After a lifetime of neglect and abuse, Drew Glass (Niko Nicotera) returns home to wreak havoc upon his druglord father (Mark Boone Junior). But ol’ Larry catches wind of his boy’s scheme and calls in a hit (Marilyn Manson).
Let Me Make You A Martyr offers a mixed narrative on backwoods retribution and spiritual redemption. I guess?
What wants to be another No Country for Old Men turned out to be a poorly-paced thriller with very little payoff. Though Drew’s vigilante path had a promising premise, the execution felt too loose and frankly too convenient.
Nicotera and Boone are formidable in their roles, but that’s about it. Manson’s character, Pope, seems intriguing because he prowls like the shark in Jaws. It could also be argued that Pope’s a literal stand-in for Death: he’s starkly pale, dressed in black, and the only way to find him is by crossing a river after bargaining at the gate. If only his performance was as alluring. Additionally, the supporting cast leaves much to be desired.
It’s just not that good.
A small synopsis for anyone who somehow missed the 1990 miniseries or had never read the book: After the disappearance of his little brother Georgie, teenage Bill Denbrough and his group of misfit buddies (“The Loser Club”) unravel the evil lurking within the small town of Derry, Maine. This evil literally feeds on fear, thusly preying upon children at their most vulnerable, all while personified as a friendly clown named Pennywise.
Having been raised with the original, and have taken a retrospective look at it plenty of times, I can confidently say that I prefer this remake despite the iconicity of Tim Curry’s performance. (Or is it a reboot? I feel like I used to know the difference, but now I think they’re one and the same.)
Additionally I read the book years and years ago, so though I couldn’t make an accurate comparison, I am thrilled to bits that this film did NOT include one of the most pointlessly disturbing scenes in Stephen King lore.
A key difference is this story is based in the 1980s – the time in American history when every high school/college was rampant with homicidal bullies. This is a welcomed change, as modernizing provides different options for altering the fears just enough, making them more general to any audience. For instance, not every kid grew up fearing the Mummy, but I’m pretty sure every kid has seen a picture that genuinely shook them to the point of averting their eyes in the event of reoccurring glances.
Generalizing like this creates a sense of timelessness, altering how the Losers face their fears: The original relies on superstition and denial, i.e. silver and “battery acid” (aptly childish), whereas the remake has more bravery and determination, i.e. standing up and beating the ever-loving crap out of him (violent, but ultimately satisfying).
And as the Losers conquer their fears, the heaviness and permanence of the world topples with it, creating a coming-of-age/innocence lost experience with a startling degree of depth and humor, not unlike Stand By Me.
As far as scares go, It ultimately creates an atmosphere that amplifies the children’s’ fears without pandering to an adult audience. Each trauma is genuinely scary, and I appreciate that. I found Bill Skarsgård’s portrayal of Pennywise to be absolutely enthralling: his movements and demeanor flip from playful to utterly disturbing without missing a beat.
The physical design of the character has a more literal sense of mentioned timelessness, implying that this creature has been around for centuries, but knows to lure children all you need is a goofy outfit and a big smile. Or clowns have always been creepy no matter what the era. Especially if they drool on you.
It is a great start for this Halloween season. With any luck, I’ll be seeing mother! next.
Remember that amazing “Don’t Stop Me Now” sequence from Shaun of the Dead?
If it’s been a while, here’s a refresher:
Now if you take that and mix it with this Mint Royale video, then stretch it out for about two hours, you get Baby Driver in a nutshell.
To break it down, after a run-in with a kingpin called Doc (Kevin Spacey), Baby (Ansel Elgort) is a reluctant driver for a small crime syndicate. Alas, as soon as things start going a little too well for Baby, a new player named Bats (Jamie Foxx) joins the crew, and it all descends into a high-octane venture of guts and gunplay.
From start to finish, I was completely entertained and intrigued: Baby Driver is a visual salad consisting of coordination and references (worth re-watching for), complete with a killer soundtrack to oomph every beat.
I immediately bought the soundtrack after seeing this movie, and plan on keeping it in my car for a very long time. This movie was made with such precision and love for music and tempo – I’d be amazed if this isn’t up for an Oscar for editing alone. Edgar Wright is no stranger to clever beats, but to have the characters move in time with the soundtrack – it’s just so cool.
However, there is something that bothers me a lot. Not just that Baby had both the best and worst luck at any given moment (how did Buddy not die the first time!?), nor that Debora was a casual manic-pixie-dreamgirl.
It’s just, how in the world, considering Doc’s shrewd meticulousness, would he EVER want to work with Bats again? Additionally, why wouldn’t Doc mention that they were meeting with crooked cops? Would it have been such a risk to inform them beforehand? Also, considering Baby’s literal life of crime and socio-economic status, I think it goes without saying that he got off way too easily in the end.
Albeit, this is the world of action movies, and sometimes you have to remember that some things just happen because the plot says so. Nit-picks and plot-holes aside, Baby Driver is still an incredibly entertaining, original film with its own merits.
