country: USA /
release Date: 2019 /
score: 256 vote /
Writer: Brett Pierce, Drew T. Pierce /
The Wretched is a movie starring John-Paul Howard, Piper Curda, and Jamison Jones. A defiant teenage boy, struggling with his parent's imminent divorce, faces off with a thousand year-old witch, who is living beneath the skin of and /
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Looks great! Rotten Tomatoes suggests the same - it's at 92% favorable reviews from 12 critics.
More or less about a random attack (from a witch who steals children) on everyday people. Evil is without rhyme or reason, and heroes have little choice but to respond. Depiction of strained relations within a divorced family (a father, a son, the father's new girlfriend), which is handled in certain positive ways.
Positive Role Models & Representations Teen characters show bravery in a difficult situation against a supernatural adversary, though their decision to help isn't exactly selfless: It's more about self-defense, warding off attack, protecting family members. Main character Ben is shown to be troubled, having broken his arm while attempting to steal pills from a neighbor's house; he also disrespects his father and gets drunk in one scene.
Guns and shooting; a character shoots himself. Children in jeopardy. Witch devours a young girl (blood on girl's neck). Character shoots a dog (off-screen). Attempt to gut a dead deer; lots of blood and gore. Blood running from ears. Monsters/creatures. Bully beats up main character. Knife-wielding, slashing/stabbing. Nightmare about drowning. Character hits head on tree trunk. Witch tries on new "skin, " which doesn't fit well; pulls out tooth. Car crash, fire. Screaming. Creepy/scary stuff. Weird noises/minor jump scares. Vomiting.
A couple appears to be having sex (seen briefly in distance through window). Shirtless man kisses a woman, starts to initiate sex, but they're interrupted. Kissing. Teen boy's swim shorts are stolen in the pool; his naked bottom shown. Woman's naked bottom shown. Flirting. Teen takes off bikini top in pool (nothing graphic shown). Sex-related talk.
Uses of "f--k, " "s--t, " "a--hole, " "bitch, " "dumbass, " "goddamn, " "hell, " "d--k, " "butt, " and "idiot, " plus exclamatory uses of "oh my God, " "Jesus. "
Starburst and Skittles candies are part of the plot. (Starbursts are shown, and Skittles catchphrase, "taste the rainbow, " is heard. )
Drinking, Drugs & Smoking Teen party includes drinking out of red cups; main teen character gets very drunk. Teen tells story about breaking into a house to steal Vicodin. Adult drinks a beer with dinner. Adult smokes cigarette.
T he title has been applied blankly and pretty arbitrarily to a by-the-numbers, unscary movie from US indie film-makers, the Pierce brothers, Drew and Brett. It was originally called Hag, which would have been better.
Ben (Jean-Paul Howard) is a troubled teenager who one summer goes to stay with his divorced dad, Liam (Jamison Jones), at a coastal resort; he’s been fixed up with a job at the marina that Liam manages. Ben starts to have feelings for smart, pretty Mallory (Piper Curda), who works there, but he also becomes obsessed with the weird family who live next door to his dad, especially the mom, Abbie (Zarah Mahler), who is behaving very strangely.
The laborious “35 years previously” flashback that begins the movie hints darkly at horrible events that once took place in this house. (Some odd period-signalling shows an Etch-a-Sketch and Rubik’s cube left out in the rain. ) Could it be that an ancient witch, who lives under a tree in the nearby woodland, is making predatory and parasitic attacks on local women?
This film has pinched ideas from Hitchcock, Spielberg, Stephen King and a number of others, but these borrowings don’t feel like film-brat homages, just generic mannerisms that the directors have absorbed from the industry atmosphere. There is a bit of Blair Witch here, and a dash of J-horror, and the film particularly displays the now baffling belief that to be really scary you have to look like a hideous demon who turns around to face the camera in a series of shuddering creaks.
The narrative focus is frustratingly split between Ben’s family and Abbie’s, and the result is a non-frightening muddle.
• The Wretched is available on digital platforms from 8 May.
WOWWWWWWWWWWWW, REALLY thought it was official genuine trailer. hahahahah AMAZING JOB. I HOPE THE REAL MOVIE TRAILER / OPENING SCENE WILL BE AT THE SAME QUALITY.
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Oh man I loved it. Nice camera work... I would be so hyped for this 4th installment. Keep up the great work.
