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Simi hopes her aunt, a renowned nutritionist and a health book best-seller, will help her lose weight, though she waits until she gets there to ask for Claudia’s guidance. Family Dinner unfurls its methodical slow-burn tale in the days leading up to Easter Sunday, centering volatile relationships and strict, peculiar holiday traditions to create deep-seated psychological dread.įifteen-year-old Simi ( Nina Katlein ) arrives at her Aunt Claudia’s ( Pia Hierzegger ) house just ahead of Easter weekend. In this instance, the holiday is Easter, a rarity in the genre space. Writer/Director Peter Hengl’s feature debut, Family Dinner, combines the discomfort and cringe of awkward family dynamics at the dinner table with holiday horror. Swallowed made its world premiere at the Overlook Film Festival. A strong, dread-inducing, horror-fueled first half comes undone by a jolting shift into campier, crime-heavy territory. Smith introduces many interesting ideas and concepts and a few stomach-churning moments but struggles to tie them all together seamlessly.
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Smith merely uses it as a stepping stone for a profoundly personal, character focused story of trauma and queer identity.
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Those expecting a more straightforward horror movie with gnarly body horror will likely come away disappointed. The body horror element feels more like an underbaked metaphor of a transformation from scared larva to confident butterfly that doesn’t cohesively fit into the shifting genre-bender. There’s an unflinching quality to it, but promises of blood and pus never follow suit, and the shift to focus on Benjamin in a predatorial scenario is tonally jarring. Reveals of what the drug satchels contain elicit a visceral reaction, as do retrieval methods. Swallowed squanders so much of its body horror potential. Mark Patton as Rich (l.) Cooper Koch as Ben (r.) in Carter Smith’s SWALLOWED. So, too, are character conclusions that feel more like corner cuts than organic endings.
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Still, the too-on-the-nose dialogue can be as distracting as the sudden shift into a different genre. Mark Patton ( A Nightmare on Elm Street 2: Freddy’s Revenge ) brings an unexpected take on the usual archetypical crime boss. While Colon fearlessly sells the hell out of his body horror moments, there’s not much else to Dom beyond his closeness with Benjamin. Though energetic and more engaging than any other player on screen, Malone can’t work around abrupt and disingenuous about-face. The supporting characters don’t offer much beyond servicing Benjamin’s arc. It’s here that Benjamin gets stripped bare, literally and figuratively, as he’s forced to find an inner strength to survive his harrowing circumstances.īenjamin’s journey, sandwiched between bookending scenes, seems a specific and personal one of overcoming perilous trials, heartbreak, and identity. Before long, the potential for transgressive body horror gets squandered by a back half more interested in exploring the horrors of a sexual predator nestled within a crime thriller. She needs to move the precious cargo before it becomes financially unviable. Malone’s character also drives the entire plot forward, escorting the lost leads from set piece to set piece. It’s here that the body horror kicks, with a terrified Benjamin watching helplessly as Dom succumbs to excruciating pain, bizarre symptoms, and gross-out revelations. Her fierce urgency instills dread that only increases as every single bit of her careful instructions get derailed by mishaps and events outside of the best friends’ control. Her tough-as-nails drug dealer character, Alice, holds Dom and Benjamin at gunpoint, forcing the pair to smuggle strange bundles of drugs across the border into Canada by swallowing them.
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Smith, who wrote the film, enlists The Ruins’ collaborator Jena Malone to bring the necessary intensity to kick things into high gear. Jena Malone as Alice in Carter Smith’s SWALLOWED.