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MaXXXine (2024)
Saving the Best for Last
Maxxine is the reported end of the trilogy started with X and followed by Pearl. X was decent is perfunctory slasher with the gimmick of the setting in the 70s porn shoot. Pearl establied a character vital from X, but this film seemed to be stuck with pretensions of establishing a maniac post WWI.
Maxxine takes a different character from X and present this person forward into the 80s. Now we get to see the fallout of all the different traumas that the previous two films displayed. And Mia Goth embraces the strength needed to be a survivor and a success. She has been the center and focus of all three films. This is her culmination of the acting.
The movie has some problems. Most notable is the rushed ending that seemed to be undeveloped. The introduction of Halsey seemed to be odd as her acting, accent, and hair cut pulled me out of the film. And, Maxine is presented almost as invincible until she isn't.
The overarching theme of power and survival is strongest here as depicted through Maxine. I responded positively to this, rooting for her. This film feels the most complete of the three in its focus and presentation of its theme. I was disappointed by the first two films. The third film brings me the best sense and what thr director wanted to do.
House of Spoils (2024)
Mixture of supernatural and gender politics
House of Spoils is a confusing film as it merges the difficulties of running a restaurant, the struggles of gender in that world, and the supernatural path of those that come before now. I say confusing as you'll have to let go of expectations and allow yourself to flow with where the film goes without getting caught in the trappings of the politics that are there. If you can move past these trappings, what follows is a journey of self discovery and self acceptance.
Adriana DeBose maintains masterful acting in the lead, crossing the boundaries of sanity without ever losing her path to the conclusion. She captivates as a strong determined woman who learned to play the game of male chefs, and may lose everything if balance isn't struck.
I greatly appreciate the new wave of psychological supernatural thriller-horror that undermines traditional patriarchal position in horror. This movie lends itself well to this alternative genre.
The Exorcism (2024)
Psychological drama inside an exorcism film.
The Exorcism isn't truly a horror film. Yes, there are horror and possession elements. And there are deaths. But, it's more about the inner demons than Hell demons (although this is present as well).
This is a psychological drama about a man who is tormented by his past behaviors, choices, and addictions as he faces this shame and guilt through the eyes of his daughter. Russell Crowe gives a subtle performance, and I believe that is throwing people off from the depth of his performance, especially when you compare this to his more macho and strong characters he tends to play. This is a broken man trying to understand his own demons, playing an actor in a movie whose character is a priest attempting an exorcism. Meta enough for you?
The movie isn't perfect as the editing is choppy, but I feel this could be a stylistic choice of the director (or studio) to present the gaps of memory experienced when possessed. And how making a movie can have these deja vu elements repeatedly filming a sequence, plot being filmed out of order, etc. Supporting cast can be decent actors, or they can feel a bit characteristic and one note.
Overall, this is a decent psychological drama and thriller. If you are expecting a horror film, this won't quite do it for you. If you are seeking a possession film, think change of demeanor possession, not head spinning vomiting pea soup. If you are up for a father who is heavily flawed and a daughter who is mourning the death of her mother by rebellion who are trying to connect, this is a film for you.
Salem's Lot (2024)
I saw a wire.
This remake of Salem's Lot wasn't needed. First, by making it a movie, they rush the plot in the 1 hour and 54 minutes. They cut out some pieces that make the story better. And they change the plot just enough that you don't quite know where they are going with it.
Well, no where is the answer. There is no terror, creepiness, horror, or anything other than a paint by numbers rushing of the story so there is a single line of coherent. The problem with this is that the single story line is, "There Be Vampires!"
Production upgrades the look of the vampires digitally. Unfortunately, they handled the practical effects poorly. Hence, my line, "I saw a wire on hanging one of the vampires." Even the look of Barlow is off just enough that while harkening back to the Tobe Hopper first miniseries, what they do differently makes him look more like a sea urchin creature, something that is offputting but not scary.
Another problem is the character of Mark. In this version, he is as cool as a heavy weight champion going into his next fight. He's so together, he makes more sense than the adults. And he has more courage than all of the adults. Thank goodness for him though, or this movie would have been even limper without his Rambo character.
Truncated storyline leaving this movie with just enough space to breathe but nothing else. Upgraded digital look but poor sets and practical effects pulled me out of the movie. The characters are fairly random to the point that they are better characterized as labels: teacher, doctor, love interest, etc. And, to avoid spoilers, the ending is just awful.
What You Wish For (2023)
Weariness makes for strange bedfellows.
