I'm comfortable saying it's a decent movie. It undoubtedly has some clunk, (the whole Belial company thing) but it really hits a high point about halfway through when it positions the painting as an answer as well as exposition on the main villain's habits to cap the first killing scene. Unfortunately the ending kind of drains meat away from the central metaphor, but it's sweet overall, if a bit overwrought.
Ok. There's this guy straight out of a grunge cover band with every part of his body oiled (hair, biceps and six pack) and spinal cord tattooed over the spinal cord who's painting shitty metal artwork in the garage that we should pretend to be part of an actual artist portfolio. I was too shocked to even notice if there's something happening in this pile of crap which in the last minutes pretends to become a movie.
I'm attracted by Byrne's horror films - I think he knows how to settle an atmosphere that's believable. I never thought I was going to use this word to describe a metal-rock-horror-movie, but this one has subtle scenes that are really beautiful to watch. It's psycho with a nice twist that adds up to the genre. Besides that, it's a totally nerve wrecking chasing story. Nice!
Good horror flick that could have been great had the character's been allowed to move and breathe more freely. With such a short running time nothing has time to sink in so the movie feels rushed and unfinished. And the whole metal angle that many people mention feels very incidental and is also never explored fully. Cool though that both Sunn O))) and Stephen Kasner contributes. Still a good movie!
Gran bella sorpresa,ricorda le streghe di salem di rob zombie ma questo è decisamente più coinvolgente e meno videoclipparo, darei una stella in più ma il finale mi è parso troppo sbrigativo. Ad ogni modo for whom the bell tolls sui titoli di coda vale da sola la visione !! 3,5
Stronger than Byrne's, The Loved Ones, due to more emphasis on character and drama, as the attention to the family unit and Embry's conflict between fatherhood and his work adds dimension. Yet, the pacing is off, since the heart of the story doesn't come together until the final act, same with the scares, fear, and tension. If the last 20 minutes leave you breathless, Byrne's slow burn before isn't as interesting.
It doesn't bother me that there's better metal they could've used other than the hasbeens that were metalifukinchuh. Anyone who says it's Amityville, rob zombie or babadook is way off. babadookie had no body count, and zombie is middling. When the shit hits your front door and the devil comes knocking, you put your mettle where your mouth is, stop meddling around and give it a flying V shotgun to the dick.
While I will admit that the film contains a surface-y quality and allows the audience to dig on their own time, I personally found the metal soundtrack to add to the demonic essence at its center. I found the main cast members to be quite believable and the villain is quite menacing, actually to a very disturbing level. This film is art-house at nearly every turn, but that fares well for the completed product.
I don't know what's more unbearable: the heavy metal soundtrack or the twenty final uninterrupted minutes of screaming [it's hard to tell the difference, by the way]. The sad truth is that The Devil's Candy is as juvenile as Byrne's previous effort, The Loved Ones. I wish he'd stop trying to emulate the equally dreadful Rob Zombie. For great Australian horror look elsewhere.