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  • Saw (2004)

    Saw (2004)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review is a special request from Patreon supporter Patrick Glauber. If you’d like to support me on Patreon, click the button below.” text_orientation=”center” button_one_text=”Visit Patreon” button_one_url=”https://www.patreon.com/filmnerd” background_overlay_color=”#f96854″ _builder_version=”4.27.4″ _module_preset=”default” title_level=”h2″ background_color=”#f96854″ custom_button_one=”on” button_one_bg_color=”#052d49″ custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”]After graduating from film school, Australian filmmakers James Wan and Leigh Whannell wanted to fund and produce their feature debut. Due to their limited budget of $30,000, they conceived of a setup involving two people confined to one room. Unfortunately, they had difficulty finding producers in their home country, so they flew to Los Angeles to find a studio. Wan and Whannell shot a short film to generate interest and sent it to producers with the script. Producers Gregg Hoffman, Mark Burg, and Oren Koules watched the short and were so impressed they agreed to finance it. The deal included a $1 million budget and actors Cary Elwes, Shawnee Smith, Danny Glover, Michael Emerson, and Tobin Bell. Filming occurred in LA’s Lacy Street Production Facility for 18 days in late 2003, with Lionsgate acquiring distribution in 2004. Initially meant for direct-to-video, Lionsgate released Saw to theaters in October 2004.

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    Synopsis

    Two men, Adam (Leigh Whannell) and Dr. Lawrence Gordon (Cary Elwes), wake up chained in a dilapidated bathroom. As they try to figure out what’s going on, Gordon believes this to be the work of The Jigsaw Killer. Through flashback, we learn that The Jigsaw Killer’s MO is putting victims through traps intended to make them appreciate life. Hot on the case are Detectives David Tapp (Danny Glover) and Steven Sing (Ken Leung), who initially suspected Gordon. They almost found the killer through the testimony of survivor Amanda Young (Shawnee Smith), but Sing dies, and Tapp’s discharged. Back in the present, Gordon’s wife and daughter, Alison (Monica Potter) and Diana (Makenzie Vega) are held captive. With time running out, Gordon has to decide: kill Adam to save his family or work with Adam to survive. Will they escape or become The Jigsaw Killer’s next victims?

     

    Review

    Given how future installments emphasized gore and elaborate death traps, it’s surprising how tame the original Saw is. That’s not to say there isn’t anything gruesome, but it’s not as bloody or over-the-top as its sequels. It’s pretty subdued with its violence, which makes it even more disturbing when something shocking happens. What also helps is the overall tone, which is dour and nihilistic with a pervasive sense of dread. The production design best shows the tone, with every location having a dank, grungy look and feel. From the bathroom housing our leads to Jigsaw’s workshop, everything feels dirty and lived in, which helps it stand out. The quick-cut editing and off-kilter transitions create an uneasy feeling without appearing drawn out or overused. James Wan and Leigh Whannell proved they could stretch their limited budget and overcome limitations in a way that works.

    You’d never guess that this was Whannell’s acting debut because he delivered a solid performance as Adam. Admittedly, there are times when his Australian accent slips through, but it’s not enough to take you out of it. It helps that he’s working opposite Cary Elwes, who performs equally well as the level-headed Dr. Gordon. Like Elwes, Danny Glover, Shawnee Smith, Monica Potter, and Michael Emerson give it their all with their roles. They were established actors and could’ve easily sleepwalked through their roles, but they committed themselves to the material. Smith, in particular, shines in her small but memorable role as Amanda Young, the only victim to survive Jigsaw’s game. Despite only hearing his voice for much of the film, Tobin Bell still has a commanding presence that’s felt throughout. It’s easy to see how he became a horror icon, especially with the sequels expanding on his backstory.

    While some might bemoan the film’s use of flashbacks to tell its story, they effectively unravel the mystery. It helps that the flashbacks don’t spoil things, leaving it to the audience to figure out. Plus, the way the film goes from horror to detective thriller is seamless and never feels out of place. Admittedly, the idea of a killer justifying his actions as morality plays has been done before in movies like Se7en. However, unlike Kevin Spacey’s killer, Jigsaw doesn’t necessarily want to kill people but rather test their will to live. This dynamic adds a layer of depth that makes you question whether or not Jigsaw’s actions are justifiable. At 103 minutes, the film moves at a breakneck pace and keeps you guessing until the end. Overall, Saw is an excellent 2000s horror film that still holds up two decades later.