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The Trip to Greece
Play Trailer
An IFC Midnight Release | United States | May 1st, 2020 | 96 MINS | NR
Following his parents’ separation, a rebellious teenage boy, Ben, is sent to live with his father for the summer and work at the local marina in order to gain some form of discipline. The idyllic tourist town offers little solace for him, however, as he is forced to deal with the local, privileged teens and his father’s new girlfriend. Ben’s problems grow increasingly disturbing when he makes a chilling discovery about the family renting the house next door. A malevolent spirit from the woods has taken a hold of the parents and starts playing a sinister game of house, preying upon the children and wiping away any trace of their existence. Ben’s suspicions of the supernatural horrors go unheeded and he launches a perilous crusade in order to put an end to the skin-walking witch’s reign of terror. Chilling and suspenseful, THE WRETCHED offers a modern update to the retro young hero’s mission like that of The Goonies, and promises to make viewers wary of every dark corner they encounter after witnessing its terrifying tale.
Directors
Brett Pierce
Drew Pierce
Producers
Chang Tseng
Ed Polgardy
Writers
Official Poster & Photo Gallery
Exhibitor Resources
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The Wretched is currently available to stream at IFC Midnight. Launching this weekend via IFC's genre label, IFC Midnight (for horror, sci-fi, etc), is the witch-next-door/coming-of-age mystery, The Wretched. It's an earnest, interesting low-budget creepfest that combines a Goosebumps-style teen thriller with some of the grimier and gooier carnage of wood witch, baby-eating horror. For an indie film with no easily-recognizable players, The Wretched lands well. It looks good. It moves with energy and urgency. No cast member feels egregiously out of place or not quite ready for the screen. There's even room for a noble-enough twist heading into the third act. And the film's central hero, a troubled youth, Ben (John-Paul Howard), is an engaging protagonist. As a moody rebel whose folks are more than willing to ignore once he starts making calamitous claims about the vacationing couple next door to his townie dad's house -- where he's been sent to live for the summer -- Ben is faced with an uphill climb from the get-go. Add to this the fact that the film's bogey-creature, a grody body-snatching forest demon, uses a maniacal form of mental trickery on the families it targets, making them forget about their own children. That way no one misses them when they get whisked away into the woods for feasting purposes. Written and directed by brothers Brett and Drew Pierce, The Wretched is a unique addition to the realm of craggy crone horror, making sure to include all of the grossest and most off-putting elements of the monster's devilish design and malicious M. O. The main issue The Wretched runs into is the blending of. what sometimes feels like, two different films. One one hand, there's the ghoulish gore parade, involving a fair amount of splatter and sinew, and on the other we've got a teen drama featuring Ben resenting his dad's new girlfriend (Supergirl's Azie Tesfai), running afoul of rich kid bullies, and developing a crush on a local girl (Piper Curda). At some point, even though mixing these two stories is far from an awful idea, both sides get short-sheeted. Both wind up with unfinished narrative business and the film's attempt to end things on a small "gotcha" beat plays more like a smirk than anything resembling dread. And so, at the close, the story feels a little lighter and less menacing than the adventure before it would lead you to believe. The Wretched achieves a credible mood and style, presenting a voyeuristic puzzle to solve that exist mostly between two houses. At first it seems like the story is looking to craft a bond between Ben and the neighbors' kid, Dillon (Blane Crockarell), who starts fearing for his life once his mother (Zarah Mahler) starts behaving suspiciously sinister. Instead, the film throws a nice curveball and steers the story in a more jagged direction. One where Ben's meddling makes him and his own family a target. There are a bunch of different push/pulls at play in The Wretched. The idea of dripping darkness lurking underneath a small summer-destination town. Ben's own need for parental stability manifesting into chaos for the family one house over. Tonally, and thematically, it can be hit or miss, but it's always watchable. Verdict The Wretched's endeavor to meld a junior mystery with some pretty extreme horror works more than it doesn't, but ultimately neither side of this narrative coin gets explored as much as it should. Despite this, as a well shot and admirably executed thriller, it's a good entry into the catalogue of on-the-cheap scares.
