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Terrifier 3 (2024)
Not for the faint of heart
Terrifier 3 is better edited than the prior two, in the sense that it trims MOST of the fat and gets to the point, but still needs a little more cutting in the script department. The lore once again bogs down the pacing, overcomplicating what we're really here for: expertly crafted gore, violence, and over-the-top torture scenes. However, between the brutality, there's a vivid portrayal of PTSD in last film's final girl, Laura LaVera, who has truly flourished in the role of Sienna. It took me two tries to finish, but this entry showcases the best violence Damien Leone has ever created in a feature film. I look forward to seeing what his twisted mind conjures next.
From: The Light of Day (2024)
Wall of Misfortune
Once again, this episode raised more questions than it answered, but it was still satisfying to see another obnoxious character meet their end-literally stuck in the wall. Dale's attempt to use the mysterious bottle tree for escape backfired, likely due to the theory that the numbers on the bottles act as coordinates. Removing some bottles might've thrown off those coordinates, sealing his fate in a rather concrete way.
Tabitha's decision not to get help still stirs debate, but considering the police might have dismissed her or gotten trapped too, her hesitation feels more understandable. Meanwhile, the cowboy monster's cryptic message to Boyd (that he can be broken) at the beginning of the season hints that the creatures may have some control over the magic of the tree. Donna is certainly struggling to maintain her sanity, meanwhile Ellis and Fatima are finally communicating the danger their baby faces.
Smile 2 (2024)
A slick, mind-bending blend of horror and pop
Smile 2 amplifies everything that made the original film gripping, delivering a much more intense and visceral experience.
Right from the opening, the amazing editing stands out-sharp, creative, and purposeful, keeping you fully immersed. The filmmakers, led by writer/director Parker Finn, are clearly experimenting with new techniques, and it pays off. Even though the structure feels familiar, this sequel is a glossier, more refined version of Smile, set against a fresh backdrop that breathes new life into it.
If It Follows had a love child with gruesome body horror and pop music, it would be Smile 2. Finn masterfully blends eerie, supernatural tension with brutal, graphic sequences that stick with you long after. The fake-outs are even more effective this time, pushing the boundaries of what you think is real in some truly mind-bending ways. The sound design deserves special mention-it's visceral, adding to the intensity and making every scare hit harder.
While the ending leaves some room for interpretation, the story is engaging, packed with twists that challenge your perception of reality. I did have some questions by the end, but the uncertainty only adds to the film's mind-bending appeal. Parker Finn once again proves his ability to trick the audience in clever, unexpected ways, making the film feel like a thrilling puzzle.
Despite the dark, nihilistic tone, Smile 2 manages to be an exciting and terrifying ride. Even though I typically prefer a bit more hope in my horror films, I'm still impressed by how well the movie keeps you on edge. The ending opens up the possibility for a third film, which I'm hopeful for, as it leaves plenty to build upon.
Sweetpea: Sorry for Your Loss (2024)
How far can one woman be pushed before she snaps?
The first episode of Sweetpea introduces us to a woman who struggles to stand up for herself, with her life seemingly shaped by endless misfortune. Her father dies, her dog gets hit by a car, her older sister sells her house out from under her, and she's denied a promotion in favor of a nepotism hire-this is just the start. Everyone in her life treats her horribly, and the show piles on so much misery that it starts to feel frustrating and hard to believe, almost like borderline torture.
As the show progresses, it practically begs the audience to root for her to finally take control, but when she does, it glorifies the violent outcome. In today's landscape, the "good for her" serial killer trope feels outdated and overdone.
Visually, Sweetpea offers great lighting and cinematography, but the writing doesn't match the sophistication of its style. If you get easily frustrated by extreme misfortune and characters who are relentlessly mistreated, this might not be the show for you. However, if you're a fan of Fargo and synth-heavy soundtracks, there might be something here for you.