     

    Buy Saw from Amazon: https://amzn.to/3AMSN1Q.

    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 Saw (2004)

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  • Red One (2024)

    Red One (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=”4.27.3″ _module_preset=”default” global_colors_info=”{}”]While working on Jumanji: The Next Level, producer Hiram Garcia spoke with director Jake Kasdan about a potential idea. Garcia suggested a holiday movie that offered a more realistic take on Santa Claus and how the North Pole operates. Kasdan liked the idea so much that he agreed to direct, with Garcia producing and co-writing with Chris Morgan. Dwayne Johnson, who worked with Kasdan and Garcia in the past, would be starring for a staggering $50 million. Chris Evans, Lucy Liu, J. K. Simmons, Kiernan Shipka, Kristofer Hivju, Nick Kroll, and Bonnie Hunt joined in 2022. Filming started that October in Atlanta, but due to Johnson’s frequent tardiness and absences, filming didn’t wrap until February 2023. Due to the SAG-AFTRA strike, the studio pushed the film back from its original December 2023 date. With a total budget of $250 million, Red One opened in theaters worldwide in November 2024.

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    Synopsis

    While Santa Claus (J. K. Simmons) prepares for his annual holiday run, a black ops team infiltrates the North Pole. Despite the best efforts of Santa’s chief of security, Callum Drift (Dwayne Johnson), he gets taken prisoner. Drift informs Zoe Harlow (Lucy Liu), the head of the Mythological Oversight and Restoration Authority, about the kidnapping. They discover a mercenary tracker named Jack O’Malley (Chris Evans) was responsible for compromising the North Pole’s secret location. They bring Jack in for questioning, but he says he had no idea what he was doing and that an anonymous buyer paid him. Though skeptical, Drift agrees to accompany O’Malley in finding the buyer to figure out who kidnapped Santa. Through the broker, Ted (Nick Kroll), they learn the kidnapper was the winter witch, Grýla (Kiernan Shipka). It’s up to Drift and O’Malley to stop Grýla and get Santa back to save Christmas.

     

    Review

    Since its release, Red One has been getting negative reviews, and many predict it will fail at the box office. I’m here to say that while I wouldn’t call it outstanding, Red One isn’t as bad as some critics say. If you’ve seen either of the modern Jumanji movies, you should know what to expect with this. Red One isn’t the kind of movie that will offer some life-changing perspective or essential message. It’s a silly Christmas action movie with some big stars and a ridiculous premise that doesn’t take itself seriously. Sure, it may come off as bland or cliche-ridden, but a movie doesn’t have to be original to be entertaining. Granted, much better Christmas action movies like Die Hard and Lethal Weapon are readily available. However, those movies are R-rated, which limits the accessibility for younger audiences, whereas this is PG-13, so bring the kids.

    Despite the production issues he may have caused, Dwayne Johnson still shows why he’s such a bankable lead. He takes the role seriously enough that audiences can buy it, which pairs well with Chris Evans’ sarcastic attitude. Kiernan Shipka is an entertaining villain with her devilish grin and confident presence, and she never veers into camp. Kristofer Hivju is the scene stealer as Krampus, his boisterous attitude and larger-than-life personality making him a stand-out. It helps that the creature effects used to bring him and his guests to life are excellent. Unfortunately, Lucy Liu and Bonnie Hunt aren’t given much to do except occasionally exchange exposition dialogue. Similarly, J. K. Simmons has some great moments with Johnson, but after his kidnapping, he just sits around doing nothing. The rest of the cast comprises unmemorable extras or CGI creations that litter the background.

    Even though this movie isn’t meant to be taken seriously, there are some legitimate problems. For one, at slightly over two hours, it is much too long, and much could’ve been trimmed. A movie like this should’ve lasted 90 minutes, maybe an hour and 45 minutes at max. Also, while the film has some fun, well-shot action sequences, many involve people fighting CGI monsters. Plus, the movie tries adding some emotional depth with a subplot involving Evans’ estranged family that goes nowhere. Depending on your perspective, I had the pleasure or displeasure of seeing this in IMAX, which ultimately adds nothing. If you’re curious, I’d say see it at a matinee showing or wait to rent it digitally. Please don’t go into it expecting anything more than what it is: a fun but silly popcorn movie. Overall, Red One isn’t great, but you could always do worse.

     

    Red One is currently in theaters.

