  And another girl—another family—needs Lisa’s help, if she’s ever to escape the time loop.

Haunter-Abigail-Breslin

Many parts of Haunter will feel familiar, maybe even derivative—but that’s OK.  In some parts it feels like a remake of The Others, and there are echoes of The Ring and every knockoff of Groundhog Day you’ve ever seen.  (See one of our early takes on time loops at borg.com here).  But it works, and it works well.  Lisa’s world is tightly focused and claustrophobic, and her navigation of several parallel timestreams is seamless and gripping.  Director Natali, known for his work on projects including Orphan Black, The Returned, Hannibal, and The Strain, has richly layered the film with finely wrought symbolism, from the leitmotifs of Prokofiev’s “Peter and the Wolf” playing throughout, to Lisa’s Souxie and the Banshees concert T, to the dark fairytale iconography Lisa must wade through to learn the truth.

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