Nerdly » ‘Nightmare Radio: The Night Stalker’ VOD Review

24th Apr2023

‘Nightmare Radio: The Night Stalker’ VOD Review

by James Rodrigues

Stars: Paula Brasca, Marie Ruane, Sophia Davey, Cassandra Magrath, Michael Lorz | Directed by Charly Goitia, Ryan J. Thomson, Lorcan Finnegan, Nathan Crooker, Adam O’Brien, Mia’Kate Russell, David M. Night Maire

Based on a concept by Michael Kraetzer, Nightmare Radio: The Night Stalker is an anthology feature assembled from short films released as early as 2011. The wraparound segments come from director Charly Goitia, as late-night radio DJ Candy (Paula Brasca) asks listeners to call in and share their real-life horror stories. In between the wild experiences recounted on-air, an obsessed fan takes great lengths to make sure Candy hears his voice – even if it sounds like someone trying to mimic Roger L. Jackson’s Ghostface voice.

Playtime opens the film in the middle of the night, punctuated by a television turning on and awakening a sleeping woman. As she ventures downstairs to investigate, a spectre dressed as a bride appears before piling on the spooky occurrences. What director Ryan J. Thomson delivers feels like a preview of future segments with familiar sights appearing, including loud noises and no scares attached.

Following that is Foxes, the story of a young couple feeling trapped within their remote estate house. Amidst their business woes and simmering resentments, Ellen (Marie Ruane) becomes entranced with the shrieking foxes that start appearing. Director Lorcan Finnegan makes the estate looks so lifeless amidst the identical houses, a precursor to similar work on 2020’s Vivarium. Outside of that, the stilted line deliveries and slow pace make this a patience-testing segment.

Next is Playback, where a man in his apartment becomes shocked when his television shows a brutal murder in his building. Upon hearing a scream from the hallway, he goes to investigate. While co-writer/director Nathan Crooker has brought to screen an interesting premise, it ends before doing much of interest with it. For a feature-length realisation of this idea, be sure to check out Junta Yamaguchi’s Beyond The Infinite Two Minutes.

Director Adam O’Brien helms the next segment, entitled Insane. While scouting a location for his next movie, a young director is shown around an abandoned psychiatric hospital by a county worker. As they willingly venture deeper into this hellhole, a legend is revealed of a tormented spirit roaming the corridors for retribution. What unfolds is expository build-up which tries substituting darkened sets for atmosphere and film-bro smugness for meta-humour. Suffice to say, it does not work.

Mia’Kate Russell takes the reins for the next short, entitled Liz Drives. It begins within a car appropriately driven by Liz (Sophia Davey), who dreads visiting a face from the past with her sister, Ellie (Cassandra Magrath). Upon stopping at a gas station, a blood-covered driver forces Ellie into the back of his car, next to a blood-covered woman already inside. Panicking, Liz starts driving. While the story ends in a fascinating place, one wishes more time was spent building up to it.

The final story is called Chateau Savignon, from director David M. Night Maire. An appropriate name, considering this is undoubtedly the strongest segment. Wishing to save his ill mother, Nicolas (Michael Lorz) finds himself at odds with his rude vintner father. As a doting mother and her indifferent son arrive for a wine tasting, Nicolas sees the chance to prove his worth. What unfolds is a sinister and grisly tale which triumphantly captures the lead’s desperation to help his beloved mother, no matter the cost.

While the last segment is a high-note, it’s difficult to overlook the previous segments which make for a mostly disappointing whole. Most of the stories have a lacking sense of peril, not helped by the connective tissue struggling to cohesively bring them together. By the end, the 78-minute runtime feels anything but swift.