Take The Menu and personalize it, shake in some noir seasoning, and just a dash of The Moneky's Paw.
Nick Stahl plays a chef visiting a friend from culinary school after 12 years. Nick has something bothering him from home, but his friend also displays problems with the work he does being a private chef across the globe for the uber wealthy.
The unexpected turns start early in this film, and must be avoided to enjoy the morality play that unfolds. Less satire of The Menu, What You Wish For brings forth a thriller element that wasn't quite developed enough in the previous film. The pacing of the movie matches the lush locale, but don't be fooled by this. The slowburn mirrors the weariness of the chefs in the film, and the decisions that must be made.
I was hoping for something interesting and shocking, and this film brings that. Not a gasp! Shock, but more a lounging poolside and from the foliage comes a spider. Watch without trying to guess and let it unfold.
Mission to Mars (2000)
Disney makes Contact.
Mission to Mars fails on so many levels. First, production looks as if this were the 60s Thunderbird puppets and all. (Actually, if the cast were puppets, the film would have been better.) The story and plot appears geared for the 6th grade, sort of like a film strip version of space travel meets the meaning of life. Remember the ride in Jurassic Park when they explain how they created the dinosaurs? Yes, that's the intellectual level of this film. Acting is gear by one emotion per line. "Say it sadly. Say is madly. Say it crazily." So one dimensional acting?
Overall, this lacks real tension or suspense even though they did try to make that happen. It's just none of these scenes worked. So we are left with a cosmological metaphysical search for the origins of life. Huh?
Woefully lacking of spirit, purpose, intrigue, and suspense. Not good qualities for a sci-fi film.
Knox Goes Away (2023)
Quiet Take on a Hitman in Decline
Knox Goes Away begins with Michael Keaton's character getting a terminal diagnosis of a rapid form of dementia. Oh, and he's a hit man.
What follows is the decline cognitively of Knox as he puts together his payout for the important people in his life and history. But, what should have been a simple cleaning of financial resources turns complicated.
The production and presentation is quiet, oh so very quiet. (There isn't a soundtrack as I recall.) This somehow makes Knox's thoughts and feelings all the more understandable. That, and Michael Keaton's embodiment of this man on a short timetable of his cognitive functioning and then his subsequent death. And this is what made this film captivating for me.
I Saw the TV Glow (2024)
This Era's Disenfranchised Youth?
I didn't realize this was the same director as We All Go to the World's Fair. Otherwise, I would have avoided it.
I don't understand how this movie is even considered in any genre of horror. That I feel makes me like it less from the expectations I have when I hear something is new and interesting in horror.
What I get from this director and their movies is a disconnection from the society and the larger world. And, the main characters attempt to connect by becoming fixated on media, in this movie the TV show The Pink Opaque. And they can only find connection and purpose in life through the this show, or the delusional belief that they exist in this show. So, instead of doing something, anything, to try to feel alive in themselves, they either hideaway or maintain the status quo of the grind of just subsisting. Not living. Not thriving. Passively being alive and sustaining themselves below life, sort of a hypo-living. Oh boy.
The acting is emotionless emoting (I understand the oxymoronic nature of this statement) that left me numbed to the characters' whining or monotone observations on life. "She's crazy. I must become an adult now, protective member of society." Oh Boy. What insight to life!
Why did this movie get produced? What is the director trying to say? Does any of this matter at all.
Answers: Indie films just need to look weird and somehow they are "important". "Oh look at me being all different than the norm, and what a burden I have to carry to be different." No. None if this movie matters at all.
Cabin Girl (2023)
Interesting Twist on Supernatural Found Footage
Cabing Girl follows Van Girl, a vlogger who tracked her travels in her van after her parents die. She switches to a cabin after she has an accident involving a deet and has a resulting head injury. As she settles into life in a fixer-up cabin in an isolated rural small town. Then, weirdness starts happening.
While this film as a slower pace, and lots of sunlight that can be confusing for a typical found footage films, Cabin Girl is a slowburn that explores the main character's experience of supernatural phenomenon and symptoms of her head trauma. This makes for confusing viewing as the watcher isn't certain what is happening. Add in a potential stalker, and Cabin Girl had me guessing on my red herrings.
Easy to watch with decent performances by the actors. Plotting and script are okay but not advanced. Overall, it made for decent viewing.
In a Violent Nature (2024)
Quiet yet Captivating Slasher film
We all know the plot: Late Teens/Early Adults go into the woods for a weekend away, and they either stumble across or awaken a killer/supernatural killer. And this movie doesn't deviate from this basic plot.
