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  • Satan’s Blade (1984)

    Satan’s Blade (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 the massive success of John Carpenter’s Halloween in 1978, numerous filmmakers tried capitalizing on the success. Enter L. Scott Castillo Jr., who wanted to make a horror film because it was cheap and a surefire hit. Through some personal connections, Castillo Jr. acquired a $50,000 budget to shoot what he was sure would be a hit. In 1980, he and a team of first-time actors and crew members filmed for thirty-three days around southern California. Filming wrapped in 1982, but unfortunately, Castillo Jr. had difficulty finding a distributor for budgetary reasons. As the early 80s rolled on, the slasher boom had its rise but was gradually declining. M.C. Productions, who owned the copyright for The Manchurian Candidate, acquired the distribution rights for Castillo’s film. Four years after filming wrapped, Satan’s Blade had a small theatrical run before going to video stores in 1984.

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    Synopsis

    After a successful heist, bank robbers Ruth (Meg Greene) and Trish (Mary Seaman) lie low in the mountains. However, Ruth gets greedy and kills Trish to take her share, only to get slashed by a mysterious figure. Soon after, Tony (Tom Bongiorno) and his wife Lisa (Elisa R. Malinovitz) go to the same mountains for a vacation. Tony’s friend Al (Thomas Cue) and his wife Lil (Janeen Lowe) also stay in the cabin with them. Next door, there’s Stephanie (Stephanie Leigh Steel), Sue (Ramona Andrada), Rita (Diane Taylor), Marlene (Marti Neal), and Mary (Susan Bennett). Sheriff Ben (Fred Armond) and Officer Ski (Ski Mark Ford) are investigating the murders, though the locals have their suspicions. According to legend, a mountain man with a cursed knife possessed by a Native spirit stalks the mountains. Soon, the body count rises as the vacationers feel the wrath of Satan’s Blade!

     

    Review

    In my review of Splatter University, I said that I considered that the worst slasher I’ve reviewed so far. Having seen Satan’s Blade, I owe Richard Haines an apology because I’ve found one that’s even worse. Sure, SU had tons of boring filler, uninteresting characters, and bad acting, but it had a few bright spots. The same can’t be said for L. Scott Castillo Jr’s first and only directing credit, which is somehow more boring. Admittedly, the opening bank robbery is somewhat unique since it’s not the usual opening for a slasher. Unfortunately, the opening also serves as a taste for what’s to come – bad acting, poor writing, and amateur filmmaking. There’s also a trippy dream sequence partway into the movie where the young women get slashed by the mountain man. Sadly, those moments only make up 10 minutes of an otherwise boring 82 minutes.

    The rest of the runtime consists of the characters drinking, wandering around, talking endlessly, or trying to be dramatic. There’s a minor subplot where Tony almost cheats on Lisa with Stephanie, but that doesn’t go anywhere. Also, the inane dialogue between the young women rivals the talking scenes from Death Proof, and that had Kurt Russell. None of the cast members went on to do anything afterward, and it’s easy to see why. None of them can emote convincingly; they all sound flat, and none of them are ironically funny. The cinematographer Terry Kempf was the only one who seems to have had a successful career after this. He worked in the art department for movies like The Abyss, Sicario, Lone Survivor, Scream 2, and Tank Girl. It’s good to know that at least someone managed to work on better things after this.

    Even though he wasn’t a cinematographer in other movies, Kempf did a solid job capturing the scenery. Some beautiful shots of the mountains, forest, and snow look straight out of a nature documentary. I wonder if Castillo Jr. wanted to emulate The Shining in using the scenery to establish a sense of isolation. Unfortunately, like everything else, it doesn’t work and adds to the movie’s tedium and slow pacing. It doesn’t help that the slashing only happens an hour into the film, and even then, it’s done haphazardly. The ending is just as baffling, though it does have an interesting connection to the opening, so that’s appreciated. This movie is one I can only recommend to hardcore slasher fans, especially if you’re a completionist. Overall, Satan’s Blade is boring, poorly made, badly acted, and barely even a slasher film.

     

    Buy Satan’s Blade from Amazon: https://amzn.to/4cgSLMm.

    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 Satan’s Blade (1984)

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  • Splatter University (1984)

    Splatter University (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 graduating from NYU’s film school in 1979, aspiring filmmaker Richard W. Haines got his first job at Troma. He started as an assistant editor on Charles Kaufman’s Mother’s Day and was a sound editor on Lloyd Kaufman’s Waitress! Around this time, Haines began working on his directorial debut, a low-budget slasher called Thou Shalt Not Kill. With a budget of $50,000, filming took place around Mercy College and various other locations in New York. Filming wrapped in 1981, but the movie clocked in at 65 minutes, so Troma ordered reshoots to extend the length. Said reshoots were done the following year, including a prologue filmed at Bellevue Hospital, making the new runtime 78 minutes. Despite finishing in 1982, the film sat on the shelf for two years before premiering at Cannes in 1984. For its US premiere in July of that year, Troma retitled the movie to Splatter University.

