Spencer (Extended Take)
This review expands on my previous quick take. Spoilers abound.
Continue reading “Spencer (Extended Take)”
This review expands on my previous quick take. Spoilers abound.
Continue reading “Spencer (Extended Take)”
Spencer audaciously imagines the three-day Christmas holiday Princess Diana spent with the royal family as and oppressive, suffocating hell she was desperate to escape. Made with exceptional craftsmanship, the movie overwhelms when it should be engrossing. Not recommended. Continue reading Spencer (Quick Take)
Halloween Kills is the second entry in a trilogy of Halloween that takes the 1978 movie as their starting point and pretends that all previous sequels don’t exist. That bit of artistic amnesia is certainly warranted, as pretty much every sequel that followed the original movie only served to cheapen what is generally considered a horror classic. Halloween (2018), the first movie in the trilogy, was definitely guilty of raided the closest of the original. There’s a tense opening credit sequence featuring a pumpkin, John Carpenter’s iconic film score, copious throwback scenes and a convincing performance by Jamie Lee Curtis. Most importantly, that movie had an interesting story to tell. Specifically, what impact did Michael have on Laurie Strode’s life from that point on, and how did Laurie’s reaction to that trauma affect her family?
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Mike Flanagan, the creative force behind The Haunting of Hill House and The Haunting of Bly Manor, returns with Midnight Mass, a new limited series on Netflix. Similar to his two previous series, Midnight Mass is a combination of earnest performances, thoughtful, introspective dialog and stealth horror elements. This time around, Flanagan has decided to de-emphasize the scary stuff, and the result is incredibly underwhelming, to the point where the series should have been titled Tedium.
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Old has a great opening act: a group of vacationers are taken to an exclusive beach. Once there, they age rapidly and cannot find a way to leave. The movie is undone by talky dialog and weak acting by the leads. The middle act gets weighed down by sappy sentimentality when it should have ratcheted the tension and the horror of the situation. The mystery is revealed in the end, and while it is intriguing, is loose in its reasoning and cannot erase what came before. A disappointment after the one-two punch of Split and Glass. Not recommended.
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Black Widow is an odd entry in the MCU: a solo outing for a female superhero that has already died (see Avengers: Endgame), and who’s actor (Scarlett Johansson) has gone on record saying that she will not return to the role after this outing. In spite of those headwinds, anticipation for Black Widow was high. Unfortunately, Black Widow is of two minds: quirky indie dramedy interspersed with a Marvel movie. The comedic elements are fine, but don’t mix well with the going through the motions action sequences. Johansson and Florence Pugh, as younger sister Yelena, are fine, and David Harbour is funny as an over-the-hill Red Guardian. The movie’s two villains are dull as dry toast, however. We know Natasha survives all of the proceedings, so the stakes are non-existent. Worse still, Black Widow references two events that would be much more exciting to see than anything we end up seeing. A disappointment. Not recommended.
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Fear Street:1994 opens promisingly with a skull-masked slasher taking out a young, pretty bookseller at the mall. The movie then introduces five high schoolers who unwittingly unleash the malevolent spirit of the Fier witch when they disturb her bones lying in the forest. The witch was killed back in 1666, but has been the influencer behind inexplicable homicides for decades. The actors portraying the teenagers either bring too much or too little intensity to their roles, resulting in a “who cares” attitude when they are eventually stalked by resurrected killers from the past. 1994 Is competently directed, and I liked its day-glo aesthetic, but its reliance on Nineties music becomes a distraction. Not recommended.
Continue reading “Fear Street: Part One 1994”
Things Heard & Seen is an unwieldy amalgamation of two genres: disintegrating marriage and haunted house. While both elements of this surf-and-turf narrative are mildly interesting on their own, the combination of the two ultimately is not rewarding, with one cheapening the impact of the other. Further confusing things is the ending, which applies a #MeTo, “sisterhood of the ghosts” resolution as a way of justifying the misery that compromises almost all of the movie’s runtime. The ending is as bizarre as it sounds, and must be seen to be believed. In spite of all that, and the fact that I don’t recommend watching this movie, I can’t entirely dismiss it, either.
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Sticky post
I’m afraid we didn’t do a very good job of looking after the place while you were away.
Augustine The Older
This review discusses at length the surprise twist ending of the movie. Read no further if you don’t wish this to be spoiled for you!
Continue reading “The Midnight Sky (Netflix)”
In case you missed it, this is the movie where Kirsten Stewart has a hairstyle that is a blond buzz cut. Aside from that, I thought this was one of the goofier movies I’ve seen in a while. Unless you appreciate camp. I don’t recommend for a paying audience. Spoilers below (glub…glub…glub…)
Continue reading “Underwater”