What it does offer is the perspective of said supernatural killer. And how this changes the perspective of the film. First, it's much quieter as there is no need for jump scares, loud crashes of music and noise to announce, "HE'S HERE!" We see as the killer approaches. Second, the tropes of the stupid Teenager is seen somewhat differently as the killer watches them interact. Somehow the group of ragtag people that would never be together given the disparate nature of their personalities is seen for what it is: they are all just mean and bullies. Ha! All of them, even the "nice one(s)" just let this stuff continue. (I know that this is generally obvious in any slasher film, but watching most of these characters from the outside just highlights the "WTF?!" qualities of these characters.) Third, there is actually some reason for why the supernatural killer became this way that is more straightforward. Here it is! Here's the explanation! Stop being stupid!
I appreciated the persepctive shift that allows for this slower process and more insight to the "mindless" killing that is standard for slasher films. If you are expecting all the tropes of jump scares and such, you will be disappointed. If you love the culture of horror and slasher films, this will be appreciated for the expansion of insight and perspective that this will provide.
Parallel (2024)
A bit melodramatic for my sci-fi tastes
Parallel depicts a woman, her husband, and his brother at ther late father's house deep in the woods. There is mention of the father's "crazy conspiracy theories" in their secluded area. The three appear to have some tension or conflict between them, especially the husband and wife. To escape this, thr wife goes for a walk into the woods and sees herself with a rifle, and this person shoots at her. The wife displays more emotional unsteadiness following this encounter.
That acting is well crafted if a bit overly emotive, but they are coping with a recent distressful situation. And the confusion of parallel worlds would be distressing as well. Production is good providing for a well-crafted visual prevention of home and woods.
But, the plot of loss, grief, and misery was too overwhelming for the seriousness of parallel worlds, and the sci-fi aspect complicated the sense of grief and loss without it adding anything to the film.
Silent Night (2023)
Captivating violent revenge film
Silent Night depicts a man on a revenge plan after a traumatic loss. The twist? He is unable to speak. Following from this, the movie has little dialogue with the characters not speaking directly on camera. Thus, the film is focus more on the action set forth by the main character as he seeks his revenge.
Joel Kinnaman is the highlight of this film. He expands on his acting abilities as I felt I knew what his character was thinking and feeling even though he didn't utter a single word or convey anything with words until the very end (in written form).
I understand why many feel this film is underwhelming or a disappointment. They were expecting a John Woo film, a slick stylized action film that hyperextended reality for the violence. And, they only get half of this. The violent action is well choreographed and film. There is a sleekness to some sequences.
But, much like the lack of dialogue, the base reality of the action makes the viewer recognize the imperfections of the hero, and the actual impact of violence on the human body. It's too real for the expected sleek John Woo action film. And for that, I liked it better than the hyper stylized depiction from the past. The reality of the violence drew me closer to the main character, and thus closer to the film.
Something in the Water (2024)
Another annoying group and a shark
Something in the Water starts abruptly as two women who are discussing the marriage of a joint friend are attacked on the street. One year later, the woman who almost died attends the destination wedding of said friend. Tension exists as the main woman has PTSD, their relationship ended, ans the larger group of 5 women are trying to celebrate in preparation for the wedding festivities.
And now the tropes begin. Each character falls into a category: impulsive trouble, doting mother type, anxious controlling, brash aggressive, hesitant follower. Their interactions always have an element of conflict so that their efforts to show how bonded they are falls flat as none of them appear to like the other one.
Oh, right the shark. So they go for a Bachelorette party by boat to a nearby islet. And of course, Shark! And as the panic ensues, rash actions occur, leading somehow to all five floating in the water.
Nothing new. The tropes are annoying. The sharks act overly vicious. The characters are annoying. Plotting stupid. Watch only if you are passing time and really love shark films.
The Fearway (2023)
Pretentious Metaphysical Claptrap
The Fearway begins with a couple driving in the desert experiencing an aggressive driver until they pull off at a diner. Then, their trouble starts. They attempt to continue on their way, but somehow they end up back at the diner.
So, this movie attempts to provide some type of horror, but the elements dont create any horrorific moments. Supernatural elements leading to metaphysical pondering. Consider No Exit but quite pedestrian at heart. They dialogue snd plotting tend toward the stilted. I think they filmmakers were trying for mysterious, but instead, they hit upon trite and vague, starting the viewer down the path of pretention.
This film tries to present something greater than what the parts total. Acting is subpar, but earnest. And that doesn't help the production move away from annoying. There is no fear on The Fearway.
