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  • Venom: The Last Dance (2024)

    Venom: The Last Dance (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]Despite mixed reviews, Venom: Let There Be Carnage grossed over $500 million worldwide, becoming the seventh-highest-grossing film of the year. At CinemaCon 2022, Sony announced a third film was in production, with Kelly Marcel returning to write the screenplay. Though Andy Serkis expressed interest in returning, scheduling conflicts prevented this, so Marcel stepped up, making this her directorial debut. In addition to co-writing the film with Marcel, Tom Hardy returned to star alongside newcomers Juno Temple and Chiwetel Ejiofor. With a $120 million budget, filming started in June 2023 in Spain but stalled due to the SAG-AFTRA strike. Filming resumed in November and concluded in February 2024, with the title revealed in March. Due to the delays, Sony pushed the release date to November 2024 before moving it forward to October. Venom: The Last Dance premiered in New York on October 21, 2024, before hitting US theaters four days later.

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    Synopsis

    Eddie Brock (Tom Hardy) and Venom are on the run after being accused of murdering Patrick Mulligan (Stephen Graham). Little do they know that Knull (Andy Serkis), the creator of the Symbiotes, is after them. He’s sent a creature called a Xenophage to find them because they hold the key to free him from imprisonment. These events catch the attention of Commander Rex Strickland (Chiwetel Ejiofor), overseeing Imperium, an organization studying the Symbiotes. Though Dr. Teddy Payne (Juno Temple) wants to research the Symbiotes, Strickland wants to eradicate them. While running from the Xenophage and Imperium, Eddie hitches a ride with Martin (Rhys Ifans) and his family to Vegas. Unfortunately, Imperium captures Eddie, separates him from Venom, and locks him in Area 51 when the Xenophage attacks. With the world’s fate at stake again, Eddie and Venom must make the ultimate sacrifice to stop Knull.

     

    Review

    If you’ve seen the first two movies and loved them, Venom: The Last Dance will undoubtedly entertain you. It has the same look and feel as the odd comic book movies made in the mid-2000s. Granted, thanks to Deadpool & Wolverine, this era of superhero movies is somewhat nostalgic, but not so here. This movie reminds us why that era was problematic, though it has issues similar to recent ones. There’s a weird mix of goofy antics and serious military/conspiracy drama, and neither element gels well together. It feels like co-writer/director Kelly Marcel and co-writer/actor Tom Hardy had plenty of ideas but no clear direction. Like the first two movies, this is a confused mess of ideas and plot points that only exist for convenience. Things happen that only make sense in that they advance the story, no matter how ridiculous.

    One of this trilogy’s few strengths is Tom Hardy’s portrayal of Eddie Brock and his relationship with Venom. This film expands that relationship further and makes it essentially a road movie, ala Planes, Trains, and Automobiles. Seeing the two bicker and argue is where most of the movie’s humor comes from, and it works great. Adding to that is Rhys Ifans as a hippie dad who’s obsessed with visiting Area 51 with his family. However, as entertaining as they were initially, the movie keeps bringing them back when they’re not needed. Speaking of Ifans, there are a lot of actors who feel underutilized here, including Juno Temple and Chiwetel Ejiofor. Ejiofor’s character, in particular, feels like anyone could’ve played him, and it wouldn’t have changed anything. Say what you will about the second movie, but at least Woody Harrelson was a welcome addition.

    Like many modern superhero movies, the last act is just one big battle with CGI overload. While seeing all these symbiotes fighting giant aliens is somewhat fun, it’s nothing we haven’t seen before. The third act feels reminiscent of the 2023 Spider-Man 2 video game but without a riveting story and interesting characters. That said, Kelly Marcel’s direction isn’t terrible, and I hope she gets better projects to work on. Plus, the movie is only an hour and 49 minutes long, a bit long but not too long. As I mentioned at the start of this review, you already know whether you will see this. If you adore the first two, you’ll love this, but if not, this won’t convert you. Overall, Venom: The Last Dance is a mediocre finale to a trilogy that had potential but squandered it. But, at least it’s better than Morbius.

     

    Buy Venom: The Last Dance from Amazon: https://amzn.to/3M3UywE.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Venom: The Last Dance (2024)

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  • Join FilmNerd at Church of Chills

    Join FilmNerd at Church of Chills

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]This Saturday, October 26th, FilmNerd will attend Full Moon Features’ Church of Chills event in Cleveland. If you’re in the area, tickets are $125, and only 200 tickets will be available. Full Moon also set up a live stream through Moment for only $10 for those who can’t make it. Those who arrive in person will get a Gingerdead Man tin collection, generally priced at $120, FOR FREE! A unique blood-splattered Blade replica will also be available only to attendees for purchase. Alongside Charles Band will be Robin Sydney (The Gingerdead Man), Andrew Divoff (Oblivion), and Dana DeLorenzo (Ash vs. Evil Dead). There will also be a private screening of Death Streamer, the latest film in Full Moon’s Pulp Noir series. Find out more information about the event at ChurchOfChills.com. Come join us for what’s sure to be an unforgettable event!

