Let me just say up front that I love this concept. And given that it was co-written and directed by Christopher Landon, the same guy who brought us the very funny and clever Happy Death Day series, I was definitely on board. And the resulting story does pull itself together in nice ways. I just wish it had been executed with as much care and finesse as the idea suggested and as the pedigree promised.
That said, it wasn’t for a lack of effort on the part of the actors. Everyone committed to the story and the silliness. The balance wasn’t always quite right, but everyone tried to maintain a thread to reality.
In the top spots, Vincent Vaughn (Hacksaw Ridge) and Kathryn Newton (Pokémon Detective Pikachu) have the most challenging roles. Newton manages to get “cold killer” down well, though we can’t really assess her “Vaughn” as we never know him. Vaughn, on the other hand, does a much more credible, if slight pushed, version of Newton. The tenor of the movie forces him to the broader side rather than the more realistic, but he rarely pushes it too far.
There are also some nice showings by Newton’s friends Misha Osherovich and Celeste O’Connor. They are clearly over-the-top in just about every way, but with Landon’s guidance they are kept within a range that works. There is also a surprising performance by Uriah Shelton which helps the flick round out nicely.
Freaky isn’t as precisely crafted as Landon’s previous films, but it isn’t without its moments and value. It is definitely a movie that requires a particular taste in horror and comedy, but if you have it, you’ll enjoy this. Whether it requires more than one viewing in your lifetime, that’s up to you. Once was fine for me, though I will be watching for some of the players down the road. Landon does have a knack for finding lesser-known talent. And I still want to see what he comes up with next as well.
Resident Evil, the franchise that never fails to disappoint…or at least hasn’t since near the end of the second movie. There are actually two series of this adapted game, one live action and the other anime. Though they heavily overlap, they are from different sources and have different continuing storylines that run roughly in parallel.
Infinite Darkness continues the Leon thread of the anime sequence. And it continues to use the photorealistic style to mimic the game interstitials. And, aside from really bad plotting, that is its biggest weakness. While the landscapes and objects look amazing, and even the characters (when at rest), the second a character begins to move or talk, you sink rapidly into the uncanny valley. The lips don’t even mildly sync well to the voiceovers.
And why is it that all women look the same in these entries? The men are diverse in shape, size and visage. The women are all built on the same thin, lithe template only differing in hair color and slight facial distinctions. Honestly, I kept confusing the two main women in the short series and finally just had to memorize their hair color. What’s worse is that one of the character is a recurring character there to balance out Leon and I still couldn’t keep her straight.
Suffice to say that this series is for the die-hards only. Though, you may be happy to hear that I have heard rumors that the live action reboot that is on the way is somewhat credible and could revive that aspect of the franchise. So perhaps there is yet hope for the story that would not die about the virus and monsters that would not die.
It’s all comes down to this: the origin. And what a nice payoff it is. As you’d expect, given the previous two parts, the cast reprises from the previous 1994 and 1978 time frames to inhabit the 1666 characters. Kiana Madeira and Olivia Scott Welch are back at the center along with Ashley Zukerman (The Code), Gillian Jacobs (Life Partners), and, now with a bit more range, Benjamin Flores Jr. (Rim of the World).
Having the setup of the previous two parts, this third flies in a swift 2 hours of suspense, action, and frustration. But the best part is that everything you’ve learned comes back into play right up through the end. And there is where it stumbles just the tiniest bit.
The main action resolves perfectly fine and acceptably. But there is a moment, and you can’t miss it, where there is an obvious and boneheaded oversight. I know it’s a trope of the genre, but it could have been less ham-handed. In fact, if it weren’t for that, I’d have rated the whole movie higher. That gaff cost it because after all the clever, subversive, and frankly well thought out planning, it was cheap and insulting to the audience.
But that frustration aside, which is small in comparison to the journey, this is a great trilogy of dark fun executed with a clever eye and solid talent. Leigh Janiak pulled the sequence off with aplomb and will have me watching for her next project for sure; as well as some of the cast.