Sting (2024)
Fun, Creepy, and a Bit Gruesome
Sting involves a spider, suggested to be of nonterrestial origins, that begins to infest a small apartment complex in New York City. This building houses a couple with a newborn, the wife's daughter from a previous relationship, the mother's mother and her aunt. (The mother has Alzheimer's, and she and the aunt are from Germany.) There are a few other people in the building with their own issues.
Sting has a flavor of the creature feature of the week, some of the over the top horror, and the everyday conflicts of the characters. The storyline and script don't have extensive development, but there is enough to make them interesting and viewers concerned about them. And the family development is endearing to see.
While nothing new is made through Sting, it is a competently made film that aims to entertain, and it does do this. Acting is above par, and overall production is high.
Overall, Sting is a fun romp with some scares and just enough gore to entertain in a horror film.
Monolith (2022)
Heady mysterious pod cast
Monolith maintains more of a single setting and person concept as it uncovers the mystery behind random blocks of black stone that just appear in people's lives.
The main character is a disgraced journalist that has moved to a new home that is more isolated to avoid the public. She is tasked with creating a new "mystery pod cast" and begins with these blocks.
As the film progresses, little details from talking with others who have found these blocks creates more uncertainty regarding what they are, why they are, and what do they do.
Monolith starts with a realistic focus on the main character and her stress from recent events of her problematic journalism. The film unfolds slowly around the bits of information and this leads us wanting to know more, but in this situation, there isn't clearer information.
If you are expecting tradition film plotting, don't watch this. If you want to experience the uncertainty and the mystery without needing an answer to resolve the tension, Monolith creates this atmosphere and suspense. Lily Sullivan as the lead character and only person on screen is captivating and holds this film with a tight grip even as she loses hold on her reality.
Ghost Babe (2023)
Worn, tired surfer ghost love story?
Well, these three surfer dude buddies hang and "rock the day." One somehow inherits a house. Said house has a history of violence, and one femme fatale ghost. And there is a mystery about the ghost and her death and her love. Now to go about this, let's hang, surf, and get to know one another.
Boring largely. Basic dumb surfer characters left me distracted as I found things to dust where I sat. Oh, and love is in the air. With a ghost.
Poor production generally. Poor acting. Poor writing. A few nice bodies to see in shorts and bathing suits. Characters are at least nice, so you care minimally about the plot and what happens. Not scary and not funny. Too bad.
Sweet River (2020)
Grief drama with subtle supernatural element
Sweet River focuses on the grief of a mother returning to the town where her son was killed as a child. The town wants old hurts to stay buried, and they don't react well to this mother wanting answers about her son. There's a reason why the town wants things to stay as they are, but this is a hidden secret given other tragedies that the town has experienced.
The film takes a steady and realistic perspective for the film, and I believe this is why some may find this movie slow or complain that it loses steam. Everything is presented as matter of fact, even the supernatural element as it's just another aspect in this film. Because of this, the film doesn't have traditional chills or thrills, but it does develop tension inside of the characters and plot. But, again, this is done in an everyday manner that can convey the human pain and loss in the face of tragedy, and the difficult process to say goodbye.
Badarawuhi di Desa Penari (2024)
Interesting Indonesian folk horror
Dancing Village: The Curse Begins is an interesting tale of a forest Demon trying once again to gain power. The story starts without much understanding of the dynamic, but Mila is seeking a particular village to return a trinket to save her mother of an unknown disease that has hit quickly.
While there are tropes galore of they genre of horror films, Dancing Village has enough to keep above the completely obvious downfalls. (Do we have to have the one character that seems greedy, uncouth, and selfishly idiotic?) There are moment of gentle chills and suspense. The story unfolds easily, and at times it's too predictable if you've ever seen an Asian horror.
Dancing Village appears to be a prequel, and I feel it is worth a watch. Overall, a decent film. One element that made it less enjoyable for me was the huge express of distress around a failing family member. The excessive outpouring was at times difficult for me to take seriously, but that could be from cultural issues or my own personal family dysfunction.
SAS: Red Notice (2021)
Adequate Super Spy film.
SAS: Red Notice (or Rise of Black Swan--I'm getting these two titles) is an adequate and perfunctory action special ops movie. Their "Best" agent just happens to be on a train with his girlfriend that is taken hostage. Coincidence! The action is well choreographed, but as typical, only realistic if there is a "Super Spy" to do it.