     

    From Full Moon Features,

    “ONE NIGHT ONLY! Get ready to see the rebirth of the legendary Full Moon roadshow as Charles Band’s Church of Chills opens its doors to the public for the first time! Join Charlie and a cavalcade of horror and pop culture celebrities at Full Moon’s haunted 130  year old church! Witness an UNCUT screening of DEATH STREAMER, the latest entry in Full Moon’s “Pulp Noir” series, for the first time! See the sights, sounds and other freaky stuff that only Charlie Band can deliver! Tickets on sale NOW and only 200 will be sold! Stay tuned to this page for updates as they come!

    For those of you who cannot come to Cleveland to experience this madness first hand, we have set up an easy, exciting way for you to attend VIRTUALLY through Patreon’s MOMENT program for only $10! Click HERE for more details!You don’t wanna miss this!”

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  • Smile 2 (2024)

    Smile 2 (2024)

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    2022’s Smile was a surprise hit, grossing over $217 million worldwide against a $17 million budget. Following its success, Paramount Pictures gave writer/director Parker Finn a first-look deal to develop future projects. At CinemaCon 2023, Paramount announced that a sequel was in pre-production, with Finn returning to write and direct. Finn intentionally left certain elements ambiguous, hoping to explore those themes in a sequel that would be significantly different. Rather than making a direct sequel or retreading the first film, Finn wanted to make something different but familiar. Aside from Kyle Gallner returning, the new cast included Naomi Scott, Lukas Gage, Rosemarie DeWitt, Dylan Gelula, and Raúl Castillo. With a bigger budget of $28 million, filming occurred between January and March 2024 in and around Hudson Valley. After tons of anticipation and hype, Smile 2 hit theaters in October 2024.

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    Synopsis

    Pop star Skye Riley (Naomi Scott) is preparing a comeback after struggles with substance abuse and a near-fatal car crash. Her mother/manager, Elizabeth (Rosemarie DeWitt), and their assistant, Joshua (Miles Gutierrez-Riley), constantly monitor her. Going behind their back, Skye buys pain medication from local drug dealer Lewis Frugoli (Lukas Gage), who’s been acting erratic. After raving about seeing something Skye can’t see, Lewis smiles as he bludgeons himself to death with a weight. Soon, she starts seeing visions of people smiling and terrifying her, which inadvertently lands her in more trouble. At the same time, Skye reconnects with her old friend, Gemma (Dylan Gelula), and confides in her about what’s happening. As the first concert of the tour approaches, Skye questions her sanity and debates quitting against her mother’s wishes. Will Skye regain her sanity and beat this entity, or will she be another victim of the smile?

     

    Review

    When I saw the first film, I was surprised at how good it was and how much I enjoyed it. Sure, the movie suffered from fake jump scares and borrowed from other movies, but Parker Finn showed plenty of potential. With Smile 2, Finn learned from the original’s criticisms and made a sequel that surpasses it and then some. Like its predecessor, the film explores themes of trauma and PTSD, along with guilt, redemption, and the pressures of stardom. Like Sosie Bacon in the first film, Naomi Scott is the central driving force, delivering an excellent performance. She shows plenty of vulnerability as her sanity deteriorates and her stress increases from the pressures placed upon her. The rest of the cast do a fantastic job, particularly Rosemarie DeWitt, Dylan Gelula, and Kyle Gallner. Also noteworthy is Ray Nicholson, son of Jack Nicholson, who delivers an equally wicked smile.

    Cinematographer Charlie Sarroff returns to deliver excellent camerawork and visuals that heighten the tension. Like before, plenty of overhead views, upside-down shots, and sweeping camera moves make the film feel more dynamic. Additionally, some quick-cut editing mixed with long tracking shots helps create a sense of unease that permeates throughout. Much like A Nightmare on Elm Street, there are moments when you’re unsure if what you see is real. Parker Finn does a great job putting you in Skye’s mindset and questioning everything around you as it unfolds. Also, the film earns its R-rating with tons of blood and gore, but it isn’t used gratuitously. Instead, the bloodier moments are more like the payoff to the tension that gradually builds as the scenes play out. Some scenes cut away from the gorier details and are just as effective as the bloodier scenes.

    While this film is much stronger than its predecessor, some of the original’s flaws creep in here. For instance, there are several jump scares like in the original, though they’re more earned and less frequent than before. Also, the second act tends to drag as there are scenes of nothing happening that go on for too long. Thankfully, things pick up in the third act as Skye struggles to defeat the entity and regain control. Some audiences might also bemoan that the movie doesn’t explain much about the entity causing this. I’m ok with the filmmakers leaving its nature vague, but if you’re looking for answers, you won’t find them here. Still, this is one of those rare instances where the sequel outdoes the original in many ways. Overall, Smile 2 expands on what made the first film work, delivering great characters, excellent cinematography, and a riveting story.

