Sea Fever tells the tale of graduate student, Siobhan (Hermione Corfield), who is forced by her professor to join the tight-knit crew of a trawler (fishing boat) in West Ireland, because of her inability to connect with people. However, after the ship’s captains (Connie Nielson and Dougray Scott) change course to venture into a Coast Guard-restricted area for more fish, they find themselves grabbed by an unknown squid-like species, which infects the ship with its larva. Soon paranoia and hysteria set in as the crew tries to rid their vessel and themselves of the parasites before they return to shore. 

It’s going to come up, so I’d rather get it out of the way now. Hardiman must have had a crystal ball when writing/directing Sea Fever, its themes are perfectly connected to our current fears as a society, thanks to COVID-19. Yet, this was written and made before this pandemic took the world by storm (Hardiman actually hinted at its connection to Greta Thunberg). This coincidental timing provides the story with a weight that feels like a sucker-punch to the gut. However, will this prove to be misfortune, as the film may never be able to sever the link between its story and the current situation, leading audiences to avoid the film since it “hits too close to home?” This theme is sledgehammered in as the film’s major debate revolves around the argument of Siobhan believing that they should wait 36 hours to make sure they too aren’t infected before returning to shore. But she faces backlash as the crew members that consider themselves a family wish to get home to a hospital. Unlike the current predicament where some people want the quarantine to be lifted so they can get their hair done and dine in at Chick-fil-a, the actors and Hardiman execute a masterful job of having the audience empathize with the complexities on both sides of the argument.

Since this is another issue brought up, I’d like to veer off the path for a second. There are tons of movies based off, inspired by, or mirroring some classic and people don’t mind. Somehow when you have an isolated crew in tight corridors facing another life form, then it’s instantly ragged on for having similarities to a 40-year-old movie (Alien and The Thing). For the majority of films that share these plot devices it is a dumb and lazy criticism. By the way, Alien is not the first to use those devices either. Sea Fever is not an exception to the majority. Hardiman provides a unique artistic voice that didn’t have me thinking about another movie until I happened to come across the online reviews when I was adding the Blu-ray to my cart immediately after the credits rolled… If that gives any indication of if I liked it or not.

As hinted above, the strength of Sea Fever lies in the characters and actors’ portrayals. Within the short runtime and limited histories of each crew member, we feel for these characters and their struggles. Hardiman does it in a way that’s tight, where the story constantly moves forward without “filler.” We are also provided with twists and turns that don’t throw you completely off but do trail from the beaten path. Within the first 15 minutes we are given the idea that we’re just getting a creature feature, then the creature quickly let’s go of their ship and we are left with the aftermath of the incident, which one finds is much more devastating. The only criticism I have on the matter is it’s one of the rare times in a movie where I wish there was an extra 10 minutes to make the build of dread that much sweeter.
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Yes, I have seen films like it and I’ll probably see many more. Also, as someone who doesn’t really go out of my way for aquatic horror flicks unless I’m recommended it, I loved it and it’s easily made my top 10 of the year so far. Sea Fever is a pinnacle example that no matter the budget, spectacle, creature design, or effects, if we feel for the characters then nothing else matters.
 
5 out of 5

Review by Craig Draheim 

 
You cannot have a film title like Swallow without the plot being consumed around the consumption of something… You could but where’s the fun in that. The focus of the story is around Hunter (Haley Bennett), who’s in an emotionally distant marriage with her husband, Richie (Austin Stowell) and his wealthy family. After she finds out she’s pregnant, Hunter develops pica, a psychological disorder characterized by the appetite of non-nutritive substances. What follows is the family tightening their control of Hunter while she struggles with her own identity.

From this synopsis or if you’ve seen the trailer, there’s a good chance you’ll know what the story is about. It’s a common theme, most popularly tracing back to 1879 with Henrik Ibsen’s stage play A Doll’s House, where a woman claims her independence in an environment where she’s treated like an object. With that said, any idea can be reused with a unique perspective and a strong artistic voice, and fortunately Swallow has that in strides. From the production design, which is stylish yet grounded, to Bennett’s heartbreaking and anxiety-raising performance, it’s a piece that engages in an elegant character study over thriller plot devices. Aligning itself with the body horror found in David Cronenberg’s more nuanced work (Dead Ringers and Crash), it is destined to become polarizing. Some will greatly enjoy it and others will find a meandering arthouse flick, criticizing its lack of “story” or thriller elements. I’m sure it’s clear where I stand. However, no matter what camp you fall into, there is no denying that this is an extraordinary feature debut from Mirabella-Davis.