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T he Wretched boasts more squelching, shrieking and cracking than just about any horror movie in recent memory. Rarely do five minutes go by without one of those sickening noises making an appearance on its soundtrack, the better to herald the arrival of its signature beast and, in the process, to amplify suspense for a forthcoming fatality. It’s a chilling audioscape of snapping and contorting limbs, gooey dripping and gurgling, and ancient whispering and screeching, and it proves the unnerving calling card of this sturdy new horror effort, which is elevated by both its unholy cacophony, as well as its refusal to treat its main characters as simply one-dimensional fodder for its malevolent fiend. Written and directed by brothers Brett and Drew Pierce, The Wretched (premiering on VOD May 1) suggests the madness it has in store for audiences from the start, with a 30-years-earlier prelude in which a young girl arrives at an afternoon babysitting job during a rainstorm—the house’s front lawn littered with discarded children’s playthings—and finds, in the basement, a family photo with the father’s face scratched out, and the matriarch munching on one of her daughters. Attempting to flee, she’s stopped by the man of the house, who locks her down below by closing a door decorated with a pagan-ish symbol of an upside-down triangle whose extended lines make it resemble a demon’s head. In the present day, Ben (John-Paul Howard) arrives at the home of his dad Liam (Jamison Jones), who’s recently divorced Ben’s mom and taken in his teenage son for the summer. Ben’s broken left arm is in a cast, and The Wretched gradually reveals that the cause of this injury—and the reason for Ben’s exile to this summertime outpost—as a prior break-in to a neighbor’s home in search of Vicodin. Though clearly troubled and bitter about the disintegration of his family, as well as Liam’s dating of co-worker Sara (Azie Tesfai), Ben nonetheless accepts a job at his dad’s marina. There, he meets Mallory (Piper Curda), an outgoing colleague who shows immediate interest in him, even as his eyes begin wandering to a local beauty spied on a boat with a bunch of local douchebags. The Pierce Brothers take their time setting up Ben’s circumstances while simultaneously turning their attention to Ben’s neighbors, a vacationing clan led by Abbie (Zarah Mahler). During a woodland hike, Abbie’s son Dillon (Blane Crockarell) stumbles upon a giant tree with an ominous vine-ensnared hollow at its base, from which he hears his mother’s voice beckoning to him, first with sweetness and then with malevolent hostility. Back at home, Abbie’s husband Ty (Kevin Bigley) is surprised to learn that, on her drive home, Abbie collided with a giant deer, and she intends to slice and dice it for dinner. More surprising for everyone, however, is the creature that literally crawls out of the deer carcass and into their residence, where it preys upon their infant child and, shortly thereafter, on Abbie, who’s dragged beneath a baby crib and horribly corrupted. Though Abbie’s transformation spells trouble ahead, The Wretched is patient about getting down to truly terrifying business. Center stage is Ben’s fragile emotional state thanks to his parents’ split, and when faced with the prospect of having to share a meal with his dad and Sara, he instead heads out to a party with Mallory. A combination of drunkenness and nastiness— he latter delivered by the aforementioned hottie, who pulls a skinny-dipping prank on him—compounds Ben’s problems, and make him even less trustworthy in the eyes of Liam. Thus, when Dillon suddenly asks Ben to protect him from his mom (who’s acting severely creepy), and then vanishes without a trace, it’s difficult for the teenager to convince anyone that the neighbors are no longer what they appear to be. The Wretched most certainly is what it appears to be, but that’s not an impediment to its effectiveness. The Pierce Brothers treat Ben, Mallory and Liam’s problems with earnestness and respect, thereby making them worth rooting for. At the same time, the directors build tension methodically, using sights of a naked Abbie cracking and snapping herself into fully upright standing position, and of inhuman hands tearing their way out of fleshy cavities, to keep the mood menacing and macabre. Better still, they have no interest in outright explaining the origins of their evil; rather, the only things to be gleaned about this inexplicable phenomena come via a quick Internet search by Ben (on “Witchypedia”) that informs him about “a dark mother” who was “born from root, rock and tree” and “feasts upon the forgotten. ” “ The directors build tension methodically, using sights of a naked Abbie cracking and snapping herself into fully upright standing position, and of inhuman hands tearing their way out of fleshy cavities… ” There are scant jump scares lurking throughout The Wretched, but plenty of nicely composed visuals courtesy of cinematographer Conor Murphy, who strikes an ideal balance between shrouding the creature in murky shadows (the better to leave its true form to one’s imagination, at least until the finale) and providing just enough glimpses to keep one’s nerves on edge. As befitting a story set in a sleepy vacation community, there’s a creepy stillness to the film’s camerawork, which is nicely married to regular audio bursts of squishy, scrunching hellishness. While one occasionally wishes the Pierce Brothers would pick up the pace a bit—the middle passages are a tad light on meaningful action, to the detriment of the story’s momentum—their control of the material is confident and consistent, right up to a climax that enhances the narrative’s focus on mothers and children with primordial birth-womb imagery. The Wretched ’s interest in procreation, parentage and memory is further underscored by a final twist that forces one to reconsider everything that’s come before, and to its credit, that rug-pulling device feels like a natural extension of the film’s thematic preoccupations. It’s also, more fundamentally, an entertaining closing gesture for a genre work that understands that scares are immensely tough to generate if those in peril aren’t worth caring about—and that ageless monsters are most compelling when they sound as disgusting as they look.
The main reason anyone would watch a movie about witches is to see some magic... where's the magic? I'm surprised some of these actors even did this movie.
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