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  • Kung Pow: Enter the Fist (2002)

    Kung Pow: Enter the Fist (2002)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review is a special request from Patreon supporter BodaciousCNO. If you’d like to support me on Patreon, click the button below.” text_orientation=”center” button_one_text=”Visit Patreon” button_one_url=”https://www.patreon.com/filmnerd” background_overlay_color=”#f96854″ _builder_version=”4.27.3″ _module_preset=”default” title_level=”h2″ background_color=”#f96854″ custom_button_one=”on” button_one_bg_color=”#052d49″ custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” global_colors_info=”{}”][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”]Comedian Steve Oedekerk got his first break in entertainment writing for In Living Color, where he met Jim Carrey. The two hit it off and became collaborators, starting with 1994’s Ace Ventura: Pet Detective, with Oedekerk as project consultant. Its success led Oedekerk to write and direct the sequel, Ace Ventura: When Nature Calls, which was a bigger hit. He also wrote The Nutty Professor, the fifth highest-grossing film of 1996, and its sequel, Nutty Professor 2: The Klumps. Oedekerk earned an Oscar nomination for 2001’s Jimmy Neutron: Boy Genius, which he co-wrote with director John A. Davis. After writing/directing 1997’s Nothing to Lose, Oedekerk’s next film would be an ambitious parody of 1970s martial arts films. Inspired by films like What’s Up, Tiger Lilly?, Oedekerk took footage from 1976’s Tiger & Crane Fists and redubbed it. The result was the 2002 action-comedy Kung Pow: Enter the Fist.

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    Synopsis

    After witnessing his parents’ murder as a baby, a wanderer known as The Chosen One (Steve Oedekerk) seeks vengeance. Along the way, he meets Master Tang (Hui Lou Chen), who agrees to train him after seeing his sentient tongue. The Chosen One also meets the incompetent Wimp Lo (Lau Kar-wing) and his future love interest, Ling (Ling Ling Tse). Soon, The Chosen One meets Master Pain (Fei Lung), aka Betty, who was responsible for his family’s death. Determined to match Betty’s prowess, namely taking Bō staff beatings, The Chosen One trains himself similarly but with little success. Despite warnings from the one-breasted Whoa (Jennifer Tung), The Chosen One hunts Betty and his henchmen down. Unfortunately, those closest to The Chosen One fall victim to Betty’s wrath, further motivating him to train properly. Will The Chosen One succeed in finding vengeance, or will Betty and The Evil Council conquer the world?

     

    Review

    Despite receiving largely negative reviews, Kung Pow: Enter the Fist has become a cult favorite, and I can see why. The style of comedy presented is a precursor to the randomness and eccentricity of Internet humor. You could say that Kung Pow: Enter the Fist walked so that YouTube Poop videos could run. While not all the jokes land, the film hits you with so many that you’re never bored. Your enjoyment of the movie comes down to whether or not you enjoy absurdist, occasionally childish, humor. Part of the film’s charm is its lack of mean-spiritedness and all-out shock humor in service of pure silliness. Like the best parody films, this one pays homage to its subject matter and pokes fun at the conventions. Even if some jokes fall flat, the ones that work make up for them and offer the biggest laughs.

    In addition to being in excellent shape, Steve Oedekerk’s inherent likability makes him a strong lead. Oedekerk also provided the dubbing, which he wrote to be as awkward and nonsensical as possible. The dubbing perfectly spoofs the trope of most martial arts films of the 70s that had unintentionally hilarious voiceovers. Since Jennifer Tung is the only female voice present, it’s even funnier to hear Oedekerk use his best female voice. I also have to give Oedekerk credit for not stooping to stereotypical humor, which a lesser filmmaker would’ve used. It’s also impressive how Oedekerk was able to integrate new footage with the old footage in a seamless way. Granted, some of the compositing sticks out badly, but the low-fi effects add to its charm. There’s also some dated CGI, but I can excuse it considering the $10 million budget.

    Returning to the subject of the film’s structure, describing the movie is difficult without discussing individual moments. It’s all over the place, from a battle with a CGI cow to a breakdancing extra in a fight scene. So much of the film shouldn’t work, but Oedekerk throws so much at the screen that it comes together. While I wouldn’t call this a comedy classic similar to Blazing Saddles or Caddyshack, it’s earned its cult status. Interestingly, this film tied with Master of Disguise for Most Painfully Unfunny Comedy at the Stinkers Bad Movie Awards. While humor is subjective, and some might not enjoy this, saying it’s on par with Dana Carvey’s failed starring vehicle. At 81 minutes, the film goes by fast without feeling rushed and never overstays its welcome. Overall, Kung Pow: Enter the Fist is a uniquely funny parody deserving of its cult following.

