Will Smith as Mike Lowrey Martin Lawrence as Marcus Burnett Jacob Scipio as Armando Armas Kate del Castillo as Isabel Aretas
Release Date
2020
Language(s)
English
Running Time
124 minutes
I’ll be upfront and say I don’t really remember Bad Boysor Bad Boys II outside of a few moments, and I wasn’t going to go through the effort of re-watching them for this newest release. Thankfully for me, the movie doesn’t require knowledge of the previous movies, but does reward people who have kept up with Mike and Marcus’s journey up to now. I left the movie immensely satisfied and think this movie will please old and new fans alike.
The movie follows a more mature Mike and Marcus, the former desperate to continue fighting bad guys while the latter is getting ready to retire and enjoy the comforts of life, including his newly born grandchild. However, a string of murders brings the two together for one last ride (pending the imminent sequel). While I may not remember the last two movies, I know I will remember parts of this one for a bit. The reveals in the third act were fun and well-earned- definitely not what I expected when I was walking in. That’s not to say the story is perfect. It definitely has some moments of fat that could be trimmed off, especially in the second act which feels like it goes on for a while. There’s a lot of “find X” guy sub-plots happening which feel like they could have been condensed and streamlined. But in spite of all of that, it’s entertaining.
If you were a fan of the frenetic cut based directing of the previous movies, you may be upset with how tame this movie feels. There’s still a ton of action and movement, but it feels more contained and refined. I personally enjoy this style way more and appreciated how clean the action sequences looked. I could tell you exactly what was happening on the screen as it happened, which I rarely can in modern action movies.
Like the action, the character development and pacing of the plot feel more refined than ever. Both Mike and Marcus have meaningful character arcs in this movie. Martin Lawrence’s performance as the latter proves he still has his acting chops. He’s just as funny but has a clarity about him. Even the side characters get some love here. The buddy-cop duo find themselves joined by tech-driven operations team (AMMO) and each member brings a little spice to the formula. I loved watching them bounce off the main duo and their interjections keeps the movie feeling fresh. The crazy part is – none of the above are even my favorite character from the movie. That honor goes to the villain Armando, a man who’s as complex is he as dedicated to executing justice. He’s a hardened criminal who has a moral compass and nothing about it feels off. Ruthless and violent, but not a deranged monster. I dig it.
Honestly, my biggest issues concerning the movie stem from its identity crisis. The movie wants to be funny (which it most certainly is), serious, have a message, and be action-packed. The issue is that it mixes those elements in ways that make them oppose one another. For example., there are moments where something serious happens and then someone makes a funny joke almost undercutting the impact of what was said. I get that it’s funny and is poking fun at the scenario, but it really takes you out of the moment. Likewise, the humor compounded with some missed opportunities, takes away a lot from some of the themes presented in the first act.
REPORT CARD
TLDR
Bad Boys for Life should satisfy fans of the franchise and newcomers alike. It’s bold and has genuinely fun moments that set it apart from predecessors, but it never takes the following steps to become something truly innovative. Good popcorn flick and one of the better buddy-cop movies.
Rating
8.0/10
Grade
B
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Samara Weaving as Bee Judah Lewis as Cole Emily Alyn Lind as Melanie Robbe Amell as Max
Release Date
2017
Language(s)
English
Running Time
85 minutes
The Babysitter is a mixed experience to say the least. The story follows Cole, your typical bullied nerdy kid and his babysitter, Bee, who acts as his friend, guardian, and confidante. Late one night, he finds out that his beloved Bee is actually the head of a satanic cult and has to find a way to get out of her cult’s clutches.
The setup for the plot isn’t awful . A kid with confidence issues finds out his babysitter, one of the few people he genuinely cares about, is head of a demonic cult and must find a way to survive. It leaves a lot of avenues to be explored. Unfortunately, the movie doesn’t make use of any of them. The nature of the satanic cult is never really messed around with. No cool ritual stuff or fun gimmicks. Interactions between cult members hint at a history between them (potentially funny) , but that’s never explored. Characters get no time to breathe or give us a reason to root for or against them.None of the cult members outside of Bee and Max (the crazy jock of the group) feels fleshed out so they come off as annoying caricatures. This second problem spills outside of the cult as well. A lot of the supporting cast feels useless or tacked on. Outside of Melanie, Cole’s best friend, no one is utilized properly.
Direction ranges from strange to slightly better than expected. The score is typical for the type of movie this is, so while it doesn’t distract, it doesn’t lend itself to leaving a big impression. The movie makes use of floating words and pauses to create a strange comic-book feeling. It didn’t really work for me and I thought it was kind of strange. It didn’t add anything thematically and if it was an attempt at satire, it came off strange.
Speaking of satire, the movie is pretty hit-or-miss with its attempts at being funny with the genre. It doesn’t fully embrace the absurdity of camp like Dude Bro Party Massacre IIIand isn’t as clever as The Cabin in the Woods. It’s pretty on the nose about things, so if you’re looking for subtlety look elsewhere. I thought some of the moments worked, but others felt tacked on. The satire also isn’t properly integrated with the theme at the heart of the story- facing your fears and growing up. If it was, I think a lot of the movie could have been elevated. In fact, the reason I liked Max, is precisely because his absurdity and depiction with Cole directly ties in to the latter’s growth.
You see, despite my criticisms, I do enjoy the story’s exploration with growing up. Cole’s coming-of-age journey is just a more extreme version of things a lot of us have gone through, and I think the movie really nailed it. The relationship between Bee and Cole is actually pretty sweet and well-established so watching him deal with the revelation feels meaningful. Weaving’s performance certainly helps sell the emotional undercurrent of the story . It’s easy to see why Cole would be devastated at the revelation of Bee’s true nature, but on the flip side easy to see how good she was at manipulating him.
REPORT
TLDR
The Babsitter has some interesting ideas but rarely manages to be anything more than average. There are cute character moments but unfortunately they never manage to elevate the story to the next level. If you like Samara Weaving or are in the mood for a cheesy teen black comedy then this movie might hit the spot.
Rating
6.3/10
Grade
D
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Samara Weaving as Grace Le Domas Mark O’Brien as Alex Le Domas Adam Brody as Daniel Le Domas
Release Date
2019
Language(s)
English
Running Time
95 minutes
As someone who loved Samara Weaving’s performances in both The Babysitter and Mayhem, I knew I had to watch this movie. I didn’t even watch a trailer – I just went in expecting to see a fun Weaving movie. I got that and so much more. Ready or Not is funny, clever, and brutal all at the same time.
The story follows Grace as she’s made to play a game of hide-and-seek after marrying into the wealthy Le Domas family. Except in this game, getting caught means being killed. What follows is an intense cat and mouse situation where Grace and the Le Domas family constantly seek to out maneuver the other party. What keeps these moments fresh is the circumstance under which the game is played and the family operates. I won’t spoil it, but the movie keeps you guessing on what’s really going to happen the whole time. Up until it was over, I didn’t know what was actually going to happen.
Even after having only seen the movie once in theaters and once for this review, I can remember most of the characters and their personalities fairly well. This movie, unlike a lot of other ones with big casts, doesn’t feel like it wastes any of its characters. There are clear motivations for each member – which is even more impressive when you realize how large the Le Domas family actually is. Yes, some of the arcs or backgrounds aren’t amazing or profound, but the fact that they are there at all is impressive.
Weaving absolutely kills it in her portrayal of Grace. She’s funny, wide-eyed, resolute, bad-ass, desperate, and everything in between. Her energy shines through and makes it really easy to root for Grace. It gives you a reason to care about the story and I found myself invested in the outcome. I think Brody’s performance as Daniel (Grace’s brother-in-law) was also fairly well done. He showed complexity and nuance and has some of the best character moments in the movie.
The movie’s discourse on families is interesting and doesn’t feel ham-fisted. Grace wants to be in the family because she’s always been alone- so for her family is a safe place. Meanwhile, her husband Alex resents his family for the practices they engage in so he wants to run away – but he still feels the need to follow tradition- which highlights just how strong family can influence the ordering of our desires. The way the parents evaluate their children’s’ spouses speaks volumes in what qualities they consider valuable. The perversion of family values is where the movie shines and the way it frames that discussion in relation to wealth adds another layer to think about.
Now for the problems. There are some character decisions in the third act that feel a bit off. They’re not incomprehensible, but they feel like they could have been developed a bit more so they wouldn’t feel as sudden. There are also some procedural issues I had with what knowledge what characters had about the mystery at the core of the plot. It feels like certain people should know things that would radically change their actions, but they don’t. Finally, there are moments where the camera feels/is handheld which takes away from the grandiose aesthetic. I wish the shots were stable throughout/moved only during more action-y scenes. This issue felt even more prominent on my second viewing. None of these problems are enough to make the movie bad, but they do lessen the themes the movie builds towards.
REPORT CARD
TLDR
Ready or Not is a clever twist on the comedic slasher genre. The plot is well-paced and will keep you guessing about what’s going to happen up till the very end. There are some story issues that creep up in the third act, but they can’t detract from the absurdly fun journey/ending. If you enjoyed Knives Out,you may also like this. It’s weird – but this movie feels like a spiritual horror version of that one.
Rating
9.0/10
Grade
A
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Kristen Stewart as Norah Price Vincent Cassel as Captain Lucien T.J. Miller as Paul Jessica Henwick as Emily
Release Date
2020
Language(s)
English
Running Time
95 minutes
After the disappointment that was The Grudge, I wasn’t that excited to see another January horror movie. So I set my expectations to 0 and went into Underwater with an open mind.I’m really glad I did, because the movie is a hell of a lot of fun. Yes, it’s an Alien derivative that doesn’t push the monster survival genre in any unique ways, but that doesn’t mean it’s not a fun time.
The movie is paced phenomenally. It doesn’t bloat the run time with a bunch of useless information or tired sequences – instead, it starts off with immediate action. Norah, a mechanical engineer aboard a corporate underwater drill, has to act fast when a breach in her station threatens to flood and destroy everything. Her and a few survivors have to band together and find a way to get out of the situation, but unbeknownst to them there’s some beasts lurking in the sea waiting to strike. Once the action starts it rarely lets up and I was surprised at how interesting the movie was. I never felt bored once, which I think is a mark of success for a thriller/horror.
All the members of the crew are adequate. The pacing of the movie gives little time for character development and it definitely feels like some of them are underutilized. This doesn’t mean there’s no character work – watching the characters deal with the stress of the situation in different ways definitely keeps the movie feeling fresh. Emily’s constant over-analysis or need to explain versus Paul’s humor add some levity to an otherwise tense and claustrophobic experience.
Performances are decent all around. Stewart does a great job as Norah projecting vulnerability and a resolute bad-assery. She’s the only character with a real arc, and it’s satisfying to watch it play out. Everyone else is just kind of along for the ride, so they don’t really get opportunities to add a lot of their own flair to their characters.
The movie is shot way better than I thought it would be. It’s only shaky when it needs to be which keeps the chaotic moments feeling distinct. There’s a great use of darkness and the movie follows the cardinal rule of not showing the “shark” too early. The creatures are hidden until they need to come out so I always felt tensed when I saw something flicker on the screen. The color palette is also murky and has a submerged feeling to it. Some people might be irritated by that. I personally wish it was used less, but it never felt like an issue.
The only real issue the movie has is a lack of purpose? I put a question mark here because I think the ending hints at a more complex “story” which would resolve this issue, but I can’t know until a sequel comes out. This is written with that in mind. Even though the movie is shot and executed well, outside of some awesome moments in the third act, there’s nothing really here that’s unique. It’s not bad- but if you want to see something that completely re-invents the Alien style of movie, you won’t find it here. Instead, you’ll find a competent thriller that’s action packed from beginning to end.
REPORT CARD
TLDR
Underwater is a tense,claustrophobic, and exciting from start to finish. It may not reinvent the wheel, but it’s a well executed thriller with some incredible moments in the third act. If you like Alien derivates or underwater thrillers, you should check it out!
Rating
7.5/10
Grade
C+
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Talitha Bateman as Janice Lulu Wilson as Linda Stephanie Sigman as Sister Charlotte Anthony LaPaglia as Samuel Mullins
Release Date
2017
Language(s)
English
Running Time
110 minutes
Sketches for the Annabelle doll. The Annabelle doll takes center frame as Samuel (Anthony LaPaglia) makes its other body parts. Samuel brands the doll’s box. Esther (Miranda Otto) and Samuel (Anthony LaPaglia) tickle Annabelle (Samara Lee).The Annabelle doll starts innocent enough as a toy. It’s creator lives a happy life with his family and everything seems right.
A man begins to create the infamous “Annabelle” doll introduced in The Conjuring. He gets to work crafting the different parts of the toy; its hollow face takes center frame as it waits to be filled in and made whole. The finished doll is put into a box which the dollmaker, Samuel Mullins (Anthony LaPaglia), brands with his seal.
As he finishes, a note is slipped underneath his workroom’s door: “Find me.” Samuel gives chase; the note marks the start of a hide-and-seek game with his daughter, Annabelle (Samara Lee). He finds the young girl and promptly showers her with affection along with his wife, Esther (Miranda Otto). The loving parents dote on their daughter; the Mullins family is whole and their residence radiates with warmth.
The camera rotates and sweeps around the church……to reveal the Mullins family. The family waits on the road as their vehicle stalls out. Annabelle’s doll lays broken on the road. The title card is branded in with flames. The story moves 12 years forward – Annabelle’s gravesite becomes a threshold. But things turn for the worse very quick. The camera whips and flips around a church to signify the changing fates. Annabelle is brutally killed and the joyous mood collapses. The childlike innocence of the doll is broken in as the title card is “branded” in. The tragic site becomes the cursed threshold the orphans cross.
But these happy times are doomed to come to an end. The camera whips and flips around a church signifying the shift in fates while the family makes their way out of the service. On their way back home, their car stalls out and the trio waits on the road; something awful is about to happen.
A car approaches in the background. We notice it creeping in. Esther calls attention to the vehicle. The horrific realization of what’s to happen begins to dawn. Yet, when Annabelle runs in front of the car to retrieve a stray bolt and is promptly killed, the shock is all the same. Her broken doll occupies the frame: innocence has been destroyed. The title card is “branded” in with flames; the seeds of this horror story have now been sown. Then, the film cuts to 12 years later on a view of Annabelle’s grave-marker, and a bus of young orphaned girls passes by on route to the Mullins residence. Their crossing of the tragic threshold signifies the something sinister approaches them as well.
Janice and Linda hold onto their dolls. Janice (Talitha Bateman) uses the stair-helper. Janice (Talitha Bateman) is framed against the hellish glass-paned balcony. Janice (Talitha Bateman) sits by the stairs as Annabelle (Samara Lee) stands in the background. Janice and Linda’s invocation of the dolls draws a harrowing connection given Annabelle’s death and the nature of the demonic entity we’re familiar with. This feeling is confirmed as Janice explores the house. She enters an evil domain where what seems to be the spirit of the deceased Annabelle waits for her in the looming darkness.
However, the girls inside the vehicle are none the wiser to the horrors that await. They’ve struggled to find a place to stay while waiting to be adopted and the group’s caretaker, Sister Charlotte (Stephanie Sigman) sees the invitation from the Mullins to stay as a blessing from God. Meanwhile, a duo within the girls, Janice (Talitha Bateman) and Linda (Lulu Wilson), sit with their own dolls closely in hand, hopeful that the Mullins residence is just a stop on the road to their dream of being adopted together by a nice family.
They make their way into the residence and director David F. Sandberg gives us a tour of the abode in a James Wan-esque one-shot that sees the girls traverse their newfound home. At the end of the house tour, Janice gets into a stair-helper machine meant to help her manage her polio-related mobility issues and get around the house. Excitedly, she gets onto the machine and heads up the stairs to explore her new environment.
But as the camera pans from a hellish red-stained glass balcony that envelops the frame to reveal Janice emerging from the end of the structure, it’s clear her journey is going to evil places. The next shot confirms as much as a young girl that looks like the deceased Annabelle shows up in the looming dark space to the right of Janice which threatens to envelop her.
Far from being a godsend, the Mullins residence is a malevolent location fraught with demonic forces that seek Janice out from the outset. It’s from this backdrop that Sandberg and writer Gary Dauberman seek to not only explain how the Annabelle doll came to bewithin the larger context of the The Conjuring franchise while making sense of the convoluted logic of the previous franchise entry, Annabelle(also written by Dauberman), that attempted to do the same but also tell Janice and company’s story in a compelling manner in its own rite. Juggling one film is difficult enough but course correcting a former entry while maintaining a tonal consistency with it is a whole other task, and Creation deserves praise for mostly succeeding in its efforts.
The film improves upon its predecessors failures in two distinct fashions: first, it engenders a sense of goodwill towards its protagonist, Janice, by showcasing her personal struggles and developing her interactions with other characters to make her feel sympathetic; second, it streamlines the narrative to focus on Janice and her personal battle to furnish faith in a seemingly desolate world instead of trying to posture and tack on additional overarching, possibly conflicting thematic ideations.
By keeping the narrative and thematic throughlines easy to keep track of, the film is able to bracket its more generic supernatural set-pieces around a story that’s emotionally compelling enough to hold interest; simple parallels serve as markers that make tracking Janice’s journey through the otherwise contrived horror trappings easy to comprehend. Her friendship with Linda serves as a counterpoint to the potential possession by the Annabelle-like specter; one girl represents a path towards a fantasy while the other gestures towards nightmares. This dichotomy is extended through the presence of the film’s different dolls. Both girls have their own more innocent dolls and see them as extensions of one another. These figures represent a faith in a future where they’re together in the same home. Meanwhile, the Annabelle doll represents an evil that seeks to take refuge within, making a home out of its victim – an inversion of the idyllic dream shared by the girls.
However, the film does stumble occasionally when it shifts focus to the other girls – far less interesting characters who serve as little more than reminders of Janice’s alienation. Their segments create moments of temporary visceral engagement that leave little lasting impact, especially in the context of what the film sets out to do; the constant barrage of them, especially in relation to such tangential characters, end up raising questions regarding why the demonic forces present have not swiftly dealt with whatever they needed. When we see the evil entities wreak obscene havoc in spite of safeguards, it becomes hard to ignore when it then then pulls punches and leaves like the most obnoxious “practical joker” after getting a reaction. Cutting out these bloated sections would help the narrative maintain its momentum and avoid undermining the tension generated by the supernatural set-pieces related to Janice’s story.
Thus, while Creation is a step up from its predecessor and does a much better job at establishing the foundation for the Annabelle doll, it never becomes greater than the sum of its parts – a shame given Sandberg’s competence at building the set-pieces proper.
REPORT CARD
TLDR
Annabelle: Creation, sees Director David Sandberg tasked with righting the mythos surrounding the Conjuring franchise’s Annabelle doll. While he manages to establish a background story that works, both as explanatory mechanism and narrative in its own right, the constant barrage of temporarily upsetting but overall unmemorable horror set-pieces drag the better parts of the movie down. It’s competently put together and features performances that will get viewers to care, but it’s a disappointment given the skill hinted at.
Rating
7.3/10
Grade
C+
Go to Page 2 for the spoiler discussion and more in-depth analysis. Go to Page 3 to view this review’s progress report .
Mckenna Grace as Judy Warren Patrick Wilson as Ed Warren Vera Farmiga as Lorraine Warren Madison Iseman as Mary Ellen Katie Sarife as Daniela Rios
Release Date
2019
Language(s)
English
Running Time
106 minutes
I didn’t like Annabelle. I did likeAnnabelle: Creation. Both Wilson and Farmiga have been great in the other Conjuring movies they’ve been in, so when I saw the trailer for this movie I had real hope. The Warrens and Annabelle – maybe it could be as good as the movies in the main franchise. The movie even starts off with a bait, introducing Ed and Lorraine as they’re on their way back home with the Annabelle doll ready to be stored away. They get it in it’s iconic case and emphasize its power. Then they disappear from the movie and we get to the absurd mess that is the main story line.
The movie follows Judy, the Warrens daughter, and the mishaps that occur when her parents go off…to do something? Anyways, she’s left with her babysitter Mary for the day. Mary’s friend Daniela then comes over and opens and touches everything in the Warren’s demonic possession room. Then Annabelle gets loose and releases OTHER DEMONS to be menacing to the girls and the movie chronicles their miserably boring endeavors to fight them off. Another Annabelle movie where Annabelle doesn’t do anything of her own account. It’s like what’s the point of making these spin-off movies if you’re not going to actually expand on the character or make them more menacing in their own right.
Speaking of menacing- nothing in this movie is. All the “monster of the weeks” are poorly set up through lazy exposition and have no meaningful significance to any of the characters. They’re all just cheap attempts at recapturing the magic of creatures like the Nun or the Crooked Man but they don’t work. It’s sad because the movie is actually shot pretty well. There are some nice tracking shots that amplify the tension. If the scares took advantage of those the movie could have been so much more effective. There are plenty of great scenes early on where there are just scary apparitions in the background waiting- but the movie doesn’t know how to deal with them outside of fake-out jump scare. It gets repetitive which makes the 3rd act of the movie feel like the same scene happening in succession.
The whole movie just feels like a missed opportunity. So many cool ideas don’t get teased out properly.Exploring the life of a child ostracized because of her parents demonology background is interesting and I thought the movie would be a family drama centering around that issue. Instead, it’s ignored and never develops into anything meaningful. Exploring the Annabelle doll’s actual power? Nah, let’s let her summon other spirits instead. Have a good reason for someone to enter the room and do anything? Nah, we can just skirt around the issue and give her some vague sad backstory. It’s all just unsatisfying, especially when all the pieces to resolve these questions are present in the story. Heck you could even have the babysitter and her friend- just introduce them naturally and have the inciting incident be more believable. I don’t know – it just feels sloppy.
REPORT CARD
TLDR
Annabelle Comes Home feels like a series of missed opportunities wrapped up into a generic feeling horror movie. The Warrens are barely in the movie , so don’t hold your breath if your expecting this to feel like The Conjuring. It’s just a sad imitation.
Rating
4.8/10
Grade
F
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Sharni Vinson as Erin A.J. Bowen as Crispian Davison
Release Date
2013
Language(s)
English
Running Time
94 minutes
I swear after I first saw this movie, I was certain a sequel would drop eventually, but unfortunately it seems like that’s not the case. It’s a shame because You’re Next has all the ingredients necessary for a classic slasher movie: stylish kills, great villain design, a dry perverse black humor, and a wonderfully bad ass main character in Erin. The premise- a rich family is targeted by unknown assailants and have to fight for their lives- is simple enough, but its execution shows a real understanding of the craft.
What immediately set this movie apart from others for me is how thought out the story feels. Character motivations are present even for the bad guys so everything has a human element to it. Erin is immediately likable and is a great protagonist to latch onto. Sharni is a bad ass and from the way she carries herself up to the way her character takes charge, it’s apparent that she’s not going to be a pushover. The killers each have different face masks corresponding to a different animals which represent their personality traits. It’s subtle character work that goes a long way in making the group of villains feel distinct aesthetically. The members of the rich family feel nice and distinct in the few moments they get to interact with each other. I wasn’t expecting so many characters to feel so unique.