    Smile 2 opens on October 18th only in theaters.

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  • The Substance (2024)

    The Substance (2024)

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    Since she was a teenager, Coralie Fargeat has dreamed of becoming a filmmaker focusing on genre films. After graduating from La Fémis, she made her first short film, The Telegram, in 2003, which won 13 festival awards. She followed this up with the 2014 short Reality+ before making her feature film debut with 2017’s Revenge. The film won at the CinEuphoria Awards, the Calgary Underground Film Festival, and the Bucheon International Fantastic Film Festival. This success led to her getting to direct an episode of the Netflix series The Sandman. For her follow-up feature, Fargeat wrote a story that tapped into themes of feminism, beauty standards, and ageism. She signed Demi Moore, Margaret Qualley, and Ray Liotta, only for Dennis Quaid to replace Liotta after his death. After premiering at The Cannes Film Festival, The Substance hit US and UK screens in September 2024.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    On her 50th birthday, actress Elisabeth Sparkle (Demi Moore) discovers she’s being kicked off her long-running aerobics show. She learns from her producer, Harvey (Dennis Quaid), that she’s no longer hosting because of her age. After being hospitalized for a car crash, Elisabeth learns about The Substance, a drug that promises a better, younger you. The catch is that both the original and the duplicate must switch every seven days and maintain the other. Elisabeth orders The Substance and uses it, creating a younger duplicate, Sue (Margaret Qualley), that replaces her TV show. Despite sharing the same consciousness, Elisabeth and Sue clash, disregarding the supplier’s instructions to remain symbiotic. As Sue continues thriving, Elisabeth slowly deteriorates both mentally and physically as Sue drains the life out of her. But how far are either willing to go to maintain control, and is the price worth it?

     

    Review

    The Substance is one of the wildest, most clever, and most outrageous body horror films I’ve seen recently. You get the sense that filmmakers like John Carpenter, Brian Yuzna, and David Cronenberg inspired Coralie Fargeat. Like those directors, Fargeat managed to craft a cleverly satirical story mixed in with gruesome body horror and outrageous gore. This film isn’t for those with weak stomachs, as this film has pretty graphic imagery. Thankfully, there’s a gradual build-up to the gore so you can engage with the story and characters beforehand. You’ll find a biting satire of body image, society’s expectations, ageism, and the destructive power of celebrity. The cinematography exemplifies this message, showing women in intentionally provocative ways contrasted with otherwise repulsive imagery. Some may bemoan that not everything is explained, but that would detract from the film’s focus.

    Demi Moore gives easily the best performance of her career as the aging star Elisabeth Sparkle. She shows a more vulnerable side than before and ultimately gives herself over to the part. Seeing her gradually spiral out of control as she fights for control is mesmerizing, and she holds it together. Moore is living proof that, no matter how old you are, you can still give an excellent performance. Margaret Qualley also performs excellently as the younger duplicate Sue, the polar opposite of Elisabeth. Like Moore, she shows a lot of vulnerability and a more manipulative side that’s fun to watch. She knows what she’s got and uses it to her advantage, even if it drains her matrix. She and Moore are perfectly cast opposite one another. Even Dennis Quaid, who has limited screen time, steals the show as the delightfully sleazy and pompous producer.

    While it’s clear that other filmmakers influenced her, Coralie Fargeat manages to add her unique spin. This movie is one of those films that lives up to the hype thrown onto it, even surpassing expectations. Going into this, I had no idea what to expect, and I’m glad because going blind was ideal. It’s also surprising that the film is almost two and a half hours long, but it doesn’t feel like it. The movie moves so steadily that it goes by quickly without feeling like it’s rushing to the end. Much like Everything Everywhere All at Once, this film proves that there’s still some originality in Hollywood. If you have a strong stomach and are looking for something different and unique, this movie is highly recommended. Overall, The Substance is an instant classic with excellent performances, a cleverly wicked story, and outrageous body horror.

     

    Buy The Substance from Amazon: https://amzn.to/49dLOxI.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch The Substance (2024)

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  • Joker: Folie à Deux (2024)

    Joker: Folie à Deux (2024)

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    2019’s Joker grossed over $1 billion worldwide against a $55 million budget, becoming the sixth highest-grossing film of the year. The film also earned widespread acclaim, winning Oscars for Best Actor and Best Original Score on top of nine nominations. While writer/director Todd Phillips intended the movie to be standalone, Warner Bros. pushed for a sequel. Phillips and Joaquin Phoenix initially conceived of a Broadway sequel show, but they scrapped those plans due to COVID-19. In 2022, Phillips announced a sequel was in development, with a script written by him and Scott Silver. That summer, Lady Gaga announced her casting as Harley Quinn, along with Brendan Gleeson, Catherine Keener, and Jacob Lofland joining. Filming lasted from December 2022 to April 2023 in New York and Los Angeles with a substantial $200 million budget. After premiering at the Venice International Film Festival, Joker: Folie à Deux opened worldwide in October 2024.

