There’s a lot of potential in a film like Glass to be M. Night Shyamalan’s best film as a crossover of Unbreakable and Split. Assembled are three top notch actors handed meaty roles of super-powered people with conflicting views of the world. All the ingredients are there for a brilliantly terrifying and insightful film of superheroes and supervillains but all Shyamalan seems to do with the material is throw it in a comic book pressure cooker set to the mildest of settings that even his twist comes off more disappointing than insane. Continue reading ““Glass” Review”
After having been beaten over the head with the absurdity of Nazi zombies in the likes of Wolfenstein and Dead Snow, along comes Overlord as the boldly brutal and earnest take on this odd little subgenre. It’s a bloody romp of bullets and monsters, yet never feels the need to come loaded with winks for the action. There’s enough trust that you’ll have fun with a half-faced Nazi villain and a kick-butt French villager brandishing a flamethrower.
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Similar to the Godzilla saga, Halloween has gone through a number of different sequels and remakes over the decades. David Gordon Green’s Halloween, however, feels like the true sequel worthy of following the footsteps of the near-flawless slasher classic that started it all. Also like Godzilla, his version wipes the slate clean of every other sequel and remake. And while there’s still a fond place in my heart for Halloween II and the much-divergent Halloween III: Season of the Witch, there’s a pleasing charm to see a slasher revival get back to the basics while still reinventing itself.
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There’s something so unbelievably bonkers about Shane Black’s take on Predator that make it narrowly fun amid its messy hit-or-miss method. Rather than go for a more modern and serious retread of the classic action tale of gun-toting soldiers versus high-tech alien hunter, Black throws his picture so far deep into the pool of zany it should come labeled as a comedy, decked out with much winking in its silly banter and over-the-top gore. And sometimes, amid the massive mess of this nutty production, it works.
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The Meg is a B-movie creature feature that seems to be trying so hard to be average, never favoring a tone too serious or silly. It struggles to play it straight with its exposition of underwater research and horrific with the titular shark, but still wants to wink at the camera and have a laugh with a quip or two. A PG-13 rating for a bigger summer box office gross prevents any memorable kills or bloody terror. It’s this assembly that makes the movie more of a dry, by-the-numbers monster movie than a more campier version that pays homage to its lesser and goofier counterparts.
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Psychopaths is a pointless display of cruelty and violence that cakes on artful cinematography and relentless savagery in place of plot and purpose. But it’s a script that seems somewhat aware of its toxic nihilism, where a death-row killer admits in an interview that evil is evil, not needing a purpose to exist. The same sentiments can be applied to this film. Writer/director Mickey Keating perhaps wasn’t seeking to make a film that had some theme or characterization to a series of serial killer murders. He probably just wanted to film very vile acts for the sheer pleasure of watching people suffer. Evil is evil after all.
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There are some horror movies where I enjoy watching the audience reactions more than the movie itself. And then there are ones like John Krasinski’s A Quiet Place, where I turn into the reactive horror movie viewer I usually smirk at for being won over by jump-scares. I found myself doing things I don’t normally do while watching horror films; edging on my seat, my mouth agape, and my finger lodged between my teeth with intensity. It’s a rare exception of a film that manages to merge the artfulness of a slow-building dread with the rollercoaster effect of grinding anticipation.
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The Shape of Water presents the argument of why director Guillermo del Toro should be directing the new crop of Universal monster movies and why he will never be chosen for such an honor. He should be directing those films because he has a playful and experimental vision in both direction and tone for crafting an unorthodox creature feature. He won’t be selected because his ideas are just too out there if Universal wants their monster properties to nab some of that blockbuster cash. I can’t imagine general summer audiences would dig a film where a woman has sex with an amphibian creature in a romantic manner.
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McG’s wild stab at a dark horror comedy continuously misses the mark, struggling to land a laugh like a lousy comedian flopping about a stage slippery with blood. Not only does it fail to garner a giggle, but also becomes embarrassing for how hip this script tries to be, slinging out geeky and topical talk like a grandpa drawing inspiration from a few threads he read online. This is almost like McG’s midlife crisis of a horror film, trying to prove that he’s still the fun director with his fingers on the pulse of today’s youth. His attempt comes off with more cringe than cool, akin to your dad dusting off his bellbottoms and throwing on some Ray Jay Johnson to impress your friends.
Continue reading ““The Babysitter” Review”
Taki meets a woman at a bar and takes her back to his place. They start having sex and Taki notices something strange going on with the woman’s legs and arms. Her limbs grow longer and pointier as she tries to ensnare Taki into her vagina that has now bore teeth. Luckily for Taki, he’s accustomed to dealing with monsters such as this, grabbing his gun and forcing her out the window. Now in a more spider-like form, she scurries out the window and down the building. Just another dangerous day in Wicked City.
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