Another bit of marginal science fiction that is more horror and misogynistic tripe than it is a good movie. A surprising result given the strong female lead in Maika Monroe (Independence Day: Resurgence). Ed Skrein (Alita: Battle Angel), as her nemesis, is cardboard at best and a mustachio twirling black hat at worst. Even Gary Oldman (The Darkest Hour) as the recently generated AI is without a lot of impact, though he gets a moment or two.
For a first feature as director, Federico D’Alessandro does a reasonable job with what he had, and got a very nice look for the movie. Not a surprise as he has a long history in storyboards and animatics. It is really Noga Landau’s (The Magicians) script that is the big problem. There are moments of thoughtfulness in the action and issues, but mainly it is an excuse to raise mayhem, torture, and revenge. If you’re in that kind of mood, I suppose you could do worse, though you’re better off with something more like Assassination Nation which has all of that and better writing.
What you’ve got here is a rainy night flick that is way better than most of the SyFy offerings, but still not a great movie in and of itself. Enough to distract and, perhaps, maybe consider some ideas (stress on maybe). But this movie isn’t going to win awards or get massively recommended other than for Monroe in skimpy outfits and Skrein in tight clothing. Some nights that may just be enough. Your call.
If you’re a fan of films like Theater of Blood, Vincent Price and Diana Rigg’s 1973 horror delight, you’ll likely enjoy this latest, admittedly imperfect, Netflix release. It is a wry look at the art world but also quite dark. Not a huge surprise given it is writer/director Dan Gilroy (Roman J. Israeal, Esq), though the tenor of this movie is quite a bit more tongue-in-cheek despite the horror elements.
Gilroy pulled together a talented and committed cast that pivots primarily around his reunited Nightcrawler leads Jake Gyllenhaal (Okja) and Renee Russo (Just Getting Started). The other substantial role is delivered with mixed results by Zawe Ashton (Oasis). She isn’t so much bad as without plumbable depths. Perhaps it was part of the point, but the result diminishes her impact and the impact of the story. Adding to the mix in a series of supporting character roles are Toni Collette (Hearts Beat Loud), John Malkovich (The ABC Murders), Billy Magnussen (Ingrid Goes West), Daveed Diggs (Blindspotting), and Tom Sturridge (Song to Song). Each is a forced extreme, but all are entertaining in their ways.
But if you were hoping for a break-out horror, like Get Out, based on Gilroy’s previous powerful main releases, you’re going to be disappointed. It isn’t horrific enough for the horror fans nor intellectual enough for lovers of satire. This is simply some evil fun with a social eye and a mean desire to slam the more obvious absurdities of the art world. Where it fails is in its lack of clear explanation or point and, ultimately, by not providing anything positive about an industry that Gilroy knows has value…and is even using to send his message. In other words, it is somewhat rudderless with some fun moments and serious talent, but that’s about it. That doesn’t make this flick something to skip, but go in knowing it isn’t what you think it is and probably won’t reach what you hope it is.
Much like Cube and Saw before it, this collection of crazily conceived challenges for the characters offers a lot of dark entertainment, and some nice attempts at making it all believable. As a first feature script for Schut and Melnik, there is a real attempt to create just-believable-enough scenarios and people to drive the well-worn genre and provide some unexpected moments, if not exactly surprises. Adam Robitel’s direction, as only his second feature, likewise shows some nice talent with pacing and finding emotional threads to keep it all going.
The result isn’t perfect, but it is entertaining. Nik Dodani (Atypical), in particular, gets ripped off as a character, never really becoming someone we care about. But Deborah Ann Woll (Daredevil) and Taylor Russell (Before I Fall) actually get to build quite a bit of backstory and sense of life. Logan Miller (Love, Simon) and Tyler Labine (Voltron: Legendary Defender), aren’t quite as lucky and Jay Ellis (The Game) is really just a parody. These uneven efforts work in this genre, but does make the film a bit less than it might of become.
So, if you’re a fan of these kinds of inventive evil mayhem that may or may not ever really make sense, make an appointment for the Escape Room. If you are hoping for something a bit richer and more complete, like It or some of the other more recent reinventions of horror/suspense, this is going to come up a bit short…primarily for the ending, but also because of the uneven character development.
Such anticipation and such disappointment. This adaptation of the classic novella by George R. R. Martin ended up as an unhappy cross between Event Horizon and 2001: A Space Odyssey; an embarrassingly and nearly unwatchable tale of space horror trying to be intellectual.
You can tell that the producers knew they were in trouble with this series from the start. In order to hook you, they had to start with the unlikely events near the finale. By doing so they kept you hooked trying to figure out how it happened, even though wading through the absurd plot and actions of the characters would have normally had you switching off the show.