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    Synopsis

    Two years after the last film, Arthur Fleck (Joaquin Phoenix) is locked away in Arkham State Hospital awaiting trial. While everyone believes that he’s guilty, his lawyer, Maryanne Stewart (Catherine Keener), believes he suffers from a split personality. One day, Arthur meets fellow patient Harleen “Lee” Quinzel (Lady Gaga), and the two fall head-over-heels for each other. Though Maryanne pleads for Arthur’s mental instability, Lee wants him to embrace his Joker personality and take charge. At the trial, Assistant District Attorney Harvey Dent (Harry Lawtey) doesn’t believe Arthur is mentally unwell but is fully aware. The trial becomes a media frenzy, with one side seeking the death penalty and the other making Arthur a hero. As Maryanne argues to try helping Arthur, Lee pulls him further and further into embracing who he truly is: Joker. The outcome of this trial will forever change Gotham City as we know it.

     

    Review

    You can say what you will about the original, but you can tell Todd Phillips wanted to make it. Joker: Folie à Deux wreaks of a sequel made only to capitalize off the first film’s success. This movie is such a jumbled mess of ideas that you wonder if anyone knew what they wanted to make. It’s part psychological thriller, part courtroom drama, and part musical, but none of these tones gel cohesively. While the concept of The Joker on trial has potential, it’s a thinly veiled excuse to dump tons of exposition. Whereas the original was well-paced and straightforward, this film is so all over the place that it’s hard to focus. It doesn’t help that the film is littered with many musical numbers that offer little to nothing to the story. That might’ve worked for the Broadway show, but it doesn’t translate well to film.

    To get into some of the positives, the performances across the board are good, with Joaquin Phoenix again excelling. As easy as it would’ve been to phone it in, Phoenix goes for it and commits himself to the part. Though unconventional, Lady Gaga does an excellent job as a reimagined Harley Quinn and has great chemistry with Phoenix. As out of place as the musical numbers are, Gaga is a talented singer, and Phoenix works well opposite her. Catherine Keener and Brendan Gleeson are terrific as always, and Leigh Gill has arguably the movie’s best scene. Lawrence Sher’s cinematography is excellent, Hildur Guðnadóttir’s score is as haunting as ever, and the production design is solid. The filmmakers did their best to retain the same grim and gritty feel from the previous film and succeeded. It’s too bad they didn’t devote as much time to the story.

    Discussing the story issues is challenging since they involve spoilers, but suffice it to say they’re rough. So much of this movie goes against what the first one established that it feels like an anti-sequel. As grim and nihilistic as the original was, you felt like you went on a fulfilling journey by the end. With this, you’re left with this feeling of fulfillment that makes you wonder if the trip was even worth it. I’m convinced that Warner Bros. forced Phillips to produce a sequel, and he retaliated by making this to spite them. It would explain all the scenes in the trailer that didn’t make the final cut that sell a different movie. At two hours and 18 minutes, the film is a slog to get through and not worth your time. Overall, Joker: Folie à Deux is a reminder that some movies should be left alone. 

     

    Joker: Folie à Deux is currently playing in theaters nationwide.

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  • Transformers One (2024)

    Transformers One (2024)

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    After the release of Transformers: Age of Extinction, Paramount set up a writer’s room for future films in the franchise. One idea that gained traction was an animated prequel that explored the origins of the Autobot-Decepticon war. Following his departure from Pixar in 2020, the studio hired Toy Story 4 director Josh Cooley to helm the project. Andrew Barrer and Gabriel Ferrari signed on to write the story, and Eric Pearson joined in on co-writing the script. Like the ’86 animated movie, the cast included stars like Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, and Keegan-Michael Key. Industrial Light & Magic handled the animation, blending the look of the G1 cartoon with Art Deco. Paramount gave the film a $75 million budget, though some sources claimed it’s closer to $147 million. Regardless, Transformers One premiered in Sydney in September 2024, with its US release following soon after.

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    Synopsis

    On Cybertron, the inhabitants have been suffering from an energy crisis after their power source, the Matrix of Leadership, disappeared. Their leader, Sentinel Prime (Jon Hamm), has led expeditions to the planet’s surface to find the Matrix without much luck. Meanwhile, mining robots Orion Pax (Chris Hemsworth) and D-16 (Brian Tyree Henry) uncover a hidden message with embedded coordinates. Said coordinates lead to the last known location of The Primes, a group of robots tasked with guarding the Matrix. Along with Elita-1 (Scarlett Johansson) and B-127 (Keegan Michael-Key), Orion and D-16 explore the surface of Cybertron. They find Alpha Trion (Laurence Fishburne), the last of the Primes, who bestows great power on our heroes. Unfortunately, he also reveals truths that shatter their reality, with D-16 furious and declaring vengeance. Will Orion and D-16 remain friends, and how will their decisions shape the future of Cybertron?

