macabrematty
Joined Jul 2022
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macabrematty's rating
Making a solid horror-comedy isn't easy. Some might argue it is the hardest genre pairing to create since both the feelings of laughter and fear are so subjective. While there are some universal fears and jokes, many horror comedies fall victim to being more of one than the other, even some of the best! Not to be turned away by a challenge, writer, and director Rene Rivas has found a happy medium between the two in his newest short horror film, "Rejected". "Rejected" capitalizes on the zeitgeist by firmly planting itself in the 90s through slick editing and production design while also demonstrating just how silly some of the tech we used to see as "cutting edge" actually is. All the while, Rivas maintains a firm footing in the world of horror making this anthology highly entertaining and innovative.
The concept of "Rejected" is delightful in its simplicity. A series of rejected commercials for a new defunct camera made by the fictitious Sonu corporation each demonstrate how the camera could be used, but with some diabolical endings ensuing. Although there are only three commercials, four if you include the wrap-around with Bob Dergns and Sharron Nelson, each feels wholly contained as a singular narrative. Each one is a different flavor of sub-genre presented on screen to suggest the horrific ways in which the Sonu Mavico is implicated in the terrible situations it is meant to "capture" the moment. While we won't go into spoilers, it is safe to say that there is something for everyone's taste in the segments contained within "Rejected". While all the stories are punctuated by horror, they all have some level of humor ranging from the broad to the very niche and direct. What makes "Rejected" work so well is that the humor doesn't feel forced is germane to the situation and pivots accordingly based on the context of the segment. Suffice it to say what you find funny in the second segment isn't the same in the third segment yet they both work well concerning their segment. It is perhaps what most horror comedies miss most about the assignment, using the right kind of humor with a certain kind of horror to get the best possible reaction.
The strength of "Rejected" goes beyond the efficient storytelling and editing and extends into the production design. It can be a faux pas these days to use digital to make your film look more analog, and with "Rejected" Rivas has found interesting and effective ways of immersing the viewer in the period the film encapsulates. From the fashion to the ambient noises of old Macintosh computers, everything is accounted for with impeccable attention to detail. The same can be said of the use of practical effects which showcase not just how much can be done on a small budget, but also a testament to the ingenuity of independent filmmaking to curate gore and effects as good or better than some of their studio peers. "Rejected" doesn't hold back from getting gross, but also doesn't skimp on quality so you aren't taken out of the moment due to bad or lazy use of effects. The slickness of the effects and strategic use of digital filler make the case that the best outcomes are ones born through using the tools available appropriately to create the best possible effect, and "Rejected" has that in spades.
The concept of "Rejected" is delightful in its simplicity. A series of rejected commercials for a new defunct camera made by the fictitious Sonu corporation each demonstrate how the camera could be used, but with some diabolical endings ensuing. Although there are only three commercials, four if you include the wrap-around with Bob Dergns and Sharron Nelson, each feels wholly contained as a singular narrative. Each one is a different flavor of sub-genre presented on screen to suggest the horrific ways in which the Sonu Mavico is implicated in the terrible situations it is meant to "capture" the moment. While we won't go into spoilers, it is safe to say that there is something for everyone's taste in the segments contained within "Rejected". While all the stories are punctuated by horror, they all have some level of humor ranging from the broad to the very niche and direct. What makes "Rejected" work so well is that the humor doesn't feel forced is germane to the situation and pivots accordingly based on the context of the segment. Suffice it to say what you find funny in the second segment isn't the same in the third segment yet they both work well concerning their segment. It is perhaps what most horror comedies miss most about the assignment, using the right kind of humor with a certain kind of horror to get the best possible reaction.