     

    Buy Kung Pow: Enter the Fist from Amazon: https://amzn.to/3YMIwui.

    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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  • The Texas Chain Saw Massacre (1974)

    The Texas Chain Saw Massacre (1974)

    [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=”{}”]In the summer of 1973, Tobe Hooper assembled a cast and crew of unknowns to helm his feature film debut. Hooper and co-writer Kim Henkel took inspiration from notorious graverobber Ed Gein and the changing sociopolitical climate of the 1970s. With a budget of less than $140,000, filming lasted seven 16-hour days a week with record-high temperatures. None could’ve expected nor would they’ve wished to see as much of the mad and macabre that was in store. The sweltering heat, lack of ventilation, and dangerous conditions made it a rough experience for all involved. Even up to the film’s post-production, what initially seemed like an idyllic summer became a nightmare. A year after production wrapped, Bryanston Pictures bought the distribution rights, though at the cost of not paying the filmmakers. What followed was one of the most bizarre films in the annals of American cinema, The Texas Chain Saw Massacre.

    [/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=”100″ 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=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Due to grave robbery incidents, siblings Sally (Marilyn Burns) and Franklin (Paul A. Partain) travel to check their grandfather’s grave. Accompanied by their friends Jerry (Allen Danziger), Kirk (William Vail), and Pam (Teri McMinn), they find the grave is undisturbed. Along their trip, the group encounters a hitchhiker (Edwin Neal), who cuts himself, photographs Franklin, and attacks before being ejected. They stop by a gas station and ask the owner (Jim Siedow) for directions, and he offers them a warning. After they visit an old house owned by Sally and Franklin’s family, Kirk and Pam find a seemingly abandoned home. Little do they know that a masked man, Leatherface (Gunnar Hansen), lives there and doesn’t take kindly to strangers. Soon, the others stumble across Leatherface’s home and fall victim until only Sally remains. Will she survive the nightmare, or will she be another victim of The Texas Chain Saw Massacre?

     

    Review

    Even 50 years after its release, The Texas Chain Saw Massacre still endures as a horror classic. Even more impressive is that many consider it one of the most gruesome films despite the lack of onscreen blood. That goes to show the talent and artistry that went into making the film disturbing without revealing much. From Daniel Pearl’s stunning cinematography to Bob Burns’ masterful art direction, the film is beautiful in how raw it feels. The fact that Ed Gein inspired the design of the bone furniture and fleshy fixtures makes it more disturbing. Aside from some licensed music, the lack of a traditional score adds to the film’s stunning realism. Instead, the filmmakers used a mixture of sounds, such as a roaring chainsaw and a whirring generator. These elements show you don’t need a huge budget and lavish effects to craft a timeless masterpiece.

    The fact that the actors were not established in the industry further adds to the feeling of realism. The five leads feel like a group of friends you’re watching go on a road trip that goes south fast. The late Marilyn Burns is excellent as the unlikely survivor who endures countless horrors and emerges victorious. While heroines in horror movies existed, her Sally Hardesty character became the “final girl” template many others followed. Also noteworthy is the late Paul A. Partain as her step-brother Franklin, who’s either the most annoying or sympathetic character. He constantly whines, complains, and argues, but you get the sense he’s had a hard life and feels abandoned. It’s also telling that he recognizes something’s up and tries warning everyone, but no one believes him. Even if unintentional, Tobe Hooper crafted one of the most realistic depictions of a disabled person in cinema.

    Edwin Neal is another standout as The Hitchhiker, whose demented manner and rambling speech set the tone early on. The late Jim Siedow also works as the seemingly innocuous gas station attendant who warns our leads. The fact that he’s gone for most of the film until the climax makes his heel turn more shocking. Finally, there’s the late great Gunnar Hansen as Leatherface, whose imposing presence and disturbing masks make him a horror icon. What makes him even scarier is that he’s not some hulking beast but rather a child-minded lunk with a gut. You get the sense that he was molded and shaped into the monster he became rather than being born one. While modern audiences might find it slow or tedious, there’s a reason why this film endures after 50 years. Overall, The Texas Chain Saw Massacre is just as terrifying now as it was back then.