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    Synopsis

    Three years have passed since an escaped mental patient killed a young teacher at St. Trinian’s College. Newly graduated Julie Parker (Forbes Riley) gets a job teaching at the school from the headmaster, Father Janson (Dick Biel). While there, Julie makes friends with fellow teachers Mark Hammond (Ric Randig) and Cynthia Lockey (Laura Gold). Unbeknownst to Julie, the psychotic patient is back and killing several of the students one by one. Cynthia believes that Mark is responsible, so she and Julie investigate, only to find nothing. Soon, Cynthia ends up murdered, prompting Julie to tell Father Janson that she’s quitting her teaching job. Unfortunately, the killer is still out there, and Julie doesn’t have anyone to turn to. She confides in Father Janson that Mark is the killer, but what Julie soon finds out will blow her mind. Will Julie survive or be in line next at Splatter University?

     

    Review

    At the time of my writing, Splatter University might be the weakest of the 1984 slashers I’ve reviewed. Aside from some campy moments and a few bloody kills, this movie has little to offer. Granted, what Richard Haines and his team accomplished with only $50,000 is impressive, if nothing else. The cinematography is decent, the gore effects are solid, if minimal, and the score is delightfully weird. However, one song plays almost constantly at the start of every scene and gets annoying fast. You can tell there were reshoots by all the filler with the students that didn’t have much impact. It doesn’t help that all the acting from the students is very wooden at best and obnoxious at worst. They’re the ultimate example of characters in a slasher that are just there for cannon fodder. It’s no wonder many of them didn’t act in anything else.

    That said, the cast has a few bright spots, namely Forbes Riley as the young, naive teacher Julie Parker. On top of being pretty, she does a great job playing an innocent teacher trying to stand up for herself. She and her landlord, Mrs. Bloom (Mary Ellen David), have funny back-and-forths that get weirdly gruesome. It’s easy to root for her, and she would’ve made a great final girl in a much better slasher. Dick Biel is another standout as the seemingly good-hearted Father Janson, who perfectly skirts the line between friendly and creepy. You can tell from his body language that something’s up with him, but you’re not sure what. Ric Randig and Laura Gold are also decent, but their characters don’t have much to do. Aside from them, the cast is mostly forgettable, just like the rest of the movie.

    As much as I dog on this movie, some entertaining moments make it seem like a parody. After the opening sequence, it cuts to three years later, followed by a title card for next semester, last Friday. The weird time jumps combined with the ridiculous dialogue make me think Haines was trying to make a comedy. Unfortunately, too many slow, filler scenes make it hard to enjoy as a comedy, even an ironic one. Also, as I alluded to earlier, there are some decent kills, including throat slashings and chest stabbings. Plus, there is a twist that I genuinely didn’t expect, so I have to give the movie points for that. Still, this is one that I can only recommend to hardcore slasher fans, as most newcomers will find it dull. Overall, Splatter University has a few highlights, but not enough to justify the dull pace, story, and acting.

     

    Buy Splatter University from Amazon: https://amzn.to/3WK5O4s.

    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 Splatter University (1984)

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  • Deadpool & Wolverine (2024)

    Deadpool & Wolverine (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=”{}”]On a $110 million budget, Deadpool 2 grossed over $785 million worldwide and was the ninth highest-grossing film of 2018. Additionally, the film earned tons of critical acclaim, with some saying it was better than the original. Well before the original’s release, Fox planned on making a third film, but Disney’s 2019 acquisition put plans on hold. Disney CEO Bob Iger and Marvel Studios President Kevin Feige confirmed that an R-rated third installment was in the works. David Leitch couldn’t return due to prior commitments, so Shawn Levy, with whom Reynolds worked on Free Guy, directed instead. Reynolds, Levy, series writers Rhett Reese and Paul Wernick, and The Marvels writer Zeb Wells contributed to the script. In 2022, Hugh Jackman agreed to star alongside Reynolds as Wolverine, despite retiring after 2017’s Logan. After years of setbacks and delays, Deadpool & Wolverine hit theaters in July 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

    Six years after the last film, Wade Wilson (Ryan Reynolds) retired from being Deadpool and became a used car salesman. Things are going ok when the TVA abducts Wade and takes him to meet Mr. Paradox (Matthew Macfadyen). Paradox offers Wade the chance to join The Avengers universe but mentions his universe is on the verge of collapse. In response, Wade, in full Deadpool mode, steals Paradox’s TemPad and travels the multiverse to find someone to help him. Deadpool recruits a variant of Wolverine (Hugh Jackman) to restore his timeline, hopefully, but they get sent to The Void. Now trapped in The Void, Deadpool & Wolverine must put aside their differences and find a way out. Along the way, they’ll meet old friends and enemies as they traverse The Void, looking for an escape. It’s up to Canada’s two most infamous anti-heroes to prevent the multiverse from collapsing into oblivion.

     

    Review

    So, is Deadpool & Wolverine the shot in the arm that the Marvel Cinematic Universe desperately needed? While it’s undoubtedly the best MCU movie in years, I’m not sure if this means things will get better. One thing this film gets right that so many other superhero movies seem to have forgotten is to be fun. The others had some humor, but they took themselves too seriously or didn’t know how to balance the tone. Like the first two movies, this one is funny and dramatic without veering too far in either direction. While some jokes don’t quite land, they more often than not stick the landing and deliver some belly laughs. The more serious, dramatic moments feel earned rather than pandering and are never interrupted by a joke. There’s much more heart than expected from a movie that opens with a bloody action sequence set to N’Sync.