Twisters (2024)
Serviceable Reboot
The 2024 Twisters is a significant upgrade from the 90s original, managing to feel both fresh and familiar. Where the original film leaned more heavily into spectacle and action, this reboot dedicates more time to character development and quieter moments, which pay off surprisingly well. The characters' dialogue is well-written, and the film doesn't shy away from letting its leads interact and bond. The chemistry between the cast is palpable, with the leads fitting their roles perfectly, adding layers of depth to their relationships. This emotional core drives the story forward, making you care more about the characters' fates and raising the stakes in a way that the original didn't fully achieve.
Another improvement is the film's treatment of science. The 2024 version clearly takes the scientific elements more seriously, grounding the tornado-hunting in a more realistic, believable framework. There's a clear effort to depict meteorological science with respect, which adds to the film's authenticity. At the same time, the movie injects a consistent anti-capitalist message, focusing on the idea that corporate greed plays a role in these escalating weather disasters. This is a timely and welcome addition, especially in a world where worsening weather patterns are increasingly driven by environmental neglect and exploitation.
However, it's puzzling that the film stops short of directly addressing climate change, despite it being the elephant in the room. The worsening weather conditions are the driving force of the plot, and yet the filmmakers avoid explicitly naming climate change as a culprit. This feels like a missed opportunity, if not a bit of a cop-out, considering the urgency of the topic. Still, the message is clear: human interference and greed are worsening natural disasters, even if the film avoids saying it outright.
Visually, Twisters maintains the intensity of the original, with action sequences that are thrilling and immersive. Yet, unlike the 90s version, the CGI never overshadows the human drama at its core. You get the sense that the film is as much about the people and their relationships as it is about the tornadoes themselves, which is a welcome balance. This approach adds a new dimension to the disaster film genre, making it feel more thoughtful and nuanced.
In short, Twisters 2024 delivers both heart and spectacle, modernizing the franchise with a stronger focus on character, emotion, and a subtle yet powerful message about the dangers of unchecked capitalism. While it falls short of fully engaging with climate change, it still stands as a marked improvement over its predecessor, offering a deeper, more grounded experience.
Joker: Folie à Deux (2024)
Musical Mishap
This feels more like a spin-off than a true sequel, spending most of its runtime rehashing the original through court scenes and interviews, rather than pushing the story forward. The writing is serviceable at best, often relying on thin threads to loosely tie one musical dream sequence to the next. Joaquin Phoenix's performance is fine, but it lacks the raw intensity that defined his portrayal in the original. Lady Gaga, on the other hand, seemed to intentionally tone down her usual flamboyance, likely to avoid overshadowing him, which, while understandable, feels like a missed opportunity for a more dynamic performance.
The musical numbers, full of energy and spectacle, are easily the highlight of the film, with the singing and dancing offering moments of reprieve from the otherwise sluggish narrative. Unfortunately, these sequences can't sustain the film's momentum. The lack of a substantial plot causes the movie to feel overlong, dragging on for more than two hours, making it feel unnecessarily stretched. Without the gripping psychological tension of its predecessor, the film struggles to find its footing, leaving it more of an indulgent showcase for musical theatrics than a coherent, engaging continuation of the story.
The Killer's Game (2024)
Easygoing entertainment
The Killer's Game isn't exactly a great movie for a variety of reasons: it's overloaded with aggressive CGI blood, has a predictable plot, and is packed with cliched side characters that we've seen a hundred times before in action thrillers. But despite all that, as a Netflix original that accidentally slipped into theaters, it's pretty darn entertaining.
Dave Bautista delivers what you'd expect from him-lots of hard-hitting action with a charming, tough-guy persona. The film doesn't really break new ground, but Bautista's charisma helps carry it through the more predictable moments. The action sequences are well-paced, and while the CGI blood may be a bit over-the-top for some, it fits with the film's overall bombastic tone.
