SPOILER: Mørke sjeler AKA Dark Souls is bit different compared to most horror films, which is a good thing in my book. It's always good to see people trying something new with the genre, the whole movie's about the struggle of a father who tries to take care of his daughter who became sick after she got attacked for unknown reasons. Her appearance slowly disintegrates as the film continues including heavy vomiting of a black liquid, and what's with these men in orange jumpsuits attacking women with a drill. It's all part of the mystery hahaha, it's a interesting film but there were some moments that i was thinking that i was watching a made for TV crime film (Which it isn't). I don't want to spoil too much but there were a few scenes (especialy the scene near the end in the hospital) which slightly reminded me of Fulci, which is always a good thing. If anyone would ask me how to describe the film i have to say, a horror/thriller with a bit of drama. Go have a look for it yourself if you're interested, anyway you won't get bored.

I was first alerted to this film by spotting it on the CV of musician, Wojciech Golczewski, whose incidentals had added so much to the evocative atmosphere of 'We Are Still Here (2015)'. Here, his menacing strings accompany casually stunning jogger Johanna (Johanna Gustavsson), alerting us to the fact that, as she runs through sunny glades, she's in imminent danger. As the film's title suggests, it's only brief moments before a masked man in industrial overalls holds her down and forces a drill into her head.Despite dying, she is soon back at her father's home. Breathing, but with no pulse, she is somnambulistic, only rousing to vomit black putridity over her father. Meanwhile, the driller killers (for there are several) claim more victims – discarding any males and concentrating on females.This story concentrates on Johanna's father Morten's (Morten Rudå) attempts to look after his deteriorating daughter. Watching as he tries to persuade others that the blackened, vomiting creature will 'soon be better' is deeply harrowing. The bemused apathy of the police is similarly distressing.Shot like a documentary in grainy images, the effects are probably the weakest link here. Whilst an abundance of black tar-like substances oozing from hair and bodies is pretty revolting, the execution of the illness belies this Norwegian film's lack of budget. The tone is refreshing, however, and doesn't always take itself too seriously, while certain moments recall the work of David Cronenberg and the rotting, limping, back-haired ghosts of 'Ju-on: The Grudge (2002)' and similar Asian films.It is unconventional also that a middle aged man should emerge as the hero of the piece, his vigilante actions uncovering a dark governmental secret, and distinctively so. As a whole, though, 'Dark Souls/Zombie Driller Killer' doesn't really live up to either its title, or the promise shown in early scenes.

A toolbox killer is running loose in Oslo with a nasty drilling habit. After screwing a hole in his victims' skulls, he injects something strange into their brains which kills them. But not for long. They come back to life, their gradually rotting bodies producing a mysterious new hydrocarbon, like crude oil, a foul, caustic, bilious substance which they vomit up in great abundance.When his daughter (Broch) is found dead with a drill hole in her cranium, Morten (Ravn) receives a call from the police requesting him to identify her body. But he can't, he answers, there must be some mistake. She's perfectly alright, right here at home, just came in the door.But Morten's daughter Maria is anything but alright. Her face is rotting and she's barfing oil. When perplexed doctors ask to experiment on her, Morten decides to take Maria back home, covering all his furnishings with protective plastic to guard against her, um, frequent spills. Brain damaged, deranged, Maria stumbles about the apartment and stares blankly at the dinner table, repeatedly banging her spoonful of mashed potatoes into her cheek and forehead instead of into her mouth.Meanwhile, the victim count rises as the mad driller strikes again and again throughout Oslo. Following a chance encounter in which the culprit attacks Morten, Morten, with Maria in tow, begins tracking the maniac. Morten discovers a ghastly connection to a sinister North Sea, deep drilling oil disaster, as he unearths a bizarre, nightmarish, dark plot.Dark Souls is a Norwegian effort, and North Seas oil production is a major nationalized industry in Norway. Eighty percent of Norwegian petroleum production is owned by the government, which retains 85% of net petroleum revenues. The Norwegian government effectively distributes the benefits of its oil wealth, regionally and throughout its population. Due also in part to a generous social welfare system, an equitable labor relations system and a progressive tax system, Norway can boast one of the lowest levels of income inequality in the world.The benefit comes at a cost; Like any country, Norway has had its share of shameful petroleum mishaps, from the June 2000 Project Deep Spill, the first ever international deep sea oil spill, to the more recent 2007 Statfjord oil spill, and the 2009 Full City oil spill. Norway has strong government oversight of oil exploration and extraction. Citizens expect accountability from their governing bodies. Controversial courses of action by Norway's Ministries of Industry and Petroleum and Energy have been the subject of major environmental protests and lawsuits. An example stems from the Norwegian government's go-ahead for continued Arctic drilling despite appalling, hazardous 2007 and 2008 StatoilHydro leaks in the Barents Sea.It's little wonder then that Norway's Dark Souls' finds its inspiration in the viscous black well of its own petroleum industry. The film's prominent themes are familiar ones. The concept of environmental bad karma and mysterious substances which once ingested, wreak recombinant DNA havoc strongly smack of movies we've seen before. To wit: H.G. Wells' The Food of the Gods (1976), The Children (1980 and 2008 -previously reviewed here), and The Stuff (1985). In each of these films, malignant industries go too far in the name of greed. Fallout ensues in the form of a grotesque backlash where monsters dole out horrid retribution upon the society which passively stood by while corporate outrages were committed against nature.Some subtle tongue-in-cheek posturing lets us know that Dark Souls doesn't take itself too seriously, yet it is never campy or silly. The film manages to combine some chills with delightfully disgusting revulsion. Featuring an abundance of Steadicam shots, Dark Souls imposes a close-in, almost documentary-style, gritty feeling, without straying into the realm of cheap "found footage" style movies. While more mysterious and eerie than horrifying and scary, Dark Souls is a first rate production with a few memorable scenes, and a refreshing lack of a Hollywood-requisite "happy ending."