     

    Review

    The last few years have been great for the Transformers film franchise, and Transformers: One is no exception. I’d put this film on par with The Transformers: The Movie from 1986, which shares many similarities. For one, they can tell their stories in under two hours, putting them above any of the Michael Bay movies. Also, while both have a young audience in mind, older audiences can enjoy aspects of the film. In some regards, I’d say this is even better than the ’86 movie, though not without some caveats. Despite the ’86 movie’s enjoyability, the story feels cobbled together, and unless you’re a fan, you’ll be lost entirely. Here, the story is much more cohesive, and general audiences can get invested without prior knowledge of the franchise. There are plenty of nods and references for the fans, but most are not so overt that they’re distracting.

    Given that this was his first animated feature, Chris Hemsworth does a great job voicing Orion Pax. While there’s some influence of Peter Cullen, it’s clear that Hemsworth injected enough charisma to make the performance his own. Brian Tyree Henry is the biggest stand-out as the voice of D-16, bringing a side of Megatron never seen before. You see how he started as someone content with life and slowly grew to resent the authority he initially admired. The film shows how their lifelong friendship gradually deteriorates until it reaches a boiling point without feeling forced or sudden. Jon Hamm is also great playing an over-confident and smarmy Sentinel Prime, though it makes sense why he’s beloved. Scarlett Johansson and Keegan Michael-Key are solid in their respective roles, and Laurence Fishburne is excellent, as always. In general, the cast is great and helps to bring these characters to life.

    While known more for their effects work than their animation, ILM did a fantastic job bringing Cybertron to life. It looks incredible between the bright and colorful Iacon City, the dark and dinghy mines, and the organically rich surface. One of my only complaints is that some of the humor overstays its welcome, with jokes repeated ad nauseam. Thankfully, the film never knows when to dial the jokes back and focus on the more dramatic moments. Also, it’s easy to get lost in the action sequences, between all the bright colors, quick cuts, and flashy visuals. Still, the story and characters are strong enough that you still care what happens during the more action-heavy scenes. Still, regardless of your knowledge of the franchise or how old you are, there’s something for everyone to enjoy. Overall, Transformers: One will satisfy lifelong fans and newcomers to the ongoing franchise.

     

    Transformers One is currently playing in theaters nationwide.

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  • Friday the 13th Part VI: Jason Lives (1986)

    Friday the 13th Part VI: Jason Lives (1986)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]Despite grossing $21.9 million against a $2.2 million budget, Friday the 13th: A New Beginning received backlash from the fans. The studio intended to start a new trilogy with Tommy Jarvis as the central killer, but they scrapped the idea. Paramount hired Tom McLoughlin, who made his directorial debut with 1982’s One Dark Night, for the next installment. Producer Frank Mancuso Jr. gave McLoughlin creative control on the condition that Jason return as the central villain. Since the studio decided to retcon the previous installment, none of the surviving actors, including John Shepherd, returned. Instead, Thom Matthews, who starred in 1985’s Return of the Living Dead, took on the role of Tommy Jarvis. Filming occurred in Covington, Georgia, with Camp Daniel Morgan standing in for the rechristened Camp Forest Green. After some disagreements with the producers, Friday the 13th Part VI: Jason Lives slashed onto screens in August 1986.

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    Synopsis

    Still haunted by his childhood trauma, Tommy Jarvis (Thom Matthews) returns to Crystal Lake to finish what he started. He comes to burn Jason’s body, but a freak bolt of lightning brings the killer back from the dead. Now supercharged and undead, Jason Voorhees (C.J. Graham) stalks the woods of Crystal Lake, now Forest Green, for victims. Tommy tries warning Sheriff Mike Garris (David Kagen), but he doesn’t believe him and locks Tommy in jail. Meanwhile, the sheriff’s daughter Megan (Jennifer Cooke) leads a team of counselors heading up this year’s summer camp. Tommy’s warnings get brushed aside as the sheriff tries his damndest to keep Jason buried as an urban legend. Soon, bodies start piling up, and the sheriff suspects Tommy is killing people to make them think Jason has returned. Will Tommy stop Jason once and for all, or will Jason turn Forest Green into Camp Blood?

     

    Review

    Given how disappointing the last entry was, Friday the 13th Part VI: Jason Lives is a breath of fresh air. The pre-credits sequence perfectly sets the tone, combining an old Universal monster movie and Jason. You’ve got the rolling fog, the spooky cemetery, the characters grave-robbing, and the monster brought to life by lightning. It’s more or less like Frankenstein, only if the creature wore a hockey mask and ripped people’s hearts out Kano-style. Top it off with a James Bond parody, and you have an opening that gets you in the proper mood. McLoughlin’s choice to include self-referential humor is a welcome addition, poking fun at the series while still being serious. Despite the funny scenarios, everyone takes it seriously, making it more humorous than if everyone played it for laughs. It’s easy to see where Kevin Williamson got some of his inspiration for the monster hit Scream.