What actually makes The Killer's Game more interesting is the wholesome romance at its core. Amidst all the explosions, fight scenes, and gunfire, there's a surprisingly sweet love story that adds emotional weight to the film. It's not often you see this mix of brutal action and genuine affection, and that contrast gives the movie a unique charm, even if it's not groundbreaking in any other aspect.
If you're in the mood for a fun, mindless action flick where Dave Bautista kicks some serious ass while also tugging at your heartstrings, give The Killer's Game a watch. Just don't go in expecting anything deep or innovative, and you'll have a good time.
Uglies (2024)
Lives up to its name
Finally, a movie that truly lives up to its name. Uglies gives you exactly what it promises-eye-searing CGI, hideous costumes, and outdated makeup and hairstyles that make it hard to watch. From the very first scene, the film seems to go out of its way to ensure everything on screen is aesthetically displeasing. The lack of visual cohesion across the sets, characters, and overall design is shocking, creating a chaotic mishmash of styles that never align. The sets feel lifeless and artificial, the characters' looks are wildly inconsistent, and the overall design feels stuck in the past. In every sense, Uglies is an absolute eyesore.
Apartment 7A (2024)
Stealth Remake
This movie feels entirely unnecessary, dragging along with a slow pace and clunky editing that makes it a chore to sit through. The film's attempts at horror are way too obvious, leaving nothing to the imagination, and its redundancy makes the experience feel like a poor rehash of the 60s classic it's trying to emulate. For those familiar with the original, this remake adds nothing of value and seems to misunderstand the subtle, atmospheric tension that made the first film so iconic. It's clear this was not made for fans of the original, which remains a horror classic that far outshines this forgettable attempt at a modern update.
Never Let Go (2024)
Loose Ends
Lacking the discipline its premise demands. The internal logic quickly falls apart, making it hard to build much tension or connect with the characters, despite strong performances. Open-ended mysteries that blend hallucinations and genuine horrors need consistent rules, but this film bends them too often, leaving you unable to piece together the story. While a few loose ends or a twist would be fine, this film is all loose ends. With a semi-coherent plot, the acting and occasional scares are left to carry the movie. Despite solid makeup and effects, the few monster encounters are overshadowed by heavy drama, similar to It Comes at Night but without its cohesive plot or themes.
Subservience (2024)
AI Horror with a little Edge
A fairly entertaining upgrade from recent AI horror flops like AfrAId and TIM, propelled by electrifying scenes and Megan Fox's suitably cold, commanding performance as a manipulative AI nanny. The film embraces its over-the-top and slightly campy nature without slipping into cringeworthy territory. But it stumbles with a few poor editing choices and leaves some frustrating questions unanswered. While it ambitiously tackles themes of AI-driven labor replacement and fractured human connections, the messaging is too tangled to fully resonate. Despite its flaws, it's a wickedly fun, sharply provocative sci-fi riff on our deepest anxieties about the future of sentient AI.
Blink Twice (2024)
Big exhale after this one...
Zoe Kravitz's directorial debut, is a stylish and vicious social thriller that's got a lot going for it. The movie follows Frida, a young middle class woman invited to a tech billionaire's private island. What starts out as a romantic luxurious getaway quickly turns into a seriously messed-up experience filled with memory loss, mind games, and a whole lot of dark satire.
Kravitz proves she's got skill behind the camera, delivering a movie that looks great and balances humor with some very tense moments. The cast is solid, the dialogue's sharp, and there's plenty of cool visuals that keep you hooked. Kravitz is definitely more than just an actor trying out directing-she's got skills to back it up.
But here's the thing, despite all the style, Blink Twice stumbles under its own weight. The plot tries to tackle way too much in too little time-toxic masculinity, trauma, white privilege, cancel culture-you name it, it's in there. Because of that, the story gets messy, losing some of its impact. The pacing drags with repetitive scenes and foreshadowing that's so on-the-nose it almost spoils itself. By the time the big twist rolls around, you've probably already guessed it, and it doesn't hit as hard as it should. The ending undermines the faux feminist message that left me almost as disappointed as Saltburn. That is only the tip of the thematic issues... but someone more knowledgeable on theory should delve into it deeper.