     

    Buy The Texas Chain Saw Massacre from Amazon: https://amzn.to/3NUeYGc.

    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 The Texas Chain Saw Massacre (1974)

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  • Death Streamer (2024)

    Death Streamer (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=”{}”]In September 2023, Meta announced a collaboration with EssilorLuxottica to create new Ray-Ban smart glasses. Among its many features, users could livestream everything they saw while wearing the glasses, which caught Charles Band’s attention. These glasses gave him the idea for his second film in his Pulp Noir series: a high-tech vampire movie. He used the Full Moon manor in Cleveland and a rundown church he bought and restored for locations. Despite being told buying this church was a bad idea, Band believed it had potential and continued renovating it. Along with directing, Band co-wrote the screenplay with longtime writer Neal Marshall Stevens, using the pseudonym Roger Barron. After assembling his cast, Band shot in the manor and newly renovated church for roughly six days. Following its announcement in mid-2024, Death Streamer hit streaming services and Blu-Ray/DVD/VHS in October.

    [/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=”75″ bar_bg_color=”#EDF000″ _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=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Alex Jarvis (Aaron McDaniel) hosts Church of Chills, a true crime podcast with Edwina (Emma Massalone) and Juniper (Kaitlin Moore). While editing their latest episode, Juniper comes across a mysterious livestream depicting a young woman’s bloody death. Little do they know that a vampire named Arturo Valenor (Sean Ohlman) runs the live stream from his hidden lair. Along with his cohorts, Lil Chen (Chili Jean) and Thug (Travis Stoner), Arturo kills beautiful women and streams their deaths. As Alex, Edwina, and Juniper dig further into the streams, they realize that the deaths aren’t staged. Soon, Arturo finds out that the Church of Chills crew knows about his streams and targets them. Alex, Edwina, and Juniper must fend for their lives as they try to tell the world that vampires exist. Will they succeed, or will they be the next victims of Arturo’s death streams?

     

    Review

    Coming off of Quadrant, Death Streamer has much to live up to as the second Pulp Noir movie. I’m happy to say that, while the film has its issues, this is a solid entry in this series. It’s not as strong as the Subspecies franchise from Full Moon’s heyday, but it’s an exciting twist. The idea of a killer live streaming their victims is a unique concept, especially with the killer being a vampire. Sure, in a realistic world, platforms like Twitch, Kick, or TikTok would instantly ban it. However, with the rise of supposed murder streams on the dark web, it’s not out of the realm of possibility. Admittedly, the viewer and sub-count go wildly out of control without rhyme or reason, breaking the immersion. Granted, I can forgive a low budget movie for those mistakes more than a $200-million blockbuster doing the same thing.

    Much like the last Pulp Noir movie, the acting is solid and easily the film’s best aspect. Aaron McDaniel is an enjoyably egotistical and eccentric host that you initially love to hate. As time passes and things worsen, his more human side comes through, and you start liking him more. Emma Massalone and Kaitlin Moore work well off him, providing a mix of sincerity and sarcasm. You can believe that they’ve stuck around for a while despite their bickering and disagreements. While much of their dialogue is exposition-heavy, they at least deliver it in a way that makes it entertaining. Even with the goofy glasses, Sean Ohlman makes for an intimidating vampire that you can believe is a master seducer. Even the side characters, played by Chili Jean and Travis Stoner, have their standout moments.

    Thomas L. Callaway’s cinematography adds plenty of mood and atmosphere to the production, especially with the colored lighting. The lighting reminds me of the look of early Dario Argento movies or Joe Dante’s The Howling. While the title theme gets played a bit too much, Jonathan Walter’s score goes a long way to provide ambiance. Effects-wise, there are some decent practical effects, but there’s also some wonky CGI that sticks out badly. Also, for all the boobs and blood on display, the kills are pretty routine, and none stand out in particular. Despite its 72-minute runtime, some scenes go for slightly longer than necessary, but it’s an otherwise breezy watch. While I wouldn’t call this a modern horror masterpiece, it’s still a decent watch for Full Moon fans and newcomers. Overall, Death Streamer is a decent hi-tech vampire flick and a good sign for future Pulp Noir movies.

     

    Buy Death Streamer from Full Moon Horror: https://bit.ly/3UwPDWu.

