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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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  • A Nightmare on Elm Street (1984)

    A Nightmare on Elm Street (1984)

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    In the early 80s, Wes Craven read several articles from the LA Times about Hmong refugees dying in their sleep. According to these stories, these people believed something terrible would happen if they slept, which gave Craven a movie idea. He drafted a script about a dream killer and shopped it to various studios, but none were interested. The only studio that showed interest was New Line Cinema, which was a distributor at the time. Through several negotiations and business dealings, New Line president Bob Shaye acquired a $1.1 million budget for Craven’s ambitious project. The cast mostly comprised young, up-and-coming actors and a few veterans, including John Saxon and Ronee Blakley. The movie was shot in mid-1984 in the LA area, though numerous production issues almost killed the movie. But through sheer perseverance and determination, A Nightmare on Elm Street slashed onto theater screens in November 1984.

    [/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=”4.27.0″ _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=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Tina (Amanda Wyss) has been having recurring nightmares about a mysterious man with a bladed glove attacking her. She confides in her friend, Nancy (Heather Lagenkamp), who reveals she has similar dreams about a disfigured killer. Nancy, her boyfriend Glen (Johnny Depp), and Tina’s boyfriend Rod (Jsu Garcia) agree to stay over to keep Tina safe. Unfortunately, Tina gets slashed to death, and Rod is hauled off to prison despite his pleas of innocence. Nancy keeps seeing the mystery man in her nightmares and realizes what happens in her dreams will come true. She confides in her parents, Donald (John Saxon) and Marge (Ronee Blakley), but they don’t believe her. However, her mom confesses that the mystery man is Fred Krueger (Robert Englund), a child murderer who died years ago. Will Nancy stop this dream demon, or will she and her friends be Fred Krueger’s next victims?

     

    Review

    A Nightmare on Elm Street is considered one of the greatest horror films ever, and it’s easy to see why. It has a great cast, a stellar script, a memorable villain, and fantastic gruesome death sequences. In a time when the slasher genre was on the decline, this movie shows that there was some creativity left. This film shares similarities to a typical 80s slasher, but its central gimmick makes this one stand out. Everyone has nightmares, so having a slasher where the killer stalks your dreams is uniquely frightening. Not only are we most vulnerable when we sleep, but the killer can exploit our worst fears and inhibitions. The film also explores themes of repressed guilt, questioning authority, and the struggles of adolescence. The kids are facing horrific terror, but their parents aren’t helpful because they’re keeping everything a secret. It’s much more intelligent than your usual slasher.

    Heather Lagenkamp makes for one of the best leads in a slasher film, coming off as strong and independent. She quickly figures out what’s happening and takes matters into her own hands when no one else will. Though her screen time is limited, Amanda Wyss does a good job playing the Janet Leigh role in the movie. Jsu Garcia, under the stage name Nick Corri, is also terrific as the misunderstood Rod, whose cocky persona quickly breaks. An unknown Johnny Depp shines as Nancy’s skeptical yet supportive boyfriend, who dies in a uniquely gruesome way. Hollywood legends John Saxon and Ronee Blakley shine as Nancy’s parents, who try to understand her situation despite their troubles. Robert Englund steals the show as Fred Krueger, whose devilish grin, slouched stance, and menacing laugh make him instantly memorable. There’s also an appearance from Charles Fleisher, who later voiced Roger Rabbit.

    Given the limited budget he had to work with, Wes Craven created an excellent horror film with scope and ambition. Jacques Hitkin’s stylish cinematography and Rick Shaine’s expert editing add a sense of surrealism that enhances the film. There are moments when you’re unsure if what you’re seeing is real or a dream. This would’ve made things confusing or hard to follow in a lesser director’s hands, but Craven balances it out perfectly. Admittedly, there are moments when the low budget sticks out badly, namely with some effects used looking extra fake. Granted, I’d rather have goofy-looking practical effects over excessive CGI that makes everything look like a video game. While the slasher genre faded as the 80s wore on, this film was the last hurrah of the initial boom. Overall, A Nightmare on Elm Street deserves its status as a horror classic even 40 years later.

     

    Buy A Nightmare on Elm Street from Amazon: https://amzn.to/4fNhkDr.