There are some clever ideas amidst the really bad writing. Some are from Martin’s source material and some from the writer’s own expansion of that novella. But clever ideas alone can’t drive a show. You need at least one other element, good dialogue or good characters. Neither materializes despite some considerable talent in the cast and effects on the screen. And, to top it all off, the end of the season is far from a resolution, though I can’t say I’ll be back for a season 2 should it appear.
I wholly support the efforts to start bringing well known writing to the screen, large or small. But the results need to be as crafted as the original source in order to bring it to life.
Nightflyers is middling at best and, in my opinion, not worth 10 hours of your time to navigate.
If you are a Netflix subscriber, you probably have already seen this movie, which has smashed all kinds of expectations for this kind of release. If it had the same attendance in theaters, it would have been a certified hit. As it is, no one knows quite how to judge the results, but they were impressive nonetheless with 45 million account accesses within the first couple days and moving up from there. But is it worth it?
Horror has seen a Renaissance over the last year or so. Get Out, It, and A Quiet Place, even Suspiria, Halloween, and Hereditary have each staked out different corners of the genre successfully, if not always financially. Bird Box lives happily in the Quiet Place corner of that realm, focused on family survival during an unknown and little understood threat. Its story is somewhat predictable, but as it is told in flashback, and there is a lot you can assume from the start, it is intended that the journey and the coda at the end are what you’re sticking around for. And, of course, the cast.
Who would have seen Sandra Bullock (Ocean’s 8) taking on a lead in a horror movie, let alone a streaming only horror? She brings considerable talent and range to an otherwise standard role. Trevante Rhodes (Predator) provides her a nice foil, though not necessarily much of a performance on his own. But he is part of very unexpected cast list. With additional roles by Sarah Paulson (Carol), John Malkovich (Mile 22), Jacki Weaver (Widows), BD Wong (Jurassic World), Lil Rel Howery (Get Out), and Tom Hollander (Bohemian Rhapsody), you’d be understandably surprised. It certainly signals a strong turning in the streaming game.
Director Susanne Bier (The Night Manager) brought all of her suspense know-how to bear on this story. Even when the adaptation by Eric Heisserer (Extinction, Arrival) isn’t quite to his previous crafting, she helps pull it together with the actors and directorial choices. Ultimately, this is a story about people, not about events, which is what, I’m sure, attracted the cast and Bier to the production.
Depending on your love of the genre, you will like this to differing degrees. As a pure horror, it is only OK. As an examination of the human condition amid calamity it fares better. Purely as a movie, it is entertaining and gripping, but not brilliant. But if you like Bullock, or any of the other cast, it is worth some time and popcorn. For me, the ending was more than a little obvious and forced, but since this really is about the journey, as I’ve said, I’m giving it a break. On the other hand, you might find the journey itself questionable, depending on your interpretation (one interpretation is quite cliche, while another is a bit more broadly acceptable). Most folks will be able to go along for the ride and enjoy it without the over-intellectualizing I found myself unable to escape. Give it a few minutes to see if it hooks you…I’m betting it will for most.
As a side note, this is quite the double punch for Netflix, whose technology setting Black Mirror: Bandersnatch also released this past week.
Cold Skin is a quietly intense, sort of Gothic-horror/science fiction story of isolation, surviving, and survivors, not to mention making a swing at defining the meaning of humanity. If that sounds a bit overly layered and burdened, it is, but it somehow all fits.
Ray Stevenson (The Transporter Refueled), David Oakes (The White Queen), and Aura Garrido (Ministry of Time) form an unlikely triumvirate fighting to survive on an Antarctic island with some unusual inhabitants. It is, in its bones, a simple horror tale of the kind you’ve seen before. However, Xavier Gens’ (Hitman) direction takes the script to a different level by helping the actors add flesh and emotion to those bones.
While you enjoy the mayhem and tension of nightly attacks, you also get to explore what drives these characters and what makes them human or not. The answers aren’t always comfortable. There is also a great “making of” featurette on the disc. I didn’t expect to watch it, but it hooked me quickly and actually discussed the movie and its making rather than just marketing what you’d just seen.
What is the difference between a legitimate sequel/prequel and a cash grab? The easiest answer is the quality of the movie. This prequel to The Conjuring series is full of surprises and nice visuals. It is creepy and relatively well performed. And, I have to admit, it had a great trailer that got me to watch the full flick. As one of its gifts to its followers, Taissa Farmiga (The Final Girls) takes over from her mother as lead in this outing. Demián Bichir (Alien: Covenant), as the travelling Vatican demon hunter, and Jonas Bloquet (Three Days to Kill) are fine as well.