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  • Halloween 5: The Revenge of Michael Myers (1989)

    Halloween 5: The Revenge of Michael Myers (1989)

    [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 receiving a hostile reception, Halloween 4: The Return of Michael Myers grossed $17.8 million on a $5 million budget. Producer Moustapha Akkad fast-tracked a sequel for an October 1989 release despite losing the last film’s writer and director. Jeff Burr, who previously helmed From a Whisper to a Scream, was considered until Swiss filmmaker Dominique Othenin-Girard came on. Not happy with writer Shem Bitterman’s screenplay, Othenin-Girard brought in Robert Harders and Michael Jacobs for additional rewrites. Othenin-Girard and the writers injected more supernatural elements into the story, including a psychic link and making Michael Myers relatable. Donald Pleasance, Danielle Harris, Ellie Carnell, and Beau Starr returned, but George P. Wilbur declined, so Don Shanks replaced him. Filming started in May 1989 in Salt Lake City, similar to the last film, and wrapped in June. Despite some cuts, Halloween 5: The Revenge of Michael Myers hit theaters in October 1989.

    [/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=”55″ bar_bg_color=”#EDF000″ _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=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Though seemingly killed at the last film’s conclusion, Michael Myers (Don Shanks) is found by a hermit (Harper Roisman). Over the next year, the hermit nurses Michael back to health, only for Michael to kill him. Meanwhile, a now mute Jamie Lloyd (Danielle Harris) is committed to the Haddonfield Children’s Clinic after attacking her stepmother. Dr. Sam Loomis (Donald Pleasance) discovers that Jamie shares a telepathic link with Michael and wants her to track him. On his way to find her, Michael kills Jamie’s stepsister, Rachael (Ellie Cornell), and stalks her friend Tina (Wendy Kaplan). Because of her psychic link, Jamie can sense when someone’s in danger, but her warnings are brushed aside. During all this, a mysterious man in black seems to follow wherever Michael goes. Will Loomis and Jamie stop Michael for good, and who is the man in black?

     

    Review

    While it had its issues, Halloween 4: The Return of Michael Myers was a decent slasher film. Unfortunately, the same can’t be said of Halloween 5: The Revenge of Michael Myers, which you can tell was rushed. This film’s rushed production is apparent from the half-baked script to the sudden retcons of the last installment. For instance, Jamie’s stabbing her stepmother to death is suddenly changed so that she survived. Also, Jamie’s stepsister Rachael, one of the more prominent characters from before, is killed off 20 minutes in. Producer Moustapha Akkad did everything he could to deliver what he thought the fans would want but disappointed them more. Say what you will about Halloween II, but they at least waited three years before developing the sequel. Sure, that movie introduced aspects that I wasn’t a fan of, but it’s much more memorable than this.

    To get into the positives, Danielle Harris still delivers a solid performance as a traumatized Jamie Lloyd. Despite the script, she does her best with the material and even outshines Donald Pleasance, which is a rarity. That’s not to say Pleasance performs poorly, but it feels like the same tired shtick we’ve seen countless times. Standing at 6′ 1″, Don Shanks makes for a decent Michael Myers, but his performance is nothing special. Wendy Kaplan does a decent job but feels like a replacement for Ellie Cornell rather than a new character. Aside from that, there’s little more to say about the cast, as they’re cannon fodder to die in gruesome ways. The only other notable cast members are Frank Como and David Ursin as a pair of bumbling cops. It didn’t work in The Last House on the Left, and it doesn’t work here.

    To give co-writer/director Dominique Othenin-Girard some credit, he manages to create some effective tense sequences. The scene where Michael chases Jamie in a car through a cornfield is a nail-biter, even if slightly ridiculous. Also, when Jamie tries hiding from Michael in the old Myers house, there’s some genuine suspense. Even Michael taking off his mask and shedding a single tear is handled well, which is a shocker. Still, scenes like this come before Dr. Loomis tries luring Michael into a trap using Jamie as bait. Also, the “Man in Black” feels pointless, as if he’s there to provide mystery without giving proper incentive. At 97 minutes, this movie drags to the end, and by then, you wonder if it was worth the effort. Overall, Halloween 5: The Revenge of Michael Myers feels tired, haphazardly put together, and creatively bankrupt.

     

    Buy Halloween 5: The Revenge of Michael Myers from Amazon: https://amzn.to/3BZzsdP.