    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 A Nightmare on Elm Street (1984)

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  • Alien: Romulus (2024)

    Alien: Romulus (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=”{}”]At the 2019 Cinemacon, 20th Century Fox announced that future installments in the Alien franchise were in development. While reports suggested there’d be a sequel to 2017’s Alien: Covenant, the film’s poor box office performance hindered its chances. In 2022, Fede Alvarez, who previously helmed 2013’s Evil Dead and 2016’s Don’t Breathe, announced his involvement in the series. He pitched an idea that would be a standalone story set between the events of Alien and Aliens. With a budget of $80 million, Alvarez recruited several crew members from James Cameron’s sequel to work on the effects. The movie was shot primarily in Budapest between March and July 2023 with the intent to be released on Hulu. However, the studio was so impressed by what Alvarez and his team made that they gave it a theatrical release. After premiering in LA, Alien: Romulus hit theaters in August 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=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.0″ _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

    On the Jackson’s Star mining colony, Rain Carradine (Cailee Spaeny) and her android brother Andy (David Jonsson) seek refuge. Rain gets help from her ex, Tyler (Archie Renaux), who can get her and Andy off the colony. He and his crew – Kay (Isabela Merced), Bjorn (Spike Fearn), and Navarro (Aileen Wu) – found a derelict space station. They plan on taking some cryostasis pods that will help them make the years’ long journey off the colony. Though successful, the crew discovers why the station was abandoned when they accidentally revive some frozen facehuggers. One of them latches onto Navarro, and an alien bursts out and pursues the crew throughout the station. Even worse, the station will crash into the colony’s asteroid belt, so the survivors have limited time to escape. While our heroes fight for survival, they discover more on the station than they ever could have expected.

     

    Review

    While not as groundbreaking as the Ridley Scott classic, Alien: Romulus is an excellent companion piece. Like his 2013 remake of The Evil Dead, Fede Alvarez has plenty of love and respect for this series. From the retro-futuristic production design to the emphasis on practical effects, Alvarez and his team perfectly captured the 1979 aesthetic. Also, like the original, the first 45 minutes are deliberately slow to build up toward the true terror. Cinematographer Galo Olivares, who previously worked on the Oscar-winning film Roma, perfectly captures the feeling of dread and isolation. Complimenting this is Benjamin Wallfisch’s fantastic score that combines new arrangements with ones by Jerry Goldsmith and James Horner. This film is an excellent mix of old-school and new-school elements that seamlessly blend to create something whole. Thankfully, it also works as a standalone sci-fi horror movie and isn’t solely reliant on references.

    Cailee Spaeny makes an excellent lead, capturing the same determination and confidence Sigourney Weaver brought to the original. She’s likable, endearing, and challenging while also showing vulnerability, and her relationship with David Johnson’s Andy is fantastic. Additionally, Johnson goes through a great character arc, starting off timid but later becoming astute. It’s almost heartbreaking how he completely turns his back on Rain when he turns into a machine for the company. While the rest of the cast is mostly cannon fodder, their characters are developed enough that you care about them. Unfortunately, one character sticks out like a sore thumb, but it’s hard to discuss without giving spoilers. I can only say that it’s at least a step up from Rogue One digitally recreating Peter Cushing. Aside from that, the small cast helps tighten the focus, and each one does a fantastic job.

    I’m glad this back-to-basic movie came along after the jumbled mess that was Alien: Covenant. This installment doesn’t have the complex or nuanced ideas that 2012’s Prometheus proposed, but I’m okay with that. Though, the film does have ties to both of Ridley Scott’s prequels, which opens up many opportunities. Still, regardless of where this falls in the timeline, this is a fantastic standalone sci-fi horror film. There are plenty of references and in-jokes for the fans, but even newcomers will have a good time. Plus, at a lean two hours, the movie never overstays its welcome nor feels like it’s rushing to the end. Even if it’s not on par with Scott or Cameron’s installments, Alvarez should be proud of his work here. Overall, Alien: Romulus is a stellar back-to-basics installment that injects new life into a long-dormant franchise.

     

    Buy Alien: Romulus from Amazon: https://amzn.to/3YweyKX.