    Ultimately, the fans want to see Deadpool and Wolverine team up, and that’s just what we get. Ryan Reynolds and Hugh Jackman are in top form, delivering outstanding performances and working well together. Reynolds’ irreverent, crass humor perfectly contrasts with Jackman’s stern, rugged tone, and seeing them go at it is a treat. One of the best scenes involves Deadpool and Wolverine tearing each other to shreds in a minivan. The scene keeps going and going, and there’s so much blood that it’s easily one of the film’s biggest highlights. There are also some great cameos littered throughout, but they don’t feel like they’re there for the sake of it. It feels like a love letter to the early-to-mid 2000s era superhero movies, which were more experimental and risk-taking. The film also takes a few shots at the MCU, which is surprising but greatly appreciated.

    Shawn Levy was a great choice to direct this movie, as he stages some great action sequences with fluidity and grace. He managed to tap into what made Tim Miller and David Leitch’s direction work while making it his own. Unfortunately, most of the returning cast don’t have much, if anything, to do and are just background characters. Also, the plot is the usual “hero must stop the villain from destroying the world/universe/multiverse” we’ve seen already. That said, the villain used is better and more interesting than the ones we’ve seen in previous MCU installments. If nothing else, I must credit Disney for allowing the people involved to go full hard R. It’s hard to say if future MCU movies will improve, but this delivers all the fun you could expect. Overall, Deadpool & Wolverine is violent, crude, heartfelt, hilarious, earnest, and, most importantly, fun.

     

    Buy Deadpool & Wolverine from Amazon: https://amzn.to/3YPynOM.

    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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  • Fatal Games (1984)

    Fatal Games (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=”{}”]Due to the Soviet-Afghan War, the U.S. led several countries to boycott the 1980 Olympics in Moscow. The boycott made international news, eventually leading the USSR to boycott the 1984 Summer Olympics in Los Angeles. With the slasher boom in full effect, many studios and would-be filmmakers wanted to capitalize on this trend. Rafael Buñuel and Christopher Mankiewicz, sons of surrealist filmmaker Luis Buñel and Oscar-winning filmmaker Joseph L. Mankiewicz, were among them. Around 1982, they brought on first-time writer/director Michael Elliot to helm a slasher film centered on The Olympics. Under the title The Killing Touch, filming took place around University High School and Aviation High School in California. Unfortunately, the movie had numerous production issues, including constant rewrites and a rushed 5-week shoot. After struggling to find distribution, the film had a limited theatrical release in 1984 under the new title Fatal Games.

    [/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=”65″ 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=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    At the Falcon Academy of Athletics, young athletes are training for the Nationals, hoping to qualify for the Olympics. Overseeing the students is Dr. Jordine (Michael Elliot), who’s been administering steroids so they’ll outperform Russia and China. His assistant, Diane Paine (Sally Kirkland), objects to what they’re doing, but Jordine convinces her that it’s for the best. Things worsen when some athletes, such as gymnasts Nancy Wilson (Melissa Prophet) and Sue Allen Baines (Angela Bennett), go missing. Unbeknownst to anyone, a masked killer stalks the campus with a javelin, picking off the athletes one by one. Fellow gymnast Annie Rivers (Lynn Banashek) and her boyfriend Phil Dandrige (Sean Masterson) decide to investigate the disappearances. All the while, the other students struggle with interpersonal relationships, unrealistic expectations, and student-teacher relations. Who will be next, and who will take it all the way and survive these fatal games?

     

    Review

    Fatal Games is a pretty silly slasher, but it has some unique qualities that make it stand out. Setting it in an athletic school for Olympic hopefuls is a novel concept that isn’t the usual summer camp. Also, the killer has a distinctive look and a signature weapon that they stick with, even when killing someone underwater. It helps that almost every shot featuring the killer has them backlit, which makes them look more ominous. Plus, similar to how The Mutilator had a ridiculously catchy theme song, this one has a similarly infectious title track. It’s worth noting that the opening song was composed by Shuki Levy, who later founded Saban Entertainment with Haim Saban. There’s also an exciting climax that keeps you on edge, especially with the twist that adds a layer of cheese. Plus, there’s plenty of nudity, both male and female, to suit your tastes.

    Unfortunately, aside from a unique setting and a decent killer, this film offers little else. For one, the acting falls flat, though it doesn’t help that the cast doesn’t have great dialogue to work with. Future Oscar nominee Sally Kirkland performs well, though the filmmakers’ handling of her character is questionable. Spice Williams-Crosby is also a highlight as the likable Coach Drew, even though her character sleeps with a student. Sadly, Lynn Banashek, who only has one other credit to her name, is a weak and forgettable lead. The film tries to add character development, but none of the characters are interesting enough to warrant this. Also, this one’s pretty weak on the gore for a slasher film, only showing a little blood here and there. It doesn’t help that every kill is the same stabbing by javelin, a wasted opportunity for some Olympic-themed kills.