The reason the characters feel so memorable is because of how odd they all are. The family might be rich, but that doesn’t mean they’re any more functional than a middle or lower class family. The earlier scenes where they play off each other are great, even if the delivery of some of the lines feels wonky. Someone’s always got something strange enough to say to add a “unique” sense of humor to scenes. I personally thought the movie was hilarious (intentionally). I appreciate dry in-your-face humor that’s predicated on the absurdity of what occurs. I think it’s a more acquired taste so if you don’t think it’s funny watching it, I wouldn’t be surprised. But I think watching it from the point of view of a comedy makes the viewing experience more memorable and might be something you consider trying out.
Despite nailing most of important stuff, the movie suffers from a lack of impact. What I mean is that we barely get a chance to gauge the characters relations among each other, so when people start dropping it doesn’t feel like anything.It’s a shame because the few moments they talk to each other had me laughing, but all of that is pushed to the wayside for immediate action.That might be good if you just want a constant source of action, but that’s not my cup of tea. The movie also struggles to balance its tone at times. It wants to be funny but then acts too seriously at other moments to let the humor breathe. It makes it hard to process, especially when the third act starts.
REPORT CARD
TLDR
If you like weird humor that’s dark and kind of perverse and also enjoy gory slashers, then You’re Next is made for you. There’s a sensible story, aesthetically interesting villains, and a great protagonist waiting to be discovered. Just be wary of strange tonal shifts and bare-bones characterization.
Rating
8.2/10
Grade
B
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Jessica Rothe as Tree Israel Broussard as Carter Phi Vu as Ryan
Release Date
2019
Language(s)
English
Running Time
100 minutes
I was so happy when I saw that Happy Death Day was getting a sequel. I actually went to this movie on opening week and remember leaving the theater feeling immensely satisfied. After watching it again recently, I’ve come to understand why. It’s like every problem I had with the first movie has been resolved in this one. The movie makes the brave decision to ACTUALLY expand on the ideas (if only all sequels could do this) which help it carve out an interesting little niche.
The movie picks up immediately after the first one and it’s revealed that the cause of all the time loops is Ryan’s science invention. After a series of mishaps, Tree ends up sent to a parallel dimension and is forced to find a way to escape the baby faced killer again. The sci-fi addition to the franchise gives it some much needed personality and makes the gimmick something more interesting. The way the characters end up reacting to the new knowledge gives us a ton of fun creative scenes that really push the black comedy aspect.
Characters from the past movie get more to do in this one. Because it’s a new universe, everyone shows a different side of themselves which gives Tree a lot of room to navigate and form new opinions. It makes people from the first movie feel more layered and is a fun play on the butterfly effect. It also gives the movie a more poignant emotional core that really made me feel for Tree. Speaking of Tree, Jessica Rothe kills it again in her performance. She’s given more room to have fun in this one and she takes a lot of pleasure in it.
Unfortunately, the one area the movie didn’t really improve on is the horror element of everything. The killer and their motivation in the first movie was pretty whack so I was curious to see how it would play it out in this one, and while it’s believable to an extent, it also feels kind of out there.
The pacing of the movie also feels off- there’s one moment in the third act where it feels like the movie has a natural ending, but then it keeps on going. It’s not that the extension feels bad. In fact, what happens makes a lot of sense- but it feels like it’s missing the polish the rest of the movie had. Maybe a subplot should have been removed and some events should have happened in a different order. I don’t know. It’s just a weird anomaly. The end credit scene does give me hope that the third movie (Please come out) does some crazy stuff, so here’s to that.
REPORT CARD
TLDR
Happy Death Day 2U takes everything that was good from the first movie and amps it up. There’s a more interesting story, better character building, and even more fun levels of absurdity. The movie is more science fiction that it is horror, so if you’re expecting focused slasher you may want to look elsewhere.
Rating
8.4/10
Grade
B
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Groundhog’s day meets teen-comedy meets slasher movie –Happy Death Day isn’t incredibly original, but what it lacks in creativity it makes up in unabashed fun. The story follows Tree, a troubled sorority girl who finds herself trapped in a sinister loop that restarts every time she’s killed by a baby masked killer. As she desperately tries to figure out who’s coming for her she’s forced to confront her fears – both physical and emotional.