    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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  • Murder-Rock: Dancing Death (1984)

    Murder-Rock: Dancing Death (1984)

    [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 directing the controversial 1982 giallo The New York Ripper, Lucio Fulci struggled to find the same success as before. His career suffered from clashes with producers, budget cuts, disagreements with the writers, and even lawsuits. While they’ve achieved cult status, Manhattan Baby, Conquest, and Warriors of the Year 2027 failed critically and commercially. Perhaps inspired by the moderate success of Argento’s Tenebre, Fulci decided to make a giallo for his next movie. In 1983, Adrian Lyne’s Flashdance was an international hit, so producer Augusto Caminito insisted that dance be an element. The film was shot between late 1983 and early 1984, primarily in Italy, with exteriors shot in New York. Fulci hoped this would start a new “Music Trilogy” of music-themed horror films, but this would never happen. Fulci’s Murder-Rock: Dancing Death hit Italian theaters in 1984 and wasn’t released stateside until 1990 as The Demon is Loose.

    [/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=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.27.0″ _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=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Candice Norman (Olga Karlatos) oversees a dance routine managed by Margie (Geretta Geretta) at the Arts for the Living Center. While Margie tries her best, Candice complains that the dance troupe needs “more perfection,” becoming more domineering. They’re preparing for a huge TV show where only three dancers will be selected, so the pressure is mounting. Things take a turn for the worse when one of the dancers is found dead in the showers. Lieutenant Borges (Cosimo Cinieri) arrives to investigate the murder and immediately suspects someone at the dance academy is responsible. Meanwhile, Candice has recurring dreams of a mystery man (Ray Lovelock) chasing after her with a hairpin. As more dancers wind up dead, Borges suspects either Candice or academy director Dick Gibson (Claudio Cassinelli) as the killer. Who is killing the young dancers, and what do Candice’s dreams have to do with the murders?

     

    Review

    Unlike his earlier efforts, Murder-Rock: Dancing Death is probably Lucio Fulci’s most tame movie, which is saying a lot. 1982’s The New York Ripper featured groin stabbings, eyeballs slashed with razor blades, and explosive gunshots through the face. Here, the killer only uses a hairpin to stab his victims through the heart after they’ve been knocked out. Not that you need bloody, gruesome kills to make a good horror film, but you’d expect more from Fulci. Still, some of Fulci’s touches include trippy dream sequences, effective panning shots, and a moody atmosphere are here. Giuseppe Pinori’s cinematography emphasizes this dreamlike quality and adds to the mood with some great skyline shots. Keith Emerson’s score, while dated, does add some entertainment value thanks to its cheesiness, even if it can get repetitive. Even if it’s a mixed bag, the film has some good qualities that make it redeemable.

    While most of the cast is cannon fodder, the principal actors do a decent job. Olga Karlatos makes for a solid lead as she tries to make sense of the murders while maintaining the academy. Cosimo Cinieri is fun as the dry and sarcastic Lieutenant Borges, who immediately suspects everyone of being the killer. Though she has limited screen time, Geretta Geretta is enjoyable as the struggling choreographer clashing with Karlatos. Claudio Cassinelli, who sadly passed away a year after the film’s release, is entertaining as the sleazy academy director. As solid as the principal actors are, they’re not given much material to work with, so they feel one-dimensional. Many performances come off as wooden or stilted or wildly over-the-top and ridiculous to the point of parody. The lack of a cohesive narrative might be due to the film having four different writers, including Fulci.

    Considering this came after several gory splatter films that made him a name, it’s disappointing Fulci made this so tame. This might’ve been to avoid the backlash he received, especially since many ended up on The Video Nasties List. It doesn’t help that this came when giallos were dead and Italian genre films were declining. This was meant to start a new trilogy, but that never happened due to the film’s underperformance and Fulci’s health. It’s also interesting how the film crammed in many 80s tropes yet didn’t get a US release until the 90s. As much as I criticize this movie, there is some charm to be found, especially for giallo fans. I’d recommend this to Fulci completionists, but there are better options if you’re a newcomer. Overall, Murder-Rock: Dancing Death has merits and is worth watching for curiosity’s sake, but only if you’ve seen everything else.