If you've seen movies like Glass Onion, Triangle of Sadness, The Menu, or Don't Worry Darling, this one's gonna feel familiar. That's both good and bad-it's got a bit of that same vibe but also feels a little stale, even though it starts off strong. Had it come out ten or so years ago it'd be a phenomenon.
Still, Blink Twice isn't without its moments. It's got style, for sure, and Kravitz's dark tone might just help it pick up a cult following. The movie tries to flip into slasher mode in the third act, which sorta works, though as a horror snob I kind of wanted more grit and gore. Horror fans might dig it, but don't expect it to blow you away or come out feeling better.
It's clear that Blink Twice is well-made, but it's also very unpleasant. Watching it, I felt deeply unsettled and incredibly anxious. It effectively drew me into the fantasy alongside the characters. Zoe Kravitz shows she's got a future as a director, and maybe with a bit more focus, a sequel could really deliver. For now, though, Blink Twice is a mixed bag-worth checking out for its style and some cool ideas, but don't go in expecting a masterpiece.
Skincare (2024)
Nothing New
Standard thriller that tries to blend true crime and high fashion but stumbles in execution. The film's under-saturated visuals give it a drab look that feels out of place in the gaudy LA setting, while the bad ADR and mediocre acting make it hard to fully engage. The main character's self sabotaging decision becomes frustrating right off the bar, and the plot lacks much progression, leaving her largely unchanged by the end. Elizabeth Banks turns up the paranoia and maintains a hysterical persona for most of the film-though the performance quickly gets old. The music is a high point, with its stress-inducing synths that build tension, but even that can't save the predictable and rushed ending. It's an okay film, but there's no need to rush out to see it. If you're into true crime dramas, skincare, or LA fashion, it might be worth a watch when it hits streaming.
Strange Darling (2023)
Electrifying
Strange Darling is a mesmerizing psychological horror, told in a non-linear sequence that brilliantly enhances its tension and complexity. The film unravels in six chapters-4, 1, 5...and, surprisingly, this disjointed structure works in its favor, drawing you deeper into a gorgeous twisted nightmare.
From the get-go, this film doesn't shy away from violence, delivering lengthy and often brutal scenes that keep you on edge. Kyle Gallner's performance is a standout; his portrayal of The Demon is as hot as it is transformative, taking you on a rollercoaster of emotions as his character's layers get peeled back.
The Lady, played with eerie curiousity by Willa Fitzgerald, is one of the most complicated and fascinating characters in recent memory. Her personality is so compelling that it's difficult to take your eyes off her.
Visually, Strange Darling is exemplary for modern horror films. The deep neon blues reminiscent of Mulholland Drive and the vibrant pinks that echo Climax create a dreamlike atmosphere, beautifully complemented by Giovanni Ribisi's debut work as a cinematographer-nothing is wasted. The fact that it was shot on film adds a rich texture to the movie, vibrant saturation, making the horror elements strangely beautiful.
The film also delves into themes of kink and consent, handling them with a nuanced touch that's as intriguing as it is respectful. There's a dark romance at its core, exploring the toxic love, addiction, metal illness, and the desperate search for genuine connection. It's a story that resonates deeply with anyone who has experienced a loving relationship that took a sudden, disastrous turn.
The film's seamless flow between non-linear scenes is achieved through a rhythmic editing of its piano music and soothing vocals. This sing-song approach also enhances the film's hypnotic vibes. The relaxing original songs contrast shocking violence, amplifying the unsettling and delightfully gory moments.
Strange Darling is captivating with its rich colors, dreamlike cinematography, non-linear structure, and compelling characters. It is a must watch for anyone into indie horror films, but be careful to avoid spoilers.