Usually I put a synopsis first, but I’ll put a trailer here instead – as it captures the intensity and atmosphere of this film much better than I could:
From beginning to end, this movie keeps you hooked. Jordan Peele uses a racist lens to focus on social discomfort and biases, in order to imbue a terrible, persistent dread over the viewer, which I believe is a new kind of horror experience.
The trailer actually captures a lot of the movie – just go see it, then read this. Here there be spoilers.
Rather than being about straight-up racism, it seems to be more about correlation, if not “accidental racism,” which are due to the effects of social standards overtime, which is the much more unfortunate elephant in the room. Except for that cop. And the brother. And half of those old people…
It would seem that this film, while focusing on bigotry, highlights the “whitification” of African Americans in a near comically uncomfortable manner. But as the twist is revealed, it can also be argued that Get Out is more of a cheeky stab at cultural appropriation – all these rich white folks are practically dying for a chance at being black.
Either way, Peele captures the annoyingly contradictive nature of white America: “either be more white or let us be more black.”
Something I am unsure of though: Was the film implying that white people think black people are easy to manipulate? Or, that it’s the privileged white man’s responsibility to use the black man (going off of Dean’s spiel about Chris’s “purpose”)? Furthermore, are both parties expected to partake in this kind of relationship due to institutionalized racism? I dunno, but it’s food for thought.
After building on all of these implications and inferences, I felt that the most terrifying scene was when the flashing lights approach our bloodied protagonist. The cop angle would have been the absolute nail-in-the-coffin as far as this film’s social commentary goes. Fortunately, the actual ending is much better.
Get Out is a refreshing take on horror-comedy, chocked full of tension, intrigue, and most importantly, creative criticism.
Literally working oneself to death is far from a new concept – in fact, Japan even has a word for it: karōshi. With the ever-daunting stress of the working world, it’s no wonder that those privileged enough would seek whatever means necessary to find a sense of ease, namely in the form of “wellness retreats.”
When the CEO of a million-dollar-bigwig-somethingorother, finds himself lost in the wiles of the Volmer Institute, the company sends their youngest board member, Lockhart (Dan DeHaan) to fetch him back.
Tucked away in the Swiss Alps, the Volmer Institute is a private establishment that prides itself in the finest in quality care, taking advantage of all the environment has to offer – namely the water source.
Once Lockhart finds getting his boss out is more difficult than imagined, it becomes far more clear that these doctors are up to a much more sinister agenda.
As much as I hate to say it, I think there’s such a thing as atmospheric over-saturation. If you want a movie that looks like a beautiful screensaver, you got it. Well, if you like eels, that is.
Initially, I was intrigued. The trailer did it’s job. That and I’m a sucker for institutional psychological thrillers. As the story progressed, I was drawn in even more. However, there was a noticeable drag. In fact, there’s really no reason for this film to be 2.5hrs long – we could have easily lost an accumulative hour of atmospheric shots and Mia Goth being ogled.
Admittedly, it was the story that kept me interested, as opposed to actual character development – which is to say there was none. The protagonist remains static, the obviously evil doctor is evil, and the doe-eyed damsel is the personification of the virgin-whore complex.
Hannah’s character is innocent while curiously alluring – locked in an ivory tower like a depressive pixie dream girl, wistfully humming and wandering barefoot.
And on the note of women in this film, I’m pretty sure Gore Verbinski doesn’t know how periods work. (I’m just saying, there was a concerning amount of blood…but I guess it is a horror movie…)
Snark aside, A Cure for Wellness is a gorgeous movie. It does its best to channel new-Hollywood atmospheric horror while playing up visceral scares for maximum discomfort (albeit, the CGI was not good). Though it has the makings of a successful horror story, the results leave this story rather underwhelming.
As a Mighty Boosh fan, this was running through my head throughout the film – enjoy.
I recognize I’m terribly late on this write-up, but near the end of this season I was terribly distracted by Channel Zero, Westworld, The OA, and most recently, Jojo’s Bizarre Adventure. But considering the news dropping for Season 7, better late than never, right?
Season six of Ryan Murphy’s on-going horror escapade was easily the most divisive: Between the show-within-a-show framing and found footage over-saturation, this is probably the most unique season to date. But does that make it good?
Usually I’d start with the opening theme, but controversially, there wasn’t one for Season 6. Fortunately I found this fan-video, which might be better than the actual season itself:
Let’s get down to it
When approaching this season, there’s a lot to wrap one’s head around – namely the meta-quality of “My Roanoke Nightmare.” Initially I was against this method of story-telling, because as much as I love cheesy ghost story shows, it is common knowledge that reenacting is seldom relied upon. So for “Roanoke Nightmare” to not only consist of 90% reenactment, but to have such a crazy fandom after the fact, that’s fairly hard to believe. All you can really do is accept that this branch of television is widely accepted in this universe (the “Murphyverse,” if you will).
Once it’s understood that there are many-a-layers, it’s easy to roll with the punches on this one. That doesn’t mean there still aren’t any inconsistencies. (I still don’t know what the teeth are all about.) But, it does hit on all of the previous AHS tropes: Mommy Issues, Monster, and Something Incredibly Uncomfortable (my vote goes to the Polks, followed by first-person immolation). Not to mention, this is the first season to reference all of the previous seasons (well, the Hotel one was kinda loose, but I’ll let it slide).
My favorite part of this season was when we as viewers finally saw the ghosts as they were meant to be seen – and they are hella spooky. Initially, it is a cheap trick to rely so much on the popularity of found-footage, but to use this technique to alter the viewing experience as such was a fantastic exploit of the medium.
My second-favorite part, what I like to call the redemption of Kathy Bates. Her character, Agnes Mary Winstead, was genuinely uncomfortable to witness. I felt like her contribution to this season was a way to show younger, or unfamiliar, viewers her prowess.
Speaking of younger viewers, when Dominic Banks goes on his soliloquy about being a reality villain, is Real World still relevant? Does anyone under 20 know who Puck is? Either way, the second act is my favorite part of this season, hands down.
Where it drops the ball
Personally, I really didn’t care for the third act. As glad as I was to see Lana Banana again, I wasn’t terribly interested in Lee Harris’ fate.
The trouble is, I’m not sure where the show would have gone afterwards.
Perhaps the larger issue is that the more interesting part of this season wasn’t so much the main characters, but the ghosts themselves – like if Murder House didn’t have Jessica Lange to ground it.
In all, AHS: Roanoke was a great deviation from the rest of the series, albeit a tad half-baked.
Roughly a year ago, Kevin Smith released Tusk into the world. Though it was not received kindly, behind the scenes of the grotesque adventure was an entirely different scenario – a time of family bonding and friendship, as it were. After seeing his daughter and her best friend behind the clerk’s counter, Smith was inspired to weave a new story just for them.
And what a tale it is.
Yoga Hosers stars Harley Smith and Lily-Rose Depp as Colleen McKenzie and Colleen Collette, respectively. These two sophomores love to hang out, jam, and practice yoga. The only thing spoiling their precious youth is their part-time job at the local convenience store Eh-to-Zed.
One fateful day, everything changes for the Colleen Coalition: they are unexpectedly invited to a Year 12 Party! OMG! 😂
Frankly the first half-hour of the movie is pedantic teen nonsense with some Smodisms tossed in – but when Guy Lapointe (Johnny Depp reprising the role) steps in, things get really weird, and so much more fun. What begins as a teen romp snowballs (heheh) into a cascade of B-movie mayhem, with bratwurst Natzis. Bratzis.
This film was a family affair – chocked full of cameos (including both the girls’ families), references and easter-eggs. It’s obvious everyone was having fun on this one. Needless to say I am still looking forward to the final chapter of the True North Trilogy, Moose Jaws (which is like Jaws, but with a moose).
Though the intentions were good, this portrayal of teenage girls was painfully pandering, to the point of being embarrassingly condescending. Also are undergrads trying to get into senior parties still a thing? (Was it ever a thing?)
Considering this was aimed towards modern teen girls, but features 80’s/90’s references, it’s hard to figure out who this movie’s really aimed at.
The “What the f*ck?”
Is it weird that I thought the bratzis were strangely adorable? …Did you know that is the same voice he uses to speak to his dogs? (Coincidently, Smith’s dachshund, Shecky, also makes a cameo.)
In all, this movie’s pretty fun. Dumb, but fun.
Aliens have finally made contact, and the first thing we need to know is, “Why are they here?” In order to find out, the military commissions linguist Dr. Louise Banks (Amy Adams) to head a team to break the enigmatic creatures’ code. As Louise draws closer, the rest of the world grows weary, edging on the brink of an intergalactic war.
Arrival is an incredibly refreshing take on the alien genre. Rather than focusing on the fear, the overall narrative is based knowledge through communication. Usually the rule for filmmaking is “show, not tell,” so to have a story based around speaking, this grand undertaking is anything but boring.
Of course, fear comes into play – and when it does, it’s absolutely infuriating. In fact, I think it was wrong to demonize the military/government as this film did; yes, they couldn’t inform the public of anything in the event that they were terribly wrong, but – as we’ve established with the power of communication – words are better than silence, but it takes time to produce the right words.
Additionally, I feel that a lot of subtlety was lost in this story – and frankly, I’m not sure how to feel about it: Between the circular nature of their language/time, to crossing literal barriers, it’s that fine line between clever and overdone.
Many folks claim that this is a film that will restore your faith in humanity. I say that’s a stretch, but it’s certainly a story we could use right now. In all, Arrival is an unexpectedly lovely film worth the watch.
…This has been stuck in my head ever since.