     

    Buy Murder-Rock: Dancing Death from Amazon: https://amzn.to/3YFyWuL.

    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 Murder-Rock: Dancing Death (1984)

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  • Quadrant (2024)

    Quadrant (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=”{}”]In the 1980s, Charles Band created a concept for a movie called Quadrant, which he would produce under Empire Pictures. Unfortunately, after the studio went bankrupt, the idea was shelved until the mid-90s, when Full Moon Features was formed. He hired Linda Hassini, who previously directed Dark Angel: The Ascent, to helm the project for a 1995 release. Sadly, this was when Paramount Pictures ended their deal with Full Moon, and the film again sat on the shelf. Decades later, Band decided to start a new label for more extreme horror films called Pulp Noir. He chose to revive the Quadrant concept for the first Pulp Noir film and hired C. Courtney Joyner to write. With a cast of young actors and a small budget, Band shot the movie at his Cleveland studio. After decades of development, Quadrant hit Full Moon’s streaming in August 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=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.27.0″ _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=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Scientists Meg (Emma Reinagel) and Harry (Rickard Claeson) created an experimental device called Quadrant to help people conquer their fears. Their first test subject is a young woman named Erin (Shannon Barnes), who has an obsession with Jack The Ripper. However, the more she uses Quadrant, the more she wants to use it to reenact the notorious murders. Meanwhile, Meg and Harry bring in another test subject, Robert (Christian Carrigan), whose crippling fears affect his livelihood. Erin gets friendly with Robert and manipulates him into being her accomplice as she starts killing real people. Tensions arise when Meg wants to stop the experiments because of their effects, while Harry wants to keep going. Unfortunately, it might be too late, as Erin can now manipulate reality thanks to her bond with Quadrant. Will her reign of terror be stopped, or has Jack The Ripper returned as this troubled young woman?

     

    Review

    Quadrant has its issues but offers plenty of promise for the first film in a new series. To get this out of the way, the film’s use of AI-generated artwork is disconcerting and might upset some people. On the one hand, there’s a lot of discussion about using AI over hiring professional artists. On the other hand, this is a micro-budget film, and Full Moon probably didn’t have the proper resources. Also, you could justify using AI by saying that everything experienced in Quadrant is supposed to be virtual reality. It’s supposed to be a simulation of a real-world scenario, meaning not everything will look 100% realistic. While it would’ve been better if they hired professional artists or built period-accurate sets, they worked with what they had. If AI-generated artwork genuinely bothers you, you’ll probably hate this, but if not, you might enjoy it.

    On the positive side, C. Courtney Joyner’s script is solid, and he does a great job exploring these concepts. The idea of a demented person abusing a virtual reality system to live out their sick fantasies is intriguing. This film goes in some directions you wouldn’t expect from a recent Full Moon movie, and it’s greatly appreciated. The young cast does a good job, with Shannon Barnes being the biggest standout among the group. She plays the part with such devilish charm and demented enthusiasm that you can’t take your eyes off her. Emma Reinagel also does an excellent job as the voice of reason against Rickard Claeson, whose determination is infectious. Christian Carrigan is also solid as a trauma patient trying to overcome his fears, which Erin easily manipulates. Admittedly, some of his line deliveries sound flat, but he and everyone else show plenty of potential.

    There are also a few story details that either aren’t explained well or don’t make sense. For instance, we’re never told how Quadrant came to be, who’s funding it, or how Meg and Harry built it. Also, as the story progresses, Erin can somehow manipulate reality around her, but there’s no rhyme or reason behind it. While the film has some dynamic lighting and great use of shadow, the cinematography feels a little flat. The music also sounds repetitive and doesn’t pick up until the third act, and some of the dialogue seems dubbed. Granted, these technical gripes don’t hurt the film too much, and it delivers the edginess the label promised. Hopefully, some of these issues will get ironed out for future movies, but this is otherwise a solid start. Overall, Quadrant has flaws, but it’s got a strong cast, intriguing ideas, and boobs and blood galore.

     

    Quadrant will be available on streaming, Blu-ray, DVD, and VHS on August 23rd. Visit https://www.fullmoonfeatures.com/quadrant-coming-8-23 for more information.

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