While this sequel can’t compete with the unrelenting tension of the first installment, it is an adventure all its own, building out the world and the story. It’s also a hand-off of sorts, shifting focus from Emily Blunt (Animal Crackers) to her children, Noah Jupe (The Titan) and Millicent Simmonds (A Quiet Place). Though I must admit, I don’t recall Jupe’s character being so bloody foolish in the first movie.
Director John Krasinski (Animal Crackers) also nicely shifted the adult focus to Cillian Murphy (Anna), providing a different view of the invasion and its impact. And he continued to show his writing ability with a tightly constructed story that uses everything he threw into it.
But this story has quite a bit more soundtrack in it than the first. To be fair, Krasinski sort of tapped that trick in the first part and repeating it would have been boring. But the film definitely had a bit less suspense for the talking. And the impact of Djimon Honsou (Serenity) was less than I’d have hoped for, though I appreciate Krasinski’s strong choices again for the story and structure.
If you liked the first part of this tale, you do have to see the second. Watching the characters grow (literally and emotionally) isn’t something you get often enough anymore. Natural sequels are hard to come by, but this found a way.
When last we left our story in 1994, we thought we had an idea of what was going on…only to be disabused of that at the very end. So here we are in 1978 to learn more. Leigh Janiak returns to continue guiding the story, and this time it’s decidedly darker.
Gone is the wry humor, though there is a certain amount of sarcasm. Gone is the light fun. This one is deadly serious and angsty; much more a typical slasher in the woods film than the previous. Janiak captures the era in color pallet and sensibility nicely, but I did miss the fun of the first part. A change in her co-writer to the up-and-coming Zak Olkewicz probably helped inform that shift.
That said, the cast and her direction continues to impress: Embracing the genre and running with it while still managing to keep it female forward. The additions of Sadie Sink (Stranger Things), Emily Rudd, and Ted Sutherland to the sprawling tale also worked nicely. The three drive the majority of the action and expand what we know of the characters and the mystery from the ’94 frame.
Fear Street is turning out to be a wonderfully crafted, long story. As a series of movie releases over months or years, it would have been a frustrating wait and lose momentum. As a three week sequence it is building nicely and keeping me engaged. I’m curious to see how it continues to evolve into the 1666 origin time-frame and if it can pay off. But, even if it falls flat, the first two are credible horror flicks, full of fun, mayhem, surprises, and nice twists to the genre.
Imaginary friends in psychological horror films are far from new. But this entry into the mix by Adam Egypt Mortimer (Archenemy) is actually rather well done. It manages to skirt all the questions such on-screen situations raise without committing to any one answer till it decides it wants to or needs to.
Miles Robbins (Halloween) is the main focus of this story, along with his “friend,” given creepy life by Patrick Schwarzenegger (Scouts Guide to the Zombie Apocalypse). The two have a fun dynamic that progresses by degrees as you’d expect it to. Adding fuel to the fire are romantic and artistic interest Sasha Lane (Utopia) and, as his mother, Mary Stuart Masterson (Blindspot).
Robbins spends the film balancing what he thinks he wants and knows, with what he fears is really happening. Chukwudi Iwuji (John Wick: Chapter 2) provides a voice of reason… mostly. By the time the wheels all come off, everyone’s choices become suspect, though Lane’s approach remains credible and strong.
Figuring out what this movie is going to be is half the fun. It isn’t easy to pick apart and doesn’t quite follow the paths you expect. In the end you get the story Mortimer intends, but whether that is one you’ll agree with or even like is going to be a matter of taste. He could have done more with it, but he also needed to keep the tale moving because his audience was going to constantly be trying to leap ahead. The pacing never really allows that to happen in a way that spoils the story. On purely craft grounds, I think this one is worth it if you like the horror genre. And it’s way more satisfying than the similar attempt (in craft) in the also recent Flashback.
There are so many secrets in this series that it limits what I can comment on. So, instead, it’s really a matter of whether it’s worth your time or not. It is.
Generally, Promised Neverland is a fascinating, if somewhat genre-standard, tale of children in an orphanage who discover nefarious plans. There are lots of narrow escapes and “big moments.” But it is also infused with that kids anime silliness in the characters that I find challenging to watch. At least when it is a constant stream of it. And it means most of the voice work is serviceable, but not brilliant. I did stick with the dub version on this one after trying both sub and dub. Honestly, the original voice work was no better, so I gave my eyes a break to concentrate on the gorgeous art and tale in front of me.