    Though John Shepherd is missed, Thom Matthews makes for a great Tommy Jarvis, who is now older and more determined. He’s given much more to do and say this time and even has some lighthearted moments here and there. It’s a shame this was Jennifer Cooke’s last role because she’s fun as the wild and carefree Megan. She’s got great chemistry with Matthews, her back-and-forths with David Kagen’s sheriff are humorous, and she has gusto. C.J. Graham makes for one of the best Jasons in the series, giving a commanding presence while injecting some humor. However, while Jason himself isn’t funny, his deadpan reactions to everything around him are where the humor comes from. A great example is when he comes across a rocking RV, and he tilts his head in confusion. I guess no one told him, “If the van’s a-rockin’, don’t come a-knockin.’”

    Some fans might be disappointed that there’s no nudity here, but nudity alone doesn’t make a good slasher. Part 5 had the most nudity up to this point, and that’s considered one of the weaker entries. The kills make a good slasher, and this one has some inventive kills that are funny and gruesome. Seeing Jason rip someone’s heart out, twist someone’s head off, and bend someone backward demonstrates his new supernatural strength. Unfortunately, despite some great moments, the film’s pacing drags noticeably after the opening sequence, but not enough to ruin it. Also, despite the welcome addition of self-referential humor, the movie has the same plot as the previous installments. Despite that, this is easily one of the best entries in the series that delivers what the fans want. Overall, Friday the 13th Part VI: Jason Lives improves over what came before and introduces new elements to the franchise.

     

    Buy Friday the 13th Part VI: Jason Lives from Amazon: https://amzn.to/4dVAlT1.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Friday the 13th: Part VI – Jason Lives (1986)

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  • Speak No Evil (2024)

    Speak No Evil (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]Released in 2022, Christian Tafdrup’s Speak No Evil received widespread acclaim despite underperforming at the box office. The following year, Blumhouse Productions acquired the rights to remake the film for American audiences. The studio hired James Watkins, best known for The Woman in Black and Eden Lake, to write and direct. According to Watkins, this remake is the culmination of a discussion between him and Blumhouse that lasted 16 years. For the remake, Watkins chose to have Americans visiting a British family while retaining the original’s themes. In April 2023, actors James McAvoy and Mackenzie Davis signed on to star, with Scoot McNairy joining soon after. Filming occurred in Croatia and Gloucester that May, but the SAG-AFTRA strike suspended production until November. Following its NYC premiere, James Watkins’ Speak No Evil opened in theaters worldwide on September 13, 2024.

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    Synopsis

    Ben and Louise Dalton (Scoot McNairy and Mackenzie Davis) are vacationing in Italy with their daughter Agnes (Alix West Lefler). While there, they meet Paddy and Ciara (James McAvoy and Aisling Franciosi) and their mute son Ant (Dan Hough). Despite some reservations, the two families build a friendship, with the Daltons agreeing to spend the weekend with them. While things initially seem pleasant at their isolated countryside home, the Daltons, particularly Louise, start noticing odd things. Paddy and Ciara are open, carefree, and wild, whereas Ben and Louise are quieter and reserved. Things worsen when the Daltons notice Paddy becoming more unhinged and violent towards Ant while Ciara lets it happen. Through nonverbal cues, Ant reveals Paddy and Ciara’s dark secret to Agnes, signaling her parents that the vacation is over. What started as a pleasant getaway soon becomes a weekend of terror!

     

    Review

    Going into this, I had no idea what to expect, especially having not seen the original film. Judging this remake of Speak No Evil on its own merits, I found it enjoyably tense but not without problems. To get right into the positives, the cast, particularly James McAvoy, do a terrific job with the roles they’re given. While Split showed how he could be sympathetic and terrifying simultaneously, McAvoy manages to outdo that performance and then some. You initially like him because he’s charming, carefree, and calm, and he delivers his lines with tons of charisma. However, as time passes, you see the cracks in his facade, and he becomes more unhinged until he finally breaks. It’s similar to Kathy Bates in Misery, where she seems lovely and pleasant, but there’s something dark beneath that smile. McAvoy’s performance alone is worth the price of admission.

    Mackenzie Davis is also great as the vegetarian Louise, who quickly recognizes that things are somewhat off. She quickly takes charge of the situation and decides what to do without overshadowing her husband. Scoot McNairy as Ben is an interesting contrast to McAvoy’s Paddy, who is emasculated compared to Paddy’s take-charge attitude. While he makes some poor decisions, you see him progress to where he finally stands up and becomes a man. Aisling Franciosi works great off of McAvoy, playing up her demure quality while showing her sinister side. Dan Hough does a terrific job, especially considering his character can’t speak, relying on facial expressions and body language. As great as the cast is, many of their character arcs and progressions feel familiar and played out. It’s all handled well, but it’s nothing we haven’t seen in other movies.