Borderlands (2024)
A new kind of torture
Eli Roth, known for his sadistic horror movies, takes a different route with Borderlands. While this movie isn't a horror, it's torture to watch. He tried to capture the games' chaotic energy and vivid aesthetic but ends up being more disorganized than dazzling.
The movie starts with a rushed narrated montage, bombarding viewers with an overwhelming mix of colors and sounds. This sensory overload makes it hard to follow the storyline. I've played the second game and Tales from the Borderlands, but I'd imagine the start would leaving most people confused about what's important and what's just an attempt at humor.
While the vibrant colors stay true to the game's style, the aggressive and obvious CGI creates a chaotic visual experience that doesn't translate well to the big screen. The strobe lights and excessive close-ups during action scenes make it difficult to follow and not much fun to watch.
Despite its PG-13 rating, which likely led to the censorship of some good jokes, the film feels more like a PG kids' movie due to its excessive narration and exposition. The young lead's performance is annoying and fails to connect emotionally, especially with her character's uninteresting father issues.
Kevin Hart is miscast as a self-serious soldier, which doesn't play to his strengths. Cate Blanchett adds charisma to her role, but her quips fall flat amidst the film's chaos. Jamie Lee Curtis is present but unremarkable, while the villain lacks the necessary charisma or menace to be memorable.
Though there are moments of interest, like a surprising plot twist, they don't make up for the lackluster character development and thin storyline. The film's ear trauma, terrible ADR, and generally awful mixing only add to the annoyance, making it an assault on the senses and painful to watch.
Borderlands fails to compete with other post-apocalyptic video game adaptations like Fallout, which offers better CGI and character development. Released in the same season as Furiousa, it only highlights its laundry list of problems.
Deadpool & Wolverine (2024)
A Hilarious Satire of the Superhero Multiverses
The multiverse concept has been a staple in superhero films for a while now, but with Deadpool and Wolverine, it feels like a parody of the genre was long overdue. This film leans into its absurdity with the kind of sharp wit and humor that only Deadpool can deliver, making it a refreshing take on a trope that many believe has run its course.
From the start, Deadpool and Wolverine takes its time building momentum. The pacing may feel slow at first, but trust me, it's worth the wait. The jokes come fast and furious, with almost every gag hitting the mark. Some jokes are more memorable than others, but the overall comedic tone is consistent throughout. The film's fourth-wall breaks are the best we've seen in the trilogy, with Deadpool gleefully mocking both the multiverse and its tired conventions.
There is a bit of a pacing hiccup in the middle of the film, as the exposition drags on a little longer than it should. However, this lull is more than compensated for by the film's unapologetic fan service. The movie knows what its audience wants and delivers in spades, offering a buffet of references, cameos, and nods to both the comics and previous films.
While Deadpool and Wolverine steal the spotlight, I wish the side characters had more depth and chemistry with one another. There are moments where the supporting cast feels like mere props, lacking the dynamic interaction that could have elevated the narrative. This isn't a dealbreaker, but it leaves you wanting more from the talented ensemble that supports our two leads.
The ending is nothing short of unforgettable. The entire climax is a spectacle of chaos and hilarity, and the choice of song and its mixing is executed to perfection. It's a fitting conclusion to a film that revels in its absurdity and self-awareness, cementing its status as a parody of a dying genre.
Deadpool and Wolverine is a stellar superhero comedy, expertly satirizing the overdone multiverse concept while delivering a fun, engaging, and laugh-out-loud experience. It's a must-see for fans of the franchise and anyone who appreciates a good laugh at the expense of superhero tropes.
Trap (2024)
Fun Thrill Ride
If you're looking for a film that insists on delivering grand messages and attempt at a cerebral twist like M. Night's other movies, then Trap isn't for you. Instead, it's a wild, goofy rollercoaster ride filled with dad jokes, black comedy, and absurd thrills that don't require you to take anything too seriously. M. Night has taken a step back from his usual narrative seriousness, embracing a more carefree, silly style that ultimately makes the film a blast to watch.