    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 Halloween 5: The Revenge of Michael Myers (1989)

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  • Terrifier (2016)

    Terrifier (2016)

    [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=”{}”]In 2008, aspiring filmmaker and effects artist Damien Leone directed the short film The 9th Circle. In the movie, Leone introduced the character Art the Clown, a new slasher villain initially portrayed by Mike Giannelli. Three years later, Leone directed the short film Terrifier, again with Giannelli, and combined both into 2013’s All Hallows Eve. Leone wanted to follow this up by directing a spin-off featuring Art the Clown, launching an Indiegogo campaign in 2015. Soon after, filmmaker Phil Falcone provided the necessary funds to make the film in exchange for a producer’s credit. Unfortunately, Giannelli decided not to pursue acting further, so newcomer David Howard Thornton became the new Art the Clown. With a budget between $35,000 and $55,000, filming occurred primarily in Trenton, with additional filming in New York and LA. After premiering at the Telluride Horror Show in 2016, Terrifier had a limited release in 2018.

    [/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=”80″ 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=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Friends Tara (Jenna Kanell) and Dawn (Catherine Corcoran) are drunkenly walking the streets after leaving a Halloween party. Along the way, they stop at a pizzeria when they run into Art the Clown (David Howard Thornton). After leaving, the girls find that someone slashed Dawn’s tires, so Tara calls her sister Victoria (Samantha Scaffidi) for help. While waiting, Tara asks Mike (Matt McAllister), a pest control worker, if she can use the restroom quickly. Little do the girls know that Art the Clown is the tire slasher with something sinister in store. As Victoria makes her way to Tara’s location, she and Dawn are held captive by Art, who has deadly intentions. Unfortunately, Dawn dies a horrible death, but Tara manages to escape as Art gives chase throughout his lair. Will Victoria make it in time and save her sister, or will Tara end up just like Dawn?

     

    Review

    Terrifier is a pretty basic slasher film, and that’s what makes it so effective. While it doesn’t have the most original story or complex characters, it doesn’t need to. Much like Friday the 13th, it knows what it is and doesn’t try to be anything else. Damien Leone, who wrote, produced, directed, edited, and handled the special effects, made a throwback to 80s slashers and succeeded. Given that the budget was only $35,000, Leone and his team made something that looked better than many big-budget blockbusters. From the colorful lighting to the harsh shadows, it has a low-fi style that helps it stand out. I wonder if Leone took inspiration from Italian filmmakers like Dario Argento and Lucio Fulci, along with American slashers. You can also tell by the effects that his inspirations include legendary effects artists like Tom Savini and Rick Baker.

    Even though their characters aren’t deep, Jenna Kanell and Catherine Corcoran make solid, likable leads. Kanell’s dry, sarcastic delivery and Corcoran’s ditzy, floozy persona make for some great moments and memorable lines. Admittedly, Corcoran comes off as the ditzy blonde you know will die in a slasher, so her death isn’t unexpected. Without getting into spoilers, you almost expect Kanell to be the final girl, but she’s not, which made me sad. Of course, the real highlight is David Howard Thornton as the murderous Art the Clown, whose performance is excellent. While he has no lines, he does a great job expressing emotion through body language and simple pantomiming. He plays Art as someone who revels in hacking people to pieces, all with a morbidly humorous touch. It’s easy to see how Art the Clown has become a modern-day horror icon.

    Of course, the film is primarily known for its over-the-top gore scenes, which are just as gruesome as advertised. Leone does a great job balancing the gore and suspense, making it more effective than if it was just gore. It reminds me of how Sam Raimi managed to blend moody suspense with over-the-top gore in The Evil Dead. Admittedly, the film isn’t perfect, but none of its flaws majorly affect its overall quality. For one, several characters are only there as cannon fodder, such as the exterminators and a strange cat lady. Also, the movie doesn’t do anything similar slashers haven’t already done, just with better effects and modern filmmaking. Still, at only 84 minutes, this slasher throwback gets in and out quickly and never overstays its welcome. Overall, Terrifier is a well-made, if basic, horror film that fans of 80s slashers will love.

     

    Buy Terrifier from Amazon: https://amzn.to/3Af1MIO.

    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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  • 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.

    [/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=”60″ bar_bg_color=”#EDF000″ _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

    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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  • Smile 2 (2024)

    Smile 2 (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}” theme_builder_area=”post_content”][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=”{}” theme_builder_area=”post_content”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]

    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.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||” theme_builder_area=”post_content”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]

    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.

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    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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