    Also, the tone sometimes feels somewhat inconsistent, going from severe and tense to weirdly comedic and ludicrous. Granted, I saw it with an audience that talked back to the movie and laughed quite a bit. That said, I’m not sure if the comedic bits were supposed to be funny or if it was unintentional. Admittedly, the film has some genuinely funny dark humor, but I suspect it’s supposed to be more serious than comedic. That said, the third act is very entertaining, as our heroes hold themselves up against Paddy and Ciara. While the original supposedly had a bleaker ending, I think the more exciting finale works better for the remake. Still, this is an effective thriller that gradually builds tension until an explosive finale that keeps you hooked. Overall, Speak No Evil has issues, but the great cast and solid build-up make it worth a watch.

     

    Buy Speak No Evil from Amazon: https://amzn.to/40v6ZqL.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Beetlejuice Beetlejuice (2024)

    Beetlejuice Beetlejuice (2024)

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    Against a $15 million budget, Beetlejuice grossed $75 million, becoming the 10th highest-grossing film of the year. Additionally, the film was a critical success, winning the Oscar for Best Makeup and three Saturn Awards. Given its success, The Geffen Film Company wanted a sequel, with various writers coming on board to contribute scripts. Over the next decade-plus, Daniel Waters, Pamela Norris, and Kevin Smith either accepted or declined offers to rewrite the sequel. It wasn’t until 2011 that Warner Bros. hired Seth Grahame-Smith to write and produce the sequel with Burton. While Michael Keaton and Winona Ryder expressed interest, the studio scrapped the sequel in 2019 before resurrecting it in 2022. Under Plan B Entertainment, the sequel finally entered production, with many of the original cast and crew returning. After 36 years of development hell, Beetlejuice Beetlejuice finally hit theaters in September 2024.

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    Synopsis

    Lydia Deetz (Winona Ryder) now hosts a paranormal investigation show produced by her manager/lover, Rory (Justin Theroux). Tragically, Lydia gets word from her stepmother, Delia (Catherine O’Hara), that her father passed away. They pick up Lydia’s estranged daughter, Astrid (Jenna Ortega), who resents Lydia for focusing more on the show than her. After the funeral, Astrid meets a local boy, Jeremy (Arthur Conti), with whom she falls in love. Unfortunately, Astrid unintentionally opens a portal to The Afterlife, leaving Lydia with few options to save her daughter. She reluctantly summons Betelgeuse (Michael Keaton) to help rescue Astrid, which he’ll do if Lydia marries him. Meanwhile, Betelgeuse’s ex-wife Delores (Monica Bellucci) is after him, and ghost detective Wolf Jackson (Willem Dafoe) is in pursuit. Will Lydia repair the relationship with her daughter, and what devious schemes does Betelgeuse have cooking this time?

     

    Review

    Given how long it’s been since the original, it’s remarkable that Beetlejuice Beetlejuice is as good as it is. While it lacks the simplicity and even pacing of the first film, it retains its wild imagination and zany energy. You can tell that Tim Burton genuinely wanted to make this rather than the studio demanding he make a sequel. Like the first film, the production design and practical effects look incredible and add to the movie’s charm. While there are some CGI effects, they’re used in tandem with the practical effects rather than completely overshadowing them. Sadly, the memorable stop-motion effects fell victim to the CGI, but I understand it’s an expensive and time-consuming art form. To the VFX artists’ credit, they at least gave the CGI the same movement and fluidity as traditional stop-motion animation. Also, Danny Elfman delivers an excellent score, matching the original’s dark yet playful sensibilities.

    Like before, Michael Keaton is a joy to watch as he chews the scenery and spouts excellent one-liners. Thankfully, he’s only given slightly more screen time than the original instead of overloading the audience with him. Winona Ryder and Catherine O’Hara shine as older Lydia and Delia, and it’s great to see how their characters evolved. Jenna Ortega is also great as Lydia’s estranged daughter, bringing some of the same cynicism Ryder brought to the original. Justin Theroux and Willem Dafoe have their standout moments, and Danny Devito has a funny cameo as an undead janitor. Arthur Conti is also solid as Astrid’s love interest, and his reveal halfway into the movie is unexpected. Unfortunately, despite a fantastic introduction, Monica Bellucci feels underutilized and inconsequential to the film, only showing up here and there. You could’ve written her out, which wouldn’t have changed anything.