At the heart of Trap is Josh Hartnett, who plays Cooper, a charming psychopathic serial killer. Hartnett thrives in the role, effortlessly pulling off costume changes, creative kills, and convincing lies that make him so engaging to watch. Despite being the villain, Cooper is a character you can't help but root for. Watching him outsmart the police and navigate each situation with mischievous glee is incredibly entertaining. The film's twists and turns keep you on the edge of your seat, and Hartnett's performance is a big reason why.
Cooper's character is given some depth with a backstory of childhood trauma, though it often feels forced and somewhat heavy-handed. Nevertheless, Hartnett's portrayal is so compelling that you'd want to see an entire TV series dedicated to his antics and clever escapes.
This is perhaps the most in tune I've felt with an M. Night film, primarily because he doesn't take himself too seriously here. From the very beginning, Trap throws suspension of disbelief out the window, replacing it with pure thrills and increasingly ridiculous situations. The film is a showcase of dad jokes and black comedy, with Shyamalan relishing in the absurdity and not afraid to look a bit silly.
One of the surprising parts of Trap is the role played by Saleka, one of M. Night's daughters. A gifted singer, her music was notable in Servant, and it's a solid addition here. Her performances in the film seem to pad the runtime, but rarely do they feel like wasted space. Whether Cooper is planning his next move or evading capture in the stadium, there's a consistent tension throughout the film.
Saleka plays a believable Gen Z influencer, reminiscent of a Taylor Swift-esque cult personality. However, her performance doesn't quite match the level of the other actors, particularly in tense, dramatic moments where her line delivery can be unintentionally funny. Yet, given the film's overall unseriousness, this doesn't didn't bother me too much.
While the trailer doesn't quite capture the film's absurdity, Trap starts strong with vibrant visuals and constant motion. However, it loses some momentum as it progresses, with less visually interesting shots and a decline in its initial energy. The climax, reminiscent of Knock at the Cabin, falls short of the tension and fun established earlier in the film. The twist is unexpected and poorly set up, with a rushed exposition dump that could have been handled more effectively with a flashback.
The film's tendency to spell everything out in explicit detail detracts from the fun of letting the audience fill in the blanks. A few egregious ADR lines towards the end add to the frustration, but Trail manages to salvage its final impression with a satisfying epilogue and a humorous after-credits scene.
A special mention goes to M. Night for casting a hot actor and catering to me. The character of a milk-hating, kombucha-loving, gay musician who hits on Cooper provides the best gay representation in any of his films, making me feel genuinely seen and appreciated.
Trap is a delightful departure from M. Night's usual overly serious fare, offering a silly, fun-filled ride that doesn't demand to be taken seriously. With Josh Hartnett's absolutely ludicrous performance and a commitment to embracing absurdity, it's a movie that's sure to entertain people who like comedy/horror willing to suspend every bit of disbelief. Just don't go in expecting a profound cinematic experience-this is all about enjoying the ride.
6.5/10.
RuPaul's Drag Race All Stars: Grand Finale Variety Extravaganza: Part 2 (2024)
Surprising
Overall, the final episode was a fine production. Each queen had a fair amount of time during testimonials, which allowed for some personal insight and reflection on their journey. However, I did have a few issues with the technical aspects: the framing during the judging was poor, there was noticeable shakiness during close-up shots, and the editing felt janky during the final lip sync. These production shortcomings were unfortunate, but the talent show performances definitely made up for them. Each act was brief but excellent, showcasing the queens' diverse skills and creativity. On the runway, their looks were equally matched, and I think it's fair to say anyone could've won that particular competition.