    Many people have compared this film to 1981’s Graduation Day, and it’s easy to see why. Both involve a masked killer going after a group of young athletes and have a shocking twist. Considering Herb Freed’s movie made more money, I’m sure Michael Elliot and his team took some inspiration. That said, Freed’s movie is better because it has more inventive kills, better characters, and a sense of fun. Patch McKenzie is a much better lead than Lynn Banashek, and that film had more of a sense of humor. Still, there’s enough unintentional camp to enjoy this film, especially with some friends and your substance of choice. While I wouldn’t call this a long-lost gem, it’s still an interesting artifact worth seeing if you love slashers. Overall, Fatal Games isn’t terrible, but if you want to start getting into 80s slashers, there are better options.

     

    Buy Fatal Games from Amazon: https://amzn.to/3NY2f5b.

    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 Fatal Games (1984)

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  • Silent Madness (1984)

    Silent Madness (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=”4.26.1″ _module_preset=”default” global_colors_info=”{}”]Alongside the slasher boom, the early 1980s saw a revival of 3D thanks to the surprise hit Comin’ at Ya! Between 1981 and 1983, 3D movies like Friday the 13th Part III, Parasite, and Jaws 3D hit theaters. Enter filmmakers Simon Nuchtern and Bill Milling, who first met working on the 1981 horror film Nightmare. Seeing the popularity of slasher films and the interest in 3D, they decided to combine the two. Around this time, numerous publications reported on mental asylums letting patients out early for budgetary reasons. The two used this as the backbone and hired Bob Zimmerman and Nelson DeMille to help with the script. With a budget of roughly $600,000, filming took place around Nyack, New York, using the ArriVision 3-D camera system. After premiering at the Cannes Film Festival, Silent Madness hit movie screens in October 1984 in both 2D and 3D.

    [/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=”4.26.1″ _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

    The Craven Mental Institution has recently implemented a program that releases patients they feel are fit for society. Not everyone favors this, particularly Dr. Joan Gilmore (Belinda Montgomery), who thinks it could be dangerous. She’s proven right when a homicidal patient named Howard Johns (Solly Marx) gets released due to a clerical error. Dr. Kruger (Roderick Cook) explains that Howard Johns passed away, but Gilmore suspects something is up, so she investigates further. With help from newspaper owner Mark McGowan (David Greenan), she goes undercover at a sorority house where Johns committed murder. She tries getting help from Sheriff Liggett (Sydney Lassick), but he refuses when the hospital tells him Johns is dead. Elsewhere, Kruger enlists orderlies Jesse (Philip Levy) and Virgil (Dennis Helfend) to bring Johns back and deal with Gilmore. Will Gilmore uncover the truth, and who will be the next victim of Silent Madness?

     

    Review

    While I wouldn’t call Silent Madness an unsung classic, I will say that it’s better than most non-franchise slashers. One aspect that makes it stand out is the acting, which is above average compared to similar movies. Belinda Montgomery makes for a strong lead as Dr. Gilmore, acting confident, self-assured, and willing to stand her ground. David Greenan also does an excellent job as Mark McGowan and has great chemistry with Montgomery. Although her scenes are brief, classic actress Viveca Lindfors is also memorable as the sorority housemother, Mrs. Collins. Also, Sydney Lassick of One Flew Over the Cuckoo’s Nest fame steals the show as the foul-mouthed sheriff. Solly Marks is a solidly intimidating killer, and Roderick Cook is great as the sinister Dr. Kruger. Even the sorority sisters are very likable, though they have little to do. Also, look for Sleepaway Camp actors Paul DeAngelo and Katherine Kamhi.

    What also makes this film stand out is the 3D, which is as gimmicky and cheesy as you can imagine. Admittedly, it’s not as fun as the 3D in Friday the 13th Part III, but the 3D that’s there does add to the charm. Most of the time, the actor will hold an object to the camera and pause, which adds some unintentional humor. Still, I’d rather have this old-school, gimmicky 3D over Avatar’s flashy, atmospheric 3D any day. Also, while the kills are relatively tame and lacking in gore, many are imaginative and creatively unique. A memorable one involves a girl upside down strangled by a rope tied to a dumbbell thrown out a window. There’s also a flashback sequence where several girls get gunned down with a nail gun, which is just brutal. The kills are above your typical slice and dice, even if not bloody.

    Whether intentional or not, the film also has a slight anti-corporate message and provides commentary on the healthcare system. We see patients mistreated by the staff, technical errors swept under the rug, and management more concerned with money. Considering the filmmakers’ inspiration for this film, it wouldn’t surprise me if this commentary was intentional. Granted, I’m probably giving this movie more credit than it deserves, but this is more ambitious than typical slashers. Criticisms aside, it’s clear the filmmakers tried making something unique, and even if some of it didn’t work, they tried. At slightly over 90 minutes long, parts of the film could’ve been shorter, but it moves at a decent pace. So, if you’ve seen all the big slashers and want something else, give this a shot. Overall, Silent Madness is hardly a classic, but its ambition, story, and acting put it above its contemporaries.

     

    Buy Silent Madness from Amazon: https://amzn.to/3NShpZV.

    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.

    [/et_pb_text][et_pb_code _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch Silent Madness (1984)

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  • The Mutilator (1984)

    The Mutilator (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=”4.26.0″ _module_preset=”default” global_colors_info=”{}”]Though he was practicing law at the time, Buddy Cooper always wanted to work in the movie industry. He spent some time taking courses on screenwriting and production at American University, where he met Associate Professor John Douglass. The two hit it off, and Douglass agreed to help Cooper co-direct a script he wrote for a horror film. Cooper’s father owned a hotel for housing and an isolated condo off Atlantic Beach, so everything was set. Much of the cast and crew were locals, family members, or young New York and LA up-and-comers. For its release, the MPAA wanted to give the film an X-rating, but Cooper refused and released it unrated. Under the title Fall Break, the film premiered in Raliegh, North Carolina, in early 1984 until the distributor retitled it. After ironically making cuts to get an R-rating, the film hit LA theaters in 1985 as The Mutilator.
    [/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=”4.26.0″ _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=”4.26.1″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Young Ed (Trace Cooper) accidentally kills his mother with his father’s hunting rifle while trying to clean it. Years later, Ed (Matt Mitler), now in college, gets a call from his father to close up his beach condo. With Fall Break approaching, his girlfriend Pam (Ruth Martinez) suggests they and their friends spend it at the condominium. He agrees, and they bring their friends Ralph (Bill Hitchcock), Sue (Connie Rogers), Linda (Frances Raines), and Mike (Morey Lampley). Little do they know that a mysterious killer (Jack Chatham) roams outside, waiting to pick them off one by one. The victims die in increasingly gruesome ways, such as with a boat motor, a flounder gig, and a fishing gaff. A local cop (Ben Moore) tries saving the young adults, only to wind up being decapitated by the killer. Who will survive Fall Break, and how many will fall victim to The Mutilator?

     

    Review

    Whether you call it Fall Break or The Mutilator, this formulaic slasher film doesn’t have much to offer. Of course, there’s nothing wrong with that, but if you’re expecting something more, you will be disappointed. It has a basic setup: young people go to an isolated setting to party, and a killer stalks the area. In a way, it’s similar to the setup of Friday the 13th, except this came out years later. Also, that film intentionally hid the killer to build suspense, whereas this one immediately shows the killer. Then again, this movie isn’t concerned about building tension so much as it is about delivering the kills. Thankfully, Mark Shostrom (Evil Dead II, From Beyond, Forbidden World) and his crew delivered some gruesome set pieces. In particular, the scenes involving a boat motor and a large fishing gaff are more gruesome than many other slashers.

    Sadly, for all of its bloody kills, the film lacks stellar acting and a compelling story. In this film’s defense, almost everyone involved was relatively unknown at the time and didn’t have much experience. Also, no one is so unlikable that you’re begging for their deaths, which puts it above most modern horror films. Matt Mitler, who later appeared in 1986’s Breeders, is a decent lead, though he comes off a bit milquetoast. The biggest standout is Bill Hitchcock as the comedic relief Ralph, who makes the most of his screen time. His carefree attitude and quick-witted one-liners make him a fun character, and he has a memorably goofy silent film-esque scene. While he doesn’t have much dialogue, Jack Chatham makes an imposing killer with his enormous stature and terrifying facial expressions. Even if the cast isn’t overly memorable, they get the job done well enough.

    As formulaic as this movie is, some weird additions make it stand out from its contemporaries. The title song is so upbeat and cheerful that it feels more appropriate for a sitcom than a slasher. The end credits, which feature bloopers alongside the cast’s names with respective footage and the theme song, add to that. It adds to the sense that the people making this film were having fun, which I can appreciate. Regardless of how the final product turned out, I’m glad the cast and crew enjoyed themselves while making it. The homegrown, local feel to the film adds the kind of charm you’ll only find in low-budget horror movies. Plus, at only 86 minutes, the movie gets in and out without the need to pad things out too much. Overall, The Mutilator isn’t anything remarkable, but it offers the type of thrills you’d expect.

     

    Buy The Mutilator from Amazon: https://amzn.to/3WgDJRX.

    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 Mutilator (1984)

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  • Pearl (2022)

    Pearl (2022)

    [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=”4.26.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]

    While working on 2022’s X, writer-director Ti West worked with actress Mia Goth on a prequel story. Inspired by the impact COVID-19 had on cinema, West started production of the prequel immediately after the first film. Much to West’s surprise, A24 agreed to green-light both projects. It helped that X grossed $15 million against a $1 million budget and earned rave reviews from critics and audiences. For the prequel, A24 gave West an $8 million budget, which he started filming in March 2021. Alongside Mia Goth, the rest of the cast included David Corenswet, Tandi Wright, and Matthew Sunderland. Much of the crew had just come from working on Avatar: The Way of Water and had undergone safety precautions. West finished editing and recording the soundtrack after the original film’s premiere at SXSW in 2022. After premiering at the Venice Film Festival, Pearl hit theaters nationwide in September 2022.

    [/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=”4.26.0″ _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=”4.26.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]

    Synopsis

    Pearl (Mia Goth) is a lowly farm girl who dreams of leaving her family home to become a big star. Unfortunately, she and her domineering mother, Ruth (Tandi Wright), are stuck caring for her ailing father (Matthew Sunderland). On top of that, Pearl’s husband, Howard (Alistair Sewell), is off serving in World War One. Feeling isolated and abandoned, Pearl starts showing signs of psychopathy: killing animals, abusing her father, and masturbating with a scarecrow. It doesn’t help that she has a secret affair with a local projectionist (David Corenswet), who she confides in. Opportunity comes when Pearl’s sister-in-law Mitsy (Emma Jenkins-Purro) tells her about an audition for a statewide dance troupe. Pearl sees this as her ticket off the farm and will do anything to get it, even murder. Soon, the whole world will know her name no matter how many people have to die.

     

    Review

    A prequel is rarely as good as the original, especially when both come out in the same year. The only other time something similar happened was when both Breakin’ movies came months apart in 1984. While Pearl doesn’t have breakdancing, a funky soundtrack, or a memeable subtitle, it’s still a great companion piece to X. As a prequel, the movie gives you great insight into the murderous wench that terrorizes the young pornographers decades later. As a standalone movie, it’s a great character study of a young woman with great aspirations plagued by psychotic tendencies. You can also sense Ti West’s love of cinema with the stylized colors and meticulous attention to detail. West and his crew perfectly capture the Old Hollywood feel with its vibrant color scheme, wide-angle shots, and classical score. Granted, it’s slightly anachronistic since the film takes place in 1918, but that’s easy to overlook.

    Like the original film, Mia Goth is the biggest highlight as she gives a career-defining performance as young Pearl. She can be warm, cheerful, sad, vulnerable, and even chilling and sinister, sometimes in the same scene. You sometimes want her to succeed and stand up to her overbearing mother to become a star. But then, there are moments when you dread what she will do next and are genuinely terrified of her. A real showcase of Goth’s talent as an actress is a 7-minute-long speech where the camera focuses solely on her. It’s genuinely mesmerizing as this character simultaneously breaks down everything she’s feeling without interruptions, experiencing various emotions one after another. Another great example is during the end credits, where there’s one static shot of her trying to maintain a smile. It perfectly encapsulates everything about the character all in one sequence.

    As great as Goth’s performance is, that’s not to say the rest of the cast isn’t on par with her. Tandi Wright is appropriately chilling and stern as Pearl’s overbearing mother, who sees the truth in her troubled daughter. David Corenswet is also memorable as the projectionist, whose suave charm and carefree attitude entice Pearl to escape the farm. While he has no lines, Matthew Sunderland still does a great job conveying a sense of dread about his situation. While the original film had plenty of gruesomely bloody kills, this one doesn’t have as many overly gory kills. Still, the kills are done in a way that makes them equally disturbing just by how suddenly they happen. Despite whether you prefer this film over the original, this is an excellent horror movie in the purest sense. Overall, Pearl is a solid prequel and a great standalone film for horror fans.

     

    Buy Pearl from Amazon: https://amzn.to/3xSE8AH.

    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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  • Coneheads (1993)

    Coneheads (1993)

    [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=”4.26.0″ _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=”4.26.0″ _module_preset=”default” global_colors_info=”{}”]The second season of Saturday Night Live saw the debut of a race of aliens known as The Coneheads. The brainchild of writer/actor Dan Aykroyd and SNL writer Tom Davis, the sketch became an instant success. The alien family would appear in future episodes before fading out once Aykroyd left the show in 1979. Decades later, Wayne’s World, adapted from an SNL sketch, became a surprise hit, grossing over $180 million worldwide. Following this success, Paramount Pictures chairman Brandon Tartikoff asked SNL producer Lorne Michaels for other sketches they could adapt. Michaels contacted Aykroyd about making a movie out of The Coneheads, and he worked on a screenplay with Davis. They hired music video director Steve Barron, who recently made the box office hit Teenage Mutant Ninja Turtles. With a $30 million budget, Paramount hoped Coneheads would be a big hit for the summer of 1993.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”25″ bar_bg_color=”#E02B20″ _builder_version=”4.26.0″ _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

    After the National Guard shoots down their spaceship, Beldar (Dan Aykroyd) and his wife, Prymaat (Jane Curtain), crash near Manhattan. They’ve come from the planet Remulak with orders from their leader, Highmaster Mintot (Dave Thomas), to conquer Earth. Unfortunately, a rescue ship won’t arrive for years, so Beldar and Prymaat must blend in to survive. They move to the suburbs, settle down, and raise a teenage daughter named Connie (Michelle Burke). Meanwhile, INS agent Gorman Seedling (Michael McKean) and his partner Eli Turnbull (David Spade) are tracking the Coneheads’ movements. Soon, Connie starts a relationship with a mechanic named Ronnie (Chris Farley), whom Beldar objects to despite her insistence. Soon, the family gets notified that their rescue ship is on the way, but the INS is on their tail. Hijinks ensue (possibly) as Earth has to welcome the new family in town, the Coneheads.