    That leads me to my biggest issue with the movie: a lack of focus and too many subplots. One of the reasons the original worked so well was that it had a relatively simple story to follow. Sure, there were a few subplots, but they tied into the main story and were resolved by the end. With the sequel, it feels like a new plot starts every 30 minutes only to get wrapped up haphazardly. Still, there’s never a dull moment, and the film flies by at an hour and 44 minutes. For a sequel to an iconic movie made almost 40 years later, this is probably the best we could’ve gotten. It’s not on par with legacy sequels like Mad Max: Fury Road or Top Gun: Maverick, but it could’ve been much worse. Overall, Beetlejuice Beetlejuice is a flawed but enjoyable companion piece to the 1988 classic.

     

    Beetlejuice Beetlejuice is currently playing in theaters nationwide.

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  • Beetlejuice (1988)

    Beetlejuice (1988)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]After Pee Wee’s Big Adventure became a surprise hit, Tim Burton got many offers, but none caught his attention. Around this time, writers Michael McDowell and Larry Wilson presented Burton with an oddball horror-comedy script, which he liked. McDowell and Wilson tried selling the screenplay to Universal, but they rejected it, and The Geffen Company picked it up. Warren Skaaren came on board to rewrite the script, adding more humor while toning down the more graphic material. Geffen greenlit the project for $15 million and suggested Michael Keaton for the title role of a paranormal bio-exorcist. The movie was shot between March and June 1987, with exteriors in East Corinth and interiors at Culver City. Warner Bros. had doubts about the film, but positive test screenings reassured them that everything would be fine. Tim Burton’s sophomore directorial outing Beetlejuice opened in theaters in March 1988.

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    Synopsis

    While vacationing at home, newlyweds Adam and Barbara Maitland (Alec Baldwin and Geena Davis) tragically die in a car accident. They return home, only to realize they’re dead, and Barbara’s sister Jane (Annie McEnroe) sold their house. The new owners are the Deetzes – Charles (Jeffrey Jones), his wife Delia (Catherine O’Hara), and his daughter Lydia (Winona Ryder). The Maitlands are horrified to see what Charles and Delia are doing to their house and want them out. Through the help of the Handbook for the Recently Deceased, the Maitlands meet their undead caseworker, Juno (Sylvia Sidney). She advises they scare the Deetzes out, but no one except for the strange and unusual Lydia can see them. Against Juno’s advice, the Maitlands recruit a self-proclaimed “bio-exorcist” named Betelgeuse (Michael Keaton), but he turns out to be troublesome. Can the living and dead coexist, and will Betelgeuse be stopped from wreaking havoc?

     

    Review

    Given the movie’s weird, bizarre, and off-beat nature, Beetlejuice shouldn’t work, but it does in a spectacular way. The tone is all over the place, the visuals are intentionally gaudy, and any sense of logic is nonexistent. What makes it work is the fantastic script, Tim Burton’s solid direction, and the memorable performances. Despite the wild visuals, the story is straightforward: people want to eliminate an invasive family, and a trickster manipulates them. It’s simple enough that anyone can relate but open-ended enough that it can lead to several opportunities. Additionally, portraying the afterlife as a bureaucracy is genius, essentially making something fantastical as mundane as the DMV. This choice also helps ground the film in an easily approachable reality without abandoning its bizarre foundation. These simple choices help make this movie beloved by both mainstream audiences and fans of niche genre cinema.

    Despite any reservations they might have had when reading the script, everyone in the cast does an excellent job. Alec Baldwin and Geena Davis make for a great suburban couple who find themselves in supernatural situations. Catherine O’Hara and Jeffrey Jones bounce off each other perfectly, with Jones’ more straight-laced businessman contrasting O’Hara’s wildly manic personality. Winona Ryder also balances her dark, brooding personality with a dry, sarcastic sense of humor that makes her likable. Similarly, as the disillusioned case worker Juno, Sylvia Sydney offers charm and wit as she tries fixing the Maitland’s mistakes. Glenn Shadix also stands out as a self-proclaimed genius who’s taken to task as things spiral out of control. But the one who steals the show is Michael Keaton as Betelgeuse, making the most of his limited screen time. His gross demeanor, manic energy, and wild personality make him a treat to watch.

    Burton collaborator Bo Welch’s production design is excellent, whether depicting the mundane living world or the wild afterlife. You can tell Welch and Burton took inspiration from the German Expressionist Movement of the 1920s and Salvador Dali’s works. Danny Elfman’s sinister yet playful score perfectly complements the wild visuals, as is the use of calypso music. Admittedly, some effects haven’t aged well, particularly the blue screen work, but that was by design. Burton wanted the effects to emulate the B-movies of his childhood, and they did an excellent job recreating that look. The visuals might put off modern audiences watching this for the first time, but I’d take these over modern CGI. By design, this is one of the least mainstream-looking movies ever, yet it somehow became mainstream, which is an achievement. Overall, Beetlejuice is a wild and crazy joyride brimming with creativity and originality that deserves its classic status.

     

    Buy Beetlejuice from Amazon: https://amzn.to/3AfwZvz.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Beetlejuice (1988)

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