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The Autopsy of Jane Doe Emile Hirsch, Brian Cox, Ophelia Lovibond, Michael McElhatton, Olwen Kelly, Parker Sawyers,  André Øvredal

The Autopsy of Jane Doe: two small-town coroners investigate a fresh “Jane Doe”, whose cause of death becomes increasingly difficult to pin down as they learn about the body. This film is the embodiment of tight and efficient: a brief 15-minute setup; 30 mins of live/real-time autopsy, and the last half the film shifts gears into a full-on supernatural horror / thriller. Not for the faint-hearted, parts of this are horrifying to watch; the autopsy is shown in all of it’s snapping, sawing, scalping glory, and is coloured with buckets of crimson – this will definitely root out the weak and the woozy. Although there are a couple of big (and cheap) ‘modern’ jump-scares the majority of the film’s tension comes through the satisfyingly old-school method of very slowly building a sustained and overbearing sense of dread; the film lets your imagination run wild, and shows some incredible restraint – a couple of moments even stray into ‘pure terror’. As mentioned above, it’s a very tight movie: tight script (tons of subtle clues that tie in together nicely); tight setting (claustrophobic, well-established, and inherently creepy morgue); tight cast (Hirsch and Cox are a great/safe pair of hands, with fantastic chemistry). In fact, the only thing that minorly lets the film down is the ending, which is good, but doesn’t do justice to the slow-cooker setup. A completely unrelated follow-up to the fantastic TrollHunter, Norwegian director André Øvredal is proving himself as a very strong and competent film-maker – once again his direction is meticulous, without being the slightest bit ‘auteurial’ or flashy. Few things excite me less than ‘modern horror’, yet because of its throwback sensibilities ‘Autopsy’ feels more a John Carpenter picture than the ‘Paranormal Conjuring 27’ films modern audiences are being served up.

Score: 7.5/10
The Autopsy of Jane Doe Emile Hirsch, Brian Cox, Ophelia Lovibond, Michael McElhatton, Olwen Kelly, Parker Sawyers,  André Øvredal

“Every body has a secret”

The Autopsy of Jane Doe Emile Hirsch, Brian Cox, Ophelia Lovibond, Michael McElhatton, Olwen Kelly, Parker Sawyers,  André Øvredal

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Misfits (Season 3): 8 Episodes: with a whole new bunch of powers and a line-up change, the gang are re-booted and re-established. It takes around 1/2 the season, but once the new guy – ‘split personality’ Rudy – is properly established his comic timing, screen presence and character far outdo Nathan, which isn’t an easy feat. The rest of the cast keep up with their characters well and the dealer gets a bigger role than before. A critical problem with Season 3 is that the writing is all over the place, I’ve never seen a series with such variation in quality between episodes; some are among the best and most clever to date, yet others are barely watchable or deadly boring, and the rest are average at best. To finger out a couple, the Nazi time travel and gender bending episodes are just boring, boring and boring – however the super STD episode is comedy gold and the zombie cheerleaders is nothing short of pure cult. Slow burning, with individual episodes ranging between 1/10 and 8/10, Misfits Season 3 asks a lot more of its audience than previous outings, and although it’s still daring, dark and outrageous it only gets its shit together in the final couple of episodes. It’s definitely lacking the clever writing that made the first two seasons special – Season 4 will be a tough sell for me.

Score: 5.5/10