     

    Review

    If The Blues Brothers is the best SNL movie and It’s Pat is the worst, Coneheads is in the middle. It’d be more accurate to say it’s near the bottom because, while not the worst, it’s still terrible. Like It’s Pat, this movie proves that what might work as a 5-minute sketch doesn’t work as a 90-minute movie. Seeing the aliens try to act like humans might be amusing at first, but the shtick gets old very quickly. To their credit, Dan Aykroyd and Jane Curtain play their parts precisely as they did on SNL. Conversely, Michelle Burke acts like a stereotypical teenage girl who happens to be a Conehead, which creates a weird disconnect. It’s even odder when you consider that Laraine Newman, who played Connie on SNL, acted like Aykroyd and Curtain. That might’ve been intentional, but it’s pretty stupid, like everything else in this movie.

    While Charles Rocket as the villain was the best part of It’s Pat, Michael McKean is far from that. He’s neither funny enough to be memorable nor weirdly intimidating to where he’s weirdly out of place. David Spade is slightly amusing as McKean’s sycophantic assistant, who all but kisses up to him, but it wears thin. The cast has many other SNL members like Phil Hartman, Chris Farley, Adam Sandler, Garrett Morris, and Kevin Nealon. Practically half the cast consists of usually funny people, but not one of them landed a single good joke. However, it is slightly amusing seeing Jason Alexander with hair that looks more fake than the prosthetic cones for Aykroyd. It says a lot when Jon Lovitz and Tom Arnold were uncredited for their work. It’s impressive how they got so many comedians together, and none are funny.

    To give this film some credit, as dull as the Earth scenes are, the few moments on Remulak are decent. There’s some interesting production design, and they even throw in a stop-motion creature, which is appreciated. It’s worth noting that the stop-motion animator was Randal M. Dutra, whose credits include RoboCop, Willow, and Howard the Duck. I think director Steve Barron preferred shooting the Remulak scenes, considering his work on Teenage Mutant Ninja Turtles. Those sequences fit more of the fantastical comic book aesthetic of his 1990 effort versus the more pedestrian Earth scenes. Also, it’s interesting to see a film from 1993 about a family of literal aliens running afoul of the government. If the movie had focused more on that than dumb sight gags, it might’ve worked, but alas, no. Overall, Coneheads is neither funny nor offensively bad enough to recommend to anyone.

     

    Buy Coneheads from Amazon: https://amzn.to/4e7RvvS.

    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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  • A Quiet Place: Day One (2024)

    A Quiet Place: Day 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=”4.25.2″ _module_preset=”default” global_colors_info=”{}”]Despite numerous setbacks, A Quiet Place Part II was a box office hit, grossing nearly $300 million worldwide. Before the sequel’s release, Paramount announced a spin-off prequel was in development with Jeff Nichols set to write and direct. Unfortunately, due to creative differences, Nichols left the project in October 2021, and Pig director Michael Sarnoski replaced him. The studio hired Oscar-winner Lupita Nyong’o and Joseph Quinn of Stranger Things fame for the lead roles. Djimon Honsou, who played a small role in the original’s sequel, reprised his role for this film. With a $67 million budget, filming occurred in and around London between February and April 2023. Following post-production, the film’s release was postponed numerous times between March 2023, September, and March 2024. After premiering at the Tribeca Film Festival, A Quiet Place: Day One opened worldwide in June 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=”75″ bar_bg_color=”#EDF000″ _builder_version=”4.25.2″ _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

    Samira (Lupita Nyong’o) is a terminally ill cancer patient living in hospice care with her cat, Frodo. During a trip to Manhattan with the other residents, several giant creatures crash land on Earth and start killing people. After falling unconscious, Sam reawakens and finds that people stay quiet since the creatures only respond to sound. As she tries to survive, Sam sees the bridges leading out of Manhattan destroyed and the power grid cutting off. Along the way, she runs into Eric (Joseph Quinn), a law school student from England who follows Sam around. The two bond as they try to survive while everyone heads to the South Street Seaport to evacuate. While Eric wants to get to the seaport, Sam intends to enjoy pizza before she dies. It’s a fight for survival as our heroes try to live through the first day of the world’s end.

     

    Review

    While this prequel isn’t as strong as the first two installments, A Quiet Place: Day One is a decent watch. What elevates the film are the lead performances from Lupita Nyong’o and Joseph Quinn, who are excellent together. Nyong’o does a great job as a cynical cancer patient who wants to fulfill her last wish before dying. Quinn also works as a young, somewhat naive law student trying to survive and following Nyong’o out of desperation. They have fantastic chemistry with each other, and I’m glad the movie doesn’t force them into being love interests. They’re just two lost souls trying to survive the end of the world and make the most of it. Admittedly, given it’s a prequel, you can predict where they end up, but you don’t mind spending time with them. The actors give compelling performances to where you root for them throughout the film.

    Like the previous films, the cast here is small, and aside from the leads, the rest aren’t developed much. Djimon Honsou is solid as always, but he feels like an afterthought and doesn’t have much screen time. His only reason for being here is to tie in with the other films, making his role a giant reference. Alex Wolff also does an excellent job with his few scenes and has some good back-and-forths with Nyong’o. Of course, the movie’s real star is the cat Frodo, who is very dependable and loyal to its owner. Michael Sarnoski’s direction is solid, and he does a great job staging some post-apocalyptic scenery, especially after the initial attacks. You can tell that Sarnoski is a visual director in the quieter scenes where people walk the abandoned streets. You could watch the film muted and still get the same experience.

    Admittedly, it’s hard to talk about this movie other than to say it’s a decent but safe prequel. That’s the biggest issue with this film: it’s neither terribly offensive nor remarkably groundbreaking, but somewhere in the middle. Of course, the movie isn’t without its merits: the leads give great performances, the directing is solid, and it’s entertaining. Plus, at only an hour and forty minutes, it’s a quick sit that’s paced well. Hardcore fans of the first two movies will enjoy this, but they’d probably prefer a sequel. If you’ve never seen either of the first two, you could start with this one, but I’d recommend the original. I wouldn’t go so far as to say this movie is terrible, but it does feel ultimately pointless. Overall, A Quiet Place: Day One is decent entertainment, but don’t expect anything groundbreaking or original.

     

    Buy A Quiet Place: Day One from Amazon: https://amzn.to/3CbYB5n.

    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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  • Inside Out 2 (2024)

    Inside Out 2 (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=”4.25.2″ _module_preset=”default” global_colors_info=”{}”]2015’s Inside Out grossed over $858 million worldwide against a $175 million budget, becoming the seventh-highest-grossing film of the year. The film also earned an Oscar nomination for Best Original Screenplay and won Best Animated Feature, which guaranteed a sequel. Original director Pete Docter had ideas for a sequel but stepped down when he became Pixar’s CCO in 2018. Pixar officially announced the sequel during the D23 Expo, with story supervisor Kelsey Mann making his directorial debut. While most of the original cast agreed to return, Bill Hader and Mindy Kaling declined due to a pay dispute. Like the last film, the filmmakers consulted numerous psychologists for research and even recruited nine teenagers to portray adolescence accurately. Due to diminishing returns from other recent Disney films, projections for the sequel were below $100 million. After premiering at the El Capitan Theater, Inside Out 2 opened nationwide in June 2024.

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    Synopsis

    Now 13 years old, Riley (Kensington Tallman) is about to enter high school, starting with a hockey camp. Meanwhile, Joy (Amy Poehler), Sadness (Phyllis Smith), Disgust (Liza Lapira), Fear (Tony Hale), and Anger (Lewis Black) maintain her mind. However, a wrench gets thrown when Riley enters puberty, and four new emotions enter HQ. Anxiety (Maya Hawke), Envy (Ayo Edebiri), Ennui (Adèle Exarchopoulos), and Embarrassment (Paul Walter Hauser) take over from the original five. Thinking she knows best, Anxiety has Riley ditch her friends for new ones and push herself to make the team. Unfortunately, Anxiety’s choices disrupt Riley’s sense of self and throw things into chaos, so the original five must fix her. As the primary emotions try to return to HQ, Riley’s life worsens, and she loses her true self. Will Anxiety succeed in “helping” Riley, or will the original five restore her to how she was?

     

    Review

    Given the long gap between the original and the sequel, it’s impressive how good Inside Out 2 is. Sure, it doesn’t quite recapture the first film’s magic, but it’s incredible for a sequel made almost a decade later. Like any good sequel, this one effectively takes what worked in the original film and expands upon it. Much like how the original tackled the emotions of a developing child, this one tackles the emotional complexities of adolescence. This film deals with themes of insecurity, the identity of self, self-doubt, over-ambition, emotional repression, and even panic attacks. These themes would fall flat or seem distasteful in lesser hands, but Kelsey Mann and his team handle them expertly. There’s also some fun satire, such as a scene involving Riley’s embarrassing secrets hidden in a vault. You can tell the filmmakers cared about the material and tried making something more than just a product.

    Amy Poehler, Phyllis Smith, and Lewis Black return to their roles of Joy, Sadness, and Anger flawlessly. While it would’ve been better if Hader and Kaling also came back, Tony Hale and Liza Lapira are solid replacements. Maya Hawke is outstanding as Anxiety, perfectly capturing the emotion’s wild energy while making the character more sympathetic. Much like Fear, Disgust, and Fear in the original, Anxiety isn’t inherently evil but misguided in trying to help Riley. Envy, Ennui, and Embarrassment have moments, but their characters aren’t developed as much to make them stand out. 16-year-old Kensington Tallman is perfectly cast as a teenage Riley, exhibiting the characteristics of a young person going through puberty. Lilimar stands out as the hotshot hockey player Valentina “Val” Ortiz, who Riley is trying to win over. The cast is fantastic, even if some roles are reduced from the original.

    Since the original film’s release, Pixar’s movies have ebbed and flowed in quality, with some good and some not-so-good. For every Toy Story 4 and Soul, which were solid, some were decent, like Onward, and others lackluster, like Lightyear. On top of that, 2023 was not a great year for Disney, with most of their movies losing money. Hopefully, this film’s critical and commercial success will change things for the better for Disney, but probably not. Regardless, this is a phenomenal family film that, like any great Pixar movie, can be enjoyed by kids and adults. Kids will enjoy the bright colors and funny gags, while adults will resonate with the complex themes. Plus, at 96 minutes, the movie flies by quickly without rushing or dragging to the end. Overall, Inside Out 2 is another top-notch Pixar film with fantastic animation and a great story.

     

    Buy Inside Out 2 from Amazon: https://amzn.to/4fuDjho.

    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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