The strength of "Rejected" goes beyond the efficient storytelling and editing and extends into the production design. It can be a faux pas these days to use digital to make your film look more analog, and with "Rejected" Rivas has found interesting and effective ways of immersing the viewer in the period the film encapsulates. From the fashion to the ambient noises of old Macintosh computers, everything is accounted for with impeccable attention to detail. The same can be said of the use of practical effects which showcase not just how much can be done on a small budget, but also a testament to the ingenuity of independent filmmaking to curate gore and effects as good or better than some of their studio peers. "Rejected" doesn't hold back from getting gross, but also doesn't skimp on quality so you aren't taken out of the moment due to bad or lazy use of effects. The slickness of the effects and strategic use of digital filler make the case that the best outcomes are ones born through using the tools available appropriately to create the best possible effect, and "Rejected" has that in spades.
Full disclosure, and in the spirit of transparency, I am a backer of JUDY's Indigogo campaign and as mentioned in the introduction I know the filmmaker behind it. I share this because I want to present an objective review of the film while also acknowledging that it's not easy to be objective when you are personally connected to something. All of this said, I loved JUDY.
One of the first things that stand out about JUDY is that you can tell it is made by someone who clearly loves horror movies. From the opening scene to some of the visual references JUDY is a veritable "I Spy" for horror fans. While this kind of homage can sometimes feel forced, in JUDY it is as if all of these inspirations were pulled together to create something uniquely different while also being iconically familiar. The influences of both classic and modern horror films are on full display here, embedded into the aesthetic and narrative in ways that keep the viewer engaged without becoming eye-rolling. These visual references never distract, and layered on top of them is a score that beckons to be listened to at maximum volume in the darkest of theaters. The synth score captures that unique 70s horror sound, with some added flairs of heavy metal. It's a delight to see and hear JUDY, and it's made even better by some really well-done practical effects that round out the back half of the film. It's always inspiring to see what indie filmmakers can do with small budgets, especially those who favor more make-up-based and practical effects over the simplicity that CGI can offer.
On a narrative level, it's hard to talk about JUDY in too much detail to avoid spoilers. While not much is really clear until the final minutes of the film, at no time did I feel like JUDY has lost track of its vision. It's a simple story that is told efficiently, and the 28-minute runtime suits it perfectly. I often bemoan the trend for shows and movies to run longer than they should, and shorts like JUDY are a great reminder that short films are like fun-size candy bars for horror fans. The only critique I had was near the end of the film one scene felt a bit extraneous, but it didn't detract from my enjoyment of the film at all and set up a really fun and killer ending. All of this said I could see JUDY being longer and going the full-length route, but it doesn't require it and is delightful as is!
One of the first things that stand out about JUDY is that you can tell it is made by someone who clearly loves horror movies. From the opening scene to some of the visual references JUDY is a veritable "I Spy" for horror fans. While this kind of homage can sometimes feel forced, in JUDY it is as if all of these inspirations were pulled together to create something uniquely different while also being iconically familiar. The influences of both classic and modern horror films are on full display here, embedded into the aesthetic and narrative in ways that keep the viewer engaged without becoming eye-rolling. These visual references never distract, and layered on top of them is a score that beckons to be listened to at maximum volume in the darkest of theaters. The synth score captures that unique 70s horror sound, with some added flairs of heavy metal. It's a delight to see and hear JUDY, and it's made even better by some really well-done practical effects that round out the back half of the film. It's always inspiring to see what indie filmmakers can do with small budgets, especially those who favor more make-up-based and practical effects over the simplicity that CGI can offer.
On a narrative level, it's hard to talk about JUDY in too much detail to avoid spoilers. While not much is really clear until the final minutes of the film, at no time did I feel like JUDY has lost track of its vision. It's a simple story that is told efficiently, and the 28-minute runtime suits it perfectly. I often bemoan the trend for shows and movies to run longer than they should, and shorts like JUDY are a great reminder that short films are like fun-size candy bars for horror fans. The only critique I had was near the end of the film one scene felt a bit extraneous, but it didn't detract from my enjoyment of the film at all and set up a really fun and killer ending. All of this said I could see JUDY being longer and going the full-length route, but it doesn't require it and is delightful as is!