The story will carry you along. The second season already out and I can’t imagine that you could watch the first and walk away. The second season builds on the revelations of the first, and introduces some intriguing new levels to the story overall. I loved that the world kept expanding, but it also got a little unwieldy and just a bit illogical. Choices didn’t always flow naturally (on either side) and some of the character changes felt a bit forced. Had they split the action into two seasons to build up the background info, it may have felt less manipulated.
However, it does, for all intents, completely wrap up by the end of season two thanks to some very rapid fast-forwarding. In this case (unlike Trese), that approach worked as it was all lined up and it was really just watching the dominos fall rather than filling in gaps. It could have been pushed into a third season, but that isn’t the story they wanted to tell, so I felt comfortable with the choice.
The resulting story is definitely worth your time and will likely manage to surprise you. It has even inspired a live-action version that is in the works. So, clearly, it also has a following and I count myself among them now.
Pretty much out of the gate Leigh Janiak has the reins of Fear Street and drives it relentlessly and with style. Loaded with good scares, clever surprises, and wry humor, it never lets up and it has a lot of fun with horror tropes.
She also pulled together a solid cast who could play the genre with earnest irony. Kiana Madeira, Olivia Scott Welch, and Julia Rehwald, in particular, manage a wonderful juggling act that bounces between femme victims and femme fatales. But, as a whole, the cast holds it together without a weak delivery among them (given the style).
Clearly this is a story that has a lot left to reveal since it’s a trilogy that goes back to it’s origin (1666). Also, it’s completely clear that the kids in this movie have no clue what is really going on yet, try as they might to make sense of it all. So while the Final Girls vibe is fun, I don’t know how it will all shift through the subsequent parts. However, if you’re looking for a fix before the next chapter of Stranger Things, but with a bit more of an edge, this is the ticket.
Part of the fun of this series is that you’re never quite sure what it is nor how it will play out. Police procedural, investigative journalism, psychological drama, or supernatural horror?
The story spins around two main characters. Psychologist Olivier Gourmet and newbie journalist, Marine Vacth. Both have complex and dark backstories and a challenging present. And both deliver layered performances. Not always sympathetic but ultimately believable, though that isn’t always clear at the time.
Three minor characters also come into play. Alice Verset, Marc Zinga, and Soufiane Guerrab (Lupin). We learn less about each of these individuals than I’d have liked, but it’s all sufficient to purpose. Only Zinga’s character grated; the script forces him onto a path that is more than a little questionable.
But overall this is a dark, fun ride. And the series is self-contained, leaving it feeling fully resolved. Which isn’t to say it’s all tied up with a nice little bow, simply that all the important elements have natural conclusions and the open questions are fun to contemplate.
When a story is taking place at Miskatonic University, it sets up some expectations. Some of those are met in this odd little indie, mostly it is left wholly unsatisfying.
Admittedly, I came because Gus Holwerda added in a time paradox. The two concepts together were too intriguing to avoid. And there is some interesting story telling going on. As is typical we start at the end and work our way backwards-ish. Slowly revealing the truths and issues of the past.
It doesn’t help that some of the script is just bad science and some is just woodenly delivered; ultimately that isn’t it’s greatest flaw. Jason Spisak (Pacific Rim: The Black) and Leeann Dearing (despite her costuming) do relatively fine with their parts. And James Morrison adds some solidity for the time he is present. Abe Ruthless, however, isn’t the least credible. But it also isn’t the acting that’s the issue. Where it all fails is the final moments.
Time paradoxes need a resolution or a definitive lack of one to end comfortably. They also need a clear and obvious paradox. The ending to this tale is an unresolved chord with a sense of what might happen but with nothing clear. In fact, in some ways it makes no sense at all, in terms of resolving the unidentified paradox or threat and the outcomes from it.
I did love that Holwerda allowed this to be a slow burn. It isn’t at all rushed and there are layers to experience. But because of the end, I can’t really recommend it. If you are intrigued enough to seek it out on your own, remember I did warn you.