Now, am I happy with the win? Not really. I don't believe Angeria showed as much growth throughout the season as queens like Shannel, Jorgeous, and Plastique. These queens demonstrated significant evolution and development in their performances and personas. However, based solely on this episode's performance, Angeria's lip sync was captivating, and she commanded the stage with as much presence as Roxxxy. I would've loved to see Roxxxy win after she pulled out every stop throughout the competition, but it wasn't in the cards.
Additionally, Angeria wasn't as supportive as the other competitors. If you pay attention closely during the roast, rusical rehearsal, and other moments when the queens perform individually, you can see to the left of the stage that she often refuses to applaud and displays an angry or bored expression. There are even moments where she appears to be sleeping, or pretending, as retaliation to Roxxxy cutting her off. The production didn't highlight these moments or provide testimonials because Angeria might have offered dishonest explanations for her juvenile behavior.
While I was surprised that Angeria won, this episode was fine overall. The competition was fierce, and the talent was undeniable, making it a fitting conclusion to a dramatic season. However, I can't help but feel disappointed with the outcome, as I believe a more deserving queen should have taken the crown.
Disciples in the Moonlight (2024)
Brett Varvel Can't Act
Barring The Emoji Movie, this is the worst thing I've seen in a theater.
Brett Varvel cannot act, always making the same constipated expression regardless of the emotion he's supposed to convey. The directing feels like a sitcom, with repetitive shot reverse shots and the same establishing shots used repeatedly across four bland, suburban sets. Occasionally, when the Christians are evading the evil secular government, we're treated to shadowy shots of forests and fields so dark you can't tell who's who or where they're going. The editing is a mix of mind-numbingly simple sequencing and incoherent transitions, all overseen by the leading actor himself, which at least makes it clear who to laugh at. Even if you believe being an American Christian makes you an oppressed minority, you'll have a hard time taking any of this corny film seriously.
The First Omen (2024)
A violent, disturbing, and stylish evolution
One the scariest, grossest, most disturbing movies I've seen from the past decade. Schizophrenic editing and camera maneuvering that reflects the protagonist's declining state of mind. It's anxiety inducing in a way that made me fall in love with Rosemary's Baby. Nell Tiger Free is a force of nature, it was wildly different this performance was from Servant.
The neverending plot twists and payoffs in the end leaves plenty of rewatch value. Although the ending sets up a sequel, it stands on its own as a well acted, beautifully shot descent into madness. Each callback to The Omen in terms of kills and phrases added more meaning to the story, rather than uncharitable comparisons. The First Omen is an evolution of many supernatural demonic horror tropes, and a step in the right direction for the genre as a whole.
Tuesday (2023)
Well-intentioned but predictable
Well-intentioned but predictable and a little too silly to sell a serious grief metaphor. The creative direction of the second half sent the melancholy pacing into overdrive. The story replaces genuinely well acted mother-daughter dialogue with pondering. But all throughout the film, misplaced jokes seemed forced into the script. The computer generated bird in particular was very hard to take seriously due to the annoying voice acting and cringeworthy jokes.
The film reminds me of "Sometimes I think About Dying," which I'd recommend for a more consistent drama that deals with depression in a subtler way.
Midsommar (2019)
Ari Aster's Best Film
Midsommar's director's cut in imax is a visually stunning film, made even better by the big screen and immersive sound design. The movie's clean and graceful horror style has its quiet, creepy moments but also goes wild when it needs to. Ari Aster nails the subtle expressions and unspoken words, making it eerie at first and darkly funny on repeat watches. Watching clueless Americans mess up in a foreign culture with creepy rituals is both funny and unsettling, though sometimes the film feels a bit too neat. Leaning into the absurdity more could've made it even better. It's still my favorite of his horror movies and, like Hereditary, it gets better the more you watch it.
MaXXXine (2024)
Too much, yet not enough
I absolutely love X for its refreshing, sleazy take on classic slashers, mixed with goofy, self-aware humor. Sadly, Maxxxine just doesn't measure up. Ti West seems lost, with no clear direction, tension, or relatable characters.
Mia Goth's star power carries the film, but the movie itself just isn't worthy of her performance. My initial worries about the big cast and subgenre shift turned out to be spot on-there are way too many characters, making it feel like Maxine is suffocating in her own movie. Where X and Pearl cleverly wove exposition through subtle references, ambient radio, and background details, Maxxxine awkwardly shoves it in through two pointless cop characters and way too many newscasts.
On top of that, the kills are disappointingly tame. Aside from one notable scene at the end, the horror feels weirdly PG-13, which really takes away from the impact. There are a few funny gags, but the movie doesn't give them enough room to breathe, so they fall flat. It's made worse by the repeated callbacks to X, whether in the form of trauma or visual cues.
The ending is contrived and feels more suited to a Bad Boys sequel. The twist is barely foreshadowed, making the reveal laughable instead of shocking. In the end, Maxxxine tries way too hard to be taken seriously but just doesn't hit the mark. I really wish it had leaned into its goofiness, which could have made it a lot more fun and engaging.
The Watchers (2024)
Visually appealing but underwhelming story
Did you know M. Night Shyamalan's debut feature wasn't The Sixth Sense? He actually had two other movies that didn't do well at all before his big hit. This comes to mind when watching his daughter Ishana's debut, The Watchers. It's a fine start, though she might be following a bit too closely in her father's footsteps with a reliance on unnatural dialogue and a shocking twist.
The Watchers leans more into creepy vibes than outright scares. It won't haunt your dreams, but it'll definitely give you the chills. Personally, I dug the Twilight-esque color grading; it added a cool vibe to the movie. However, the excessive ADR felt slapped together, and there were some glaring continuity errors with people and objects moving between shots.
The first quarter of the movie is genuinely tense, with mysterious creatures lurking in the shadows and eerie sounds coming from the forest, creating some solid suspense. Unfortunately, a lot of the movie could've been trimmed without losing anything important. It often feels like it's going in circles, repeating the same stuff without pushing the plot forward. Despite all of the red herrings and elaborate setup, there's little payoff by the end.
I didn't find the initial reveal as disappointing as others did, though the CGI looks dated, like a 2015 video game. The inclusion of Irish folklore is cool, but the movie grinds to a halt for lengthy exposition several times. This would've been unbearable if not for the strong performances by the cast. Unfortunately the script is filled with unnatural dialogue. While this might add to the creepy atmosphere, it sometimes made me chuckle at the silliness.
The 25-minute epilogue could have easily been condensed into the third act, as it drags the movie out unnecessarily. While the movie starts strong with great tension-building, it eventually loses steam due to thin characters and dumb decisions. It's frustrating when characters forget crucial info just to serve the plot. Ishana has potential and could soar with better material, but this movie isn't quite there.
In a year with horrors like Imaginary, Night Swim, and a dreadful Strangers remake, The Watchers is far from the worst, but it's not among the best either.
Yellowjackets: Storytelling (2023)
Poor
The writing takes a sharp decline in this episode.
It is apparent from the start that we are in for quite a ride.
Walter suddenly killing Detective Kevin, not being shown, was thrown out of left field and an embarrassing way to kill off a character. But not as embarrassing as Natalie's accidental death. Misty killing Natalie with a random needle, which was not shown up until now, came off as a contrivance to kill off a main character. This was a shabby attempt to meet the climax of last season.
Lastly, the cabin spontaneously combusting was the most obviously contrived twist. No set-up, just a canned ending to hint at story's future progression. We can assume this was the original planned ending for the season because the cabin was becoming a tiresome setting.
Committing Lottie to a mental institution was in the best interest of everyone but a little frustrating no one tried to do it sooner.
Hopefully there will be explanations for the mysterious tree symbols, Javi's two-month hiding spot, and Taissa's alter ego in the third season.
Special mention to Taissa's wife who was entirely forgotten after adult Van's introduction. Wishing her a swift recovery.