Truthfully, however, no one really stands out as great. Part of the issue is the number of stupid things they do, like running alone toward danger. Director Corin Hardy (The Hallow) doesn’t even try and help the actors smooth over those moments, accepting the genre low-bar for expectations. Writer Gary Dauberman, who also penned the spin-off Annabelle series, was either rushed or simply didn’t put in the effort for the story which doesn’t quite hold together if you look at it too hard. The background ideas are engaging, but the execution is sloppy. I will grant him the humor and, rare, humanity he injects into the tale, but those moments stand out because of the story that surrounds them.
So, cash grab or not? Yeah, to my mind it is. This movie barely stands on its own. And, despite some fun moments, it is rife with bad horror tropes that make it too easy to stay ahead of dialogue or scares. If you’re a Conjuring fan, it is probably a lot of fun to see the genesis of the evil. And that’s one of the tricky parts: even knowing that it is a prequel helps give away a lot of the story, making a solid script even more necessary. As a distraction it isn’t a horrible 90 minutes, but it isn’t the first thing I’d queue up if you’re looking for an evening of chills and entertainment.
What makes a movie scary? Disturbing sound effects? Gore? Twisted sets? Violence? Creepy music? Dark scenes? Surprises? Sure, all of that can add to the atmosphere, but if you don’t have characters and a story to tell you might as well just make paintings with some ambient sound to accompany it. You also need to be able to identify and engage with the characters. Part of what has brought horror into the mainstream with massive blockbusters like Get Out and It is the characters we could connect with, not just the situations and the events. Even those that rely more on humor, like Cockney’s vs. Zombies and Happy Death Day, or even those that rely simply on cleverness like the Saw or Final Destination series, provide both shock and character with the laughs…but they would fail without the characters.
OK, with all that in mind let’s dive into the last two parts of The Three Mothers trilogy by horror icon Dario Artento (Suspiria).
A lot happens in this midsection to the trilogy, but it doesn’t have any real impact. There are no characters to latch onto, no real story to tell, just exposition that explains a bit of Suspiria and what potentially may come. There are some interesting visual moments but the script is painful at times; so is the acting. It is also very much a film of its time, 1980, in look and feel.
What Inferno does do is set up an interesting framework for the bigger story of the Three Mothers…and it would take Argento another 27 years to attempt it in The Mother of Tears, but I’ll get to that shortly.
I can tell you that, as a curio, sure you can give Inferno time. Just don’t expect a good movie. Go for the splatter and the explanation. Honestly, some of that information may be in the original Suspiria, but I saw it so many years ago, I can’t recall. I can say that the remake of Suspiria certainly included some of the background supplied in Inferno.
Mother of Tears
This is probably the most polished of the trilogy. That isn’t a complete surprise as it was made in 2007, 27 years after Inferno; you’d hope that Argento had improved his abilities in that amount of time. Mother of Tears does complete the trilogy in much the way you’d expect given the previous two installments. Building on the information in Inferno, but tying it back to Suspiria, we get a suitable climax to it all.
But no, it isn’t a wonderful film. There are moments and there are surprises (sound familiar?). There is also gratuitous violence at times, as well as story-serving violence at others. The gore gets extreme and characters, such as they exist, are sometimes just, well, stupid. In fact, the entire impetus that frees the Mother of Tears is based on actions that just wouldn’t occur. Sadly, it could have been easily worked around, but Argento simply took the easy way and decided that truth should be as damned as the world he creates.
Overall, am I glad I completed this sequence? Yes, but more from a filmography point of view rather than feeling entertained. My time could have been spent on better choices. I am not a huge splatter fan, but when it is done well and to a purpose, be it humor or commentary, I can get on board. Argento seems to use violence for no purpose other than to purge his own demons or simply to shock. He has his followers, and if you are one then you certainly should fill in any gaps you have in his opus. For general or casual audiences of horror, or those who prefer the more mature approach, steer clear. There is little meat on the bones and too few moments of entertainment to make it worth your effort.
If you were somehow lucky enough to miss all the ads and trailers for Overlord, stop now and just see the movie blind. Honestly, the studio really did the flick a disservice by telling you what it was about. Part of the fun of the film is watching it all getting revealed, and they took that from me in spades.
OK, from here out I’m assuming you’ve seen the trailers and the ads. You’ve been warned.
Sure this is nothing but an update to Resident Evil by way of Dunkirk, but that doesn’t mean it can’t be fun. It is, in fact, fairly well done and full of good moments, surprises, and the kind of splatter that combination would suggest. There is also a real sense of a good war film here that goes, shall we say, quite sideways. It is well shot and really rather well acted by most of the leads.
