HOME |  JOIN |  CULT MOVIES | COMPETITIONS | ADVERTISE |  CONTACT US |  ABOUT US
 
 
Newest Reviews
Lodgers, The
Eagle vs Shark
American Assassin
Die, Mommie, Die!
All the Money in the World
Effect of Gamma Rays on Man-in-the-Moon Marigolds, The
Black Panther
Children's Hour, The
Mayhem
Sphere
Guyver, The
Night School
Loveless
Ragtime
Mishima: A Life in Four Chapters
Murders in the Rue Morgue
Wound, The
Scalawag
Let's Get Harry
Girl with Green Eyes
Sunchaser, The
Tom Jones
Downsizing
Defiant Ones, The
Centerfold Girls, The
Loneliness of the Long Distance Runner, The
120 BPM (Beats Per Minute)
Police Academy 3: Back in Training
Safe Place, A
Saturday Night and Sunday Morning
   
 
Newest Articles
Bad Taste from Outer Space: Galaxy of Terror and Xtro
A Yen for the 1990s: Iron Monkey and Satan Returns
Hey, Punk: Jubilee and Rock 'n' Roll High School
Help! with The Knack: Richard Lester in 1965
Roll Up, Get Yer Free Cinema: The Shorts on the BFI Woodfall Blu-rays
Time for Heroes: The Dam Busters and How I Won the War
Hell is a City: Midnight Cowboy and Taxi Driver
Boris Goes Bonkers, Bela Goes Bats: The Old Dark House and Mark of the Vampire
Charles Bronson's Mid-70s: Breakheart Pass and Others
Kids in America: The Breakfast Club vs Metropolitan
80s Dance-Off: Staying Alive vs Murder-Rock vs Breakin'
The Cinematic Darkside of Donald Crowhurst
Dutch Courage: The Flodder Series
Coming of Age: Boys on Film 18 - Heroes on DVD
Country and Irish - The secret history of Irish pop culture
   
 
  February She's The WorstBuy this film here.
Year: 2015
Director: Oz Perkins
Stars: Emma Roberts, Kiernan Shipka, Lucy Boynton, James Remar, Lauren Holly, Greg Ellwand, Elena Krausz, Heather Tod Mitchell, Peter James Haworth, Emma Holzer, Peter J. Gray, Matthew Stefiuk, Rose Gagnon, Ronda Louis-Jeune, Cameron Preyde
Genre: Horror
Rating:  7 (from 1 vote)
Review: Kat (Kiernan Shipka) stayed at a Catholic girls' boarding school in Canada, but come February, when she expected to be playing piano and singing in the annual concert, she had a terrible premonition that her parents had died in a car crash on the way up to see her on her big day. When they did not arrive, she saw the headmaster, Father Brian (Greg Ellwand), who found her remote demeanour somewhat perplexing, especially when she appeared to be smiling at some private joke. Meanwhile Rose (Lucy Boynton), another pupil, had her own reasons to dread the consequences of her life when she believed she had fallen pregnant by her boyfriend - but there would be other reasons.

Oz Perkins was one of those actors who found what they really wanted to do was direct, and so it was after three decades of performing he managed to get his script for a horror movie made, and February was the result. Also known as The Blackcoat's Daughter, it could have been easily mistaken for part of the so-called "slow cinema" movement of the twenty-first century, those arty films that took their time to the point of almost being static, but Perkins was not about to allow that sensation to follow on to the rest of the movie after a gradual build-up. The patient viewer would find that patience rewarded, assuming you were keeping up with the twists he included throughout.

One character was not who she seemed, was all you needed to know, and if you were able to identify who she actually was and where she slotted into the narrative's timeline you would likely be more satisfied than those who watched this and considered it a school drama that turned into a slasher flick in its latter stages. If you were a horror fan and somebody told you what you were about to watch was a cross between The Exorcist and Happy Birthday to Me, then it's uncertain whether February would be the movie you would be anticipating, as there was more than a whiff of the arthouse here, which could see it falling between two stools of potential audience appreciation.

If you liked arty horror, from The Reflecting Skin to The Eyes of My Mother and beyond, then you were going to get along with this it was safe to say, yet as the chiller market was regarded as so mainstream now when there were big bucks to be made from even a modest hit (you didn't need so much as big stars, simply a solid premise, and a massive budget was almost a drawback), then the average follower of the genre was supposed to be someone who shied away from pretension and was content to jump whenever the movie said "boo!", no more and no less. While it was difficult to discern what, if any, commentary Perkins was including with his icy, rather blank suspense item, there was obvious quality in the material and the dedicated manner in which it was presented that screamed cult film from the off.

And so it was, with Perkins' second film as director, he was snapped up by Netflix who were evidently impressed by his first feature and guessed it had a ready made audience for them, though this appeared to backfire when the mainstream who consisted of the majority of the subscribers rejected it. It could be that the most welcoming audience for this sort of thing was a small scattering of dedicated cineastes with a taste for the outré showing up for a midnight showing at a fashionable picture house, so bear that in mind if you wanted to give February a go. Though it had a glacial surface, below there were provocations such as the stock bad girl character who realises she's nowhere near as bad as the real deal, or the anti-authority stance taken as a consequence of mental illness, plus the genuine threat of the supernatural as a nineteen-seventies TV movie concept of Satan may be stalking the halls seeking souls to corrupt. It was implausible, but no more than the last nightmare you had. Excellent, creepy score by Elvis Perkins (brother of the director).
Reviewer: Graeme Clark

 

This review has been viewed 277 time(s).

As a member you could Rate this film

 
Review Comments (0)


Untitled 1

Login
  Username:
 
  Password:
 
   
 
Forgotten your details? Enter email address in Username box and click Reminder. Your details will be emailed to you.
   

Latest Poll
Which film has the best theme song?
Spectre
The Ups and Downs of a Handyman
   
 
   

Recent Visitors
Graeme Clark
Enoch Sneed
Paul Smith
  Jamie Nichols
Andrew Pragasam
George White
Darren Jones
  Butch Elliot
   

 

Last Updated: