Within Skull: The Mask, there seems to be a battle between two films. I think weвЂ™ve all found ourselves numbly scrolling through Netflix feeling like everything looks the same, and it can be revitalizing to realise that there is a Brazilian horror scene, that there are pockets of cinema going on all around the world that are just waiting for us to discover them. While weвЂ™ve seen countless horror movies of people trudging through the woods and old English mansions and suburban American towns, this is the first I recall seeing set in an urban Brazilian city. For the most part, it really is very well shot and visually striking film. Sao Paolo looks, for this reviewer at least, so unfamiliar and visually interesting. Skull: The Mask is a film that benefits from its setting. Meanwhile, local worker Manco and a local priest disagree over what should happen to MancoвЂ™s deceased fatherвЂ™s possessions, many of them ancient artefacts, but are soon drawn into AnhangaвЂ™s bloody rampage. It results in a gruesome, crimson-splattered crime scene, with disgraced detective Beatriz hunting down the missing mask, aiming to solve the case and make amends for past mistakes.

Brought to Sao Paolo for warped businessman Tack, a poorly considered ritual is conducted with it before it can make its way to him to display in a museum. The mask of Anhanga is the ancient artefact at the heart of Skull: The Mask. It seems to me that we should all know things like this, yet this story of people messing around with an ancient skull mask feels like an extremely вЂof course, in 2020вЂ™ thing to happen. TheyвЂ™re creepy and, so posits Armando Fonseca and Kapel FurmanвЂ™s Skull: The Mask, can lead to extremely violent and bloody heart-stealing massacres from demon-headed beasts. Look, people shouldnвЂ™t mess around with ancient skull mask things. Messing around with ancient skulls and masks? Well, that never goes wrong вЂ“ hereвЂ™s our review of Skull: The Mask.

The mask film