Jovan Adepo (Fences) is our way into this band of brothers…and it is very much a bro film. But Adepo gives it both heart and sense of danger. From early on it is clear that no one is safe in this story and that registers clearly for him, and through him to us. The machines of war quickly begin to eat up the people we meet.
Alongside Adepo fight a mixed batch of characters that each bring different levels and layers to the story. Wyatt Russell (Ingrid Goes West) is the seasoned veteran there to run the mission. John Magaro (Carol) is the smart-mouth jackass who nevertheless proves his mettle. And Mathilde Ollivier, in an early film for her, gives them something to fight for and just a touch of badly needed estrogen in the film. In a smaller role, but fun to see, is Iain De Caestecker (Lost River, The Fades) who does a great accent and has a bit of fun.
Arrayed against this motley gang are the Axis. Only a single Nazi stands out worth mentioning in that bunch: Pilou Asbæk (Ghost in the Shell). While it is a somewhat scenery chewing depiction of a German officer, he manages to find some balance, though not any heart. He certainly finds the creepy, which was his purpose in the tale.
Julius Avery (Son of a Gun) delivers a very watchable, enjoyable, and surprising movie for his Sophomore outing. Sure it is of a particular genre, but he doesn’t treat it that way. He treats it like a film about war, people, and the horror of what it takes to win and survive. Part of that success was the script from an unlikely pairing of Billy Ray (Hunger Games) and Mark L. Smith (The Revenant). Both writers have a wide range of styles, but of very different sensibilities. Playing off the real events of Operation Overlord gave the two a solid underpinning for the story and its drives that allowed their talents to mesh well.
This was originally rumored to be a Cloverfield universe film. It is, in fact, designed much like those movies…slowly unrolling layers that end with unexpected aspects. But it isn’t part of that franchise in any other way. I wish the studio had believed in the quality of the film and allowed it to surprise and gather an audience. I get that it would have been challenging given the genre mash-up. Folks going for a war film would have been pissed and those showing up for pure horror would have been confused and angry that it doesn’t really become that till more than halfway through. But the story is compelling, well-paced, and nicely delivered. Definitely worth the big screen if you like either mashups, splatter horror, or both. And Avery is definitely a director you’re going to be seeing again, regardless of how Overlord legs out or not at the box office.
While Dakota Johnson (Bad Times at the El Royale) does a passable job in her role, and Chloë Grace Moretz (November Criminals) helps launch the tale, they aren’t the reasons to see this movie. The reason to see this film is Tilda Swinton (Okja), who executes three roles in service to the story and the intent. Her main role is obvious, as the Dance Master of the troop. But the other two roles take a bit of effort to see. All three are done beautifully, with the complex emotions and physicality you’d expect from this wonderful performer. Her efforts alone were worth the price of admission for me.
Director Luca Guadagnino (Call Me By Your Name) has taken Dario Argento’s original concept and, with the help of David Kajganich’s (A Bigger Splash) script, expanded on it as well as added meat to its bones. This remake is more of a real story than just a psychological splatter pic. The multiple roles for Swinton are just the tip of it. There are dualities and mirrors all over the story, from a divided Berlin to the Baader-Meinhof connection (and even its subsequent psychological phenomenon) to male/female, high/low, etc. The layering is thick and fast; this is a movie that takes time to unpack.
Let me put it this way: Have you ever finished a film and feel like it came to a point, but have a heck of a time nailing it down? This remake of Suspiria is like that. There is a lot going on with metaphors upon metaphors not to mention just a darn good classic horror/suspense thing going on. But it doesn’t exactly spoon feed you (or force feed you) all of its intent. Some is obvious from the beginning, other aspects develop, and some will likely leave you pondering the purpose. The original was as much art house as it was horror as well, so building on that legacy isn’t a bad thing. It does mean that not everyone will be satisfied, especially when such a classic horror like Halloween is available in the theater next door.
Like the original, this movie is also violent. Whether it is violent toward women or in support of them is arguable. It is intensely weird and definitely dense and inscrutable at times. Guardagnino makes some challenging choices near the end that force you to shift your thinking. But it does feel complete, as I’ve said. The structure is there and, as I chipped away at it for hours after viewing, I made sense of a lot of it. Does that mean it worked or that, despite oblique choices, I was able to create sense out of a chaos? I guess you’ll have to be the judge.
If you’re a fan of the original or like horror that has a bit more going on, like Hereditary, then you should give this a chance. If you don’t want to go to theater, it will end up on Prime eventually, but it is visually impressive on the big screen.
Art, writing, life explained… or at least commented upon…