The Pitch: Oily Vomit Of The Living Dead.The Review: I will be honest, this, in nearly 100 reviews I've written, has been one of if not the most difficult one line pitches to write. Part of that is down to how much is going on in this quiet little Norwegian chiller, which while running to only just over an hour and a half covers an awful lot of territory in that time. The one substance in abundance in this movie is oil, but it's not the only black entity around, as much of the humour is of the dark variety. Dark Souls attempts to put a smile on your face as it drills into your brain, and it succeeds to a large extent in that endeavour.We start with a young girl, Johanna (Johanna Gustavson), who is attacked by a man in an orange boiler suit with an electric drill and left for dead, found face down in the mud by the police who pronounce her dead and have her taken to the mortuary. This comes as a surprise to her loving father, Morten (Morten Ruda), who's seen her walk in the door not moments earlier. But there's something not quite right about Johanna any more, and she's not alone. While detective Askestad (Kyrre H. Sydness) attempts to uncover the truth behind these mystery murders, and the local doctor (Jan Harstad) attempts to uncover the truth behind these rather lively corpses and their strange symptoms, Morten attempts to re-establish family life with Johanna as best as possible, but is slowly but surely drawn into the secret world behind it all.Directors and writers Mathieu Petuel and César Ducasse obviously know their horror. There's a deliberate, unhurried pace from start to end and, as with so many other effective horror movies over the years, the pacing is used to build tension and to unsettle the viewer. This isn't your average American slasher, filled with jump cuts and loud bursts on the soundtrack in a vain attempt to summon up scares, everything here is designed more to pick at your nerves and unsettle, apart from the occasional head drilling, of course. The acting is generally fit for purpose, so while it won't win any awards, it does engage your sympathy in all the right ways, and Morten Ruda is the stand out, carrying more of the narrative as the movie progresses and allowing the mix of off-kilter laughs to blend perfectly with the feeling and the pain.The use of oil is also an interesting motif, but its allegorical use pales in comparison to the body horror of watching it exude from every pore of its victims, and it gives them a distinctive and effective look. There are also a lot of references to other horror movies thrown into the mix (more than this casual horror fan could ever detect), but the overall narrative, while taking occasional tangents, hangs together very effectively, and the abiding impression is of a deliciously dark movie that will creep under your skin like the oil in its victims.Why see it at the cinema: There's plenty of effective imagery, both subtle and in-your-face, and of course this is at its core a horror movie, so why not guarantee yourself a dark room with a large screen to make the most of the chills?The Score: 8/10