The introduction of some moral lesson doesn't add much to the movie. In reality, it muddies the water when the film doesn't need to have anything extra to make it watchable. Issues of sociopathy just seem a bit overwrought given professional mercenaries, professional soldiers, profits at any cost, and government power are the other stakes in the movie.
Actors do well with the script. Ruby Rose seems perfectly suited to be a cold-blooded, amoral mercenary. Sam Heughan does well in his leading role, and maybe someone should consider him for another Super Spy role.
Watchable as noted before, but don't look too closely.
Tarot (2024)
Mediocre with ratings falling.
Tarot ends with a song, a hip hop funcy pop tune that frequently repeats the line "I can't believe I survived!" This song's attitude is wrong for what the movie was aiming to do (Chills and Thrills). But, it also does represent the lack of follow through by the filmmakers to complete any of their scares, character development, and ultimately a whole film.
The specifics of the plot don't really matter. The film uses a basic concept of a cursed object creating predictions of death. Then, let's add elements from multiple other films for specifics of how the Rube Goldberg "mouse trap" sequences that bring about death. Even with that, the film loses steam, relegating the deaths to be committed by the character of the card--without much suspense (or logic). And that is too bad as the film has some basic characteristics that do create some tension.
What the movie lacks is a better balance of scares and dark humor. The moments they try for levity the comedy is too broad and thus contrary to what the film is seeking overall.
Not very inventive. Not very scary. Minimal creativity. Poor characterization. Solid idea for the terror and curse. But concept alone doesn't a film make.
Antisocial (2013)
Interesting take on infection
Antisocial starts with a random view of violence as streaming online. And this starts a small focused film on an outbreak that creates "zombie" rage happening.
The main character has bad luck on New Year's Eve, leading her to be not so fun at her friend's house for a party. She has her reason, but then society has its own problems happening outside their house.
The zombie parallel is minor as the hordes are outside, while the focus of the film is decidedly in house. Being a film of modern times, the advent of streaming and video cams allows for communication from the outside and with the outside to help inform what is happening.
There is an interesting twist on what is happening that I enjoyed for the social commentary and the moral imperative of "just because we can do it, should we?" Nothing much is new here, and production is meager, but I found this movie to be interesting enough for a view (and looking forward to see what the sequel brings).
Dr. Giggles (1992)
A little too much 90s horror
Dr. Giggles stars Larry Drake doing an excellent campy psychotic killer. The rest of the film is filled with stock characters with adequate acting in the incredibly formulaic plot. The plot follows this lane: guy was traumatized as a child and in a psychiatric facility; he breaks out to return to his childhood home where the trauma occurred; he randomly connects to a teenage girl, and has a compulsion to "operate" on her to fix the issue.
Oh boy. Now the tropes. Main girl has "mild" heart condition. Her mother is dead. Dad has bimbo new wife that can't stand her step-daughter. Girl's boyfriend is a randy fellow. Stalking by the doctor leads to people being killed, and girl being captured. Then, near misses as she tries to escape. The killer is almost impossible to stop.
Very little that was surprising. It was fun to see some actors early in their careers, even if this wasn't a shining example of a film for them to show their talents. And ultimately, the everything and then some approach doesn't help the film be easier to watch.
A Savannah Haunting (2021)
Tired Southern Hell Confederacy to Avoid
So, a family moves into a house and strange things happen. But it seems as if the mother is in a psychotic grief around the death of a young daughter. And she sinks deeper into her delusions.
But, No! The Spirits of the Confederacy are alive! And that's the plot. Ho, Boy.
Cliched plotting, two dimensional acting, child in mild danger. Gehenna and the Devil and the Temptations of Sin. And it's very obvious what is happening, down to the character's names.
Tired production that has nothing new to present. And it plays these thrulls like we're supposed to be terrified. I'm afraid that for anyone that has ever seen a haunted house film you won't be surprised by this. Or if you've ever seen a possession film, this won't be shocking. It's standard and dull.
Nattevagten (1994)
Decent but 90s style
"Nightwatch" is the original Danish film that was remade in English with a young Ewan McGregor. This film I felt was hampered by the decidedly 90s feel, and the rather adolescent relationship between the two male leads.
Marten gets a new job guarding the morgue, making the rounds, and managing with the creepy story of a prior guard who was a necrophiliac. Oh, and there's a serial killer on the loose.
While there is some creep factor here, the movie doesn't try to amplify the chills, scares, or thrills. It starts the process, but it tends to fade on its own. The ending is the only time when there is a bit of sustained tension, and this is minimal as a rather standard plotting for today.
It's not a bad film. But, it's an older film. And it carries these tropes without much lightness.