Much of the conflict comes from Hunter trying to keep up appearances as the stereotypical 1950s housewife in modern day. Throughout the film her husband and in-laws uncover her past and suppressed trauma that she has yet to confront, lending the pica plot device as a spot-on metaphor. There is the potential of the characterization to be a little too on-the-nose with its housewife stereotype, but Bennett’s portrayal brings an authenticity that saves it from becoming a cliché.

The 94-minute runtime does incredible favors for a film of this nature, making any of the meandering points mentioned prior, seem purposeful and not filler. But it is the second half where Hunter’s internal struggle comes to the surface that Mirabella-Davis pushes the aesthetic and gorgeous cinematography to the back and allows the writing and directing to really shine. A major highlight is an exchange between Hunter and her biological father that brings with it two performances buried in emotional tension and culmination of anxiety building to that moment. This allows Swallow to cross the threshold from a “pretty” but shallow movie to something of substance. As we begin to see her unravel and pushing back against her controllers, it’s engaging, flies by, and showcases Bennett in a way that has you wondering why she isn’t more broadly recognized.

As I stated in the beginning, if you watch the trailer, read the synopsis, or even this review, you will have a general idea of how this film will go. And I admit even my own preconceived notions impacted my viewing during the first 15 minutes. Beyond that, Swallow is a well-honed character-study, delicately dissecting the psyche of the protagonist and earning its place in the artistry of cinematic storytelling. 

 
A stillborn baby girl is brought back to life by an electrical storm before being abducted from hospital by a morgue attendant. On her sixteenth birthday, empowered with the gift to manipulate electricity, she escapes her captor and sets out to find her birth mother leaving a trail of destruction behind her.
 
Marketed as Carrie meets Firestarter (and a dose of Tobe Hooper’s Spontaneous Combustion), Reborn will be endearing to horror fans, because it’s primarily made for them.
Thanks to the success of You’re Next and We Are Still Here, Barbara Crampton has earned a much-deserved rebirth (pun intended) over the last several years. These more recent roles have allowed her to showcase a maturity that highlights what a talent she is. It’s only fitting that she’d end up playing an actress who gained cult success when she was younger and is now attempting to revitalize her career. Don’t get me wrong, Crampton certainly brings a depth to the role that allows it to standout from the many horror movies while dealing with someone in the entertainment industry.

However, at the end of the day any story elements enter territory of a “greatest hits” horror movie. That term is being used to describe movies, especially lately, that feel like they base their premise around, “Did you like that cult classic movie(s)? We sure did, which is why we’re providing you with references and similar plot devices galore to show our horror love.” Yes, I eat it up as a horror fan, but I can’t deny the part of me that wishes I just watched the film(s) they’re paying homage to. I give credit to everyone involved for doing the best they could with the material, but ultimately the movie lacks a personal artistic vision to beat out the oversaturation of content in today’s world.

What I respect though is their attempts to go “big,” with a “high concept” despite the obvious small budget. It’s more likely with that kind of budget for people to settle for a plot that’s in one location, four actors, lots of ambiguity, and all atmosphere. Reborn gives us a more effects-driven plot, and for the most part it works if you’re not a digital effects snob. Again, most of this success is because of the scenes that focus on the emotional arc between Crampton and Kayleigh Gilbert, which makes you wonder what would happen if more time was spent on their relationship. If all the spectacle was condensed to a few instances that they could really build upon, maybe we as viewers could connect more. That’s where the frustration comes in, as it’s one of many projects where the potential for something memorable is within reach, yet the nearest and safest ingredient was grabbed instead. It’s not the budget or cast or the technical aspects that lacks flavor, but rather the creative core.
Still, I enjoyed myself. It was a fun little movie that would possibly be more enjoyable if I was surrounded by like-minded friends, who would also throw out the Spontaneous Combustion reference. Then again, it may be doomed to be one of those middle ground movies that’s neither good nor bad enough to remember, until it is reborn in a different incarnation. Hopefully it’s one willing to tell its own story.

2 1/2 out of 5

​Review by Craig Draheim