If there’s one reason to watch this movie, it’s Jessica Rothe’s performance. She gives the story a real personality which keeps it feeling spunky and fresh as opposed to tired and outdated. She’s rude, unresponsive, and miserable with herself and everyone around her. Watching her slowly come to realize her situation and adapt is charming because of how expressive and energetic Rothe acts. She sells the story and is why I enjoy the movie so much despite how predictable its story beats feel. Performances from other members of the cast are adequate with the campy and emotional elements given the proper respect.
The way the story unfolds is logical and makes sense. The identity of the killer is only revealed to attentive viewers at the hour mark because up till then the misdirection is done fairly well. I was particularly impressed with how layered the time cycles/loops were in both setting up the story and developing characters into something more than cardboard cut-outs( albeit not by much) . The movie knows when to switch up the pace, so no moment feels like it overstays its welcome. It’s definitely a movie I love putting on in the background or watching if I’m trying to perk up more.
Unfortunately, the narrative stability is achieved at the cost innovation. The story doesn’t really add too much to the die-live again formula. There’s a unique concept related to the time loops, but it never gets developed in a meaningful thematic or narrative way. It’s only used to get the story from one place to another. This sucks in particular because the concept could have been that unique element to push the genre in a new direction- to give something new to the die-live loop type of movie. There are also some logistical issues that make the nature of the killers eventual reveal more confusing. It feels like if the story spent a bit more time building up their backstory a lot of these issues could have been resolved. The movie stops short of where it needed to be to be a genuine classic of sorts, but that shouldn’t stop you from giving it a watch if it sounds even remotely up your alley.
REPORT CARD
TLDR
Happy Death Day is funny, filled with energy, and has some cute “awuhh” moments. It doesn’t fully utilize the potential of its premise, but it does enough to remain interesting from beginning to end.
Rating
8.0/10
Grade
B
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Alec Owen as Brent / Brock Olivia Taylor Dudley as Motherface Patton Oswalt as Chief of Police
Release Date
2015
Language(s)
English
Running Time
103 minutes
Despite what its title would imply, Dude Bro Party Massacre III is not a sequel to a well established franchise. Instead, it’s a criticism of privilege and insulation from punishment, an introspective look into frat culture and the social construction of masculinity, a fun satire of horror and slasher tropes, and is dumb and over the top in the best possible way. You can take out your brain and just enjoy the spectacle or you can have fun with the underlying themes- the movie works well for diverse crowds.
The plot is structured like a VHS tape- with an overarching slasher film and a series of advertisements in between- like someone recorded the movie as it ran on TV. The main story line follows the notorious Motherface, a killer who targets fraternities. The story is absolutely bonkers and goes in places I never expected. I can say with absolute certainty that most of ya’ll haven’t seen anything like it. The ad portions are fun, short, and to the point and never feel like they takeaway from the main movie.The absolute chaos of the movie also keeps repeated viewings fresh. If you like unique and interesting kills in an 80’s fashion, this movie has them in spades. The practical effects are great and I loved the ingenuity behind certain executions. You can tell there’s a lot of love that went into this.
Though the film intentionally tries to fail the Bechdel test, it absolutely feels like a feminist movie. Yes, the main characters are the brothers in the feature fraternity, but the movie makes it painfully obvious that all the members have participated in pretty horrendous stuff, despite how comical it all plays off. Motherface’s journey as such almost feels justified. It’s a slasher movie where you simultaneously for and against the “villain”. However, the movie still takes time to explore the nuance of a fraternity and the ideas of brotherhood related to it. Despite their problems, the frat members aren’t all malicious dudes. Some of them enjoy the experience because it gives them a sense of bonding that helps them feel less alone and isolated. It keeps the movie from ever feeling preachy.
Despite how much I love the chaos of the movie- at times it feels like misdirection for midsdirection’s sake. There are moments that are ominous and meant to trick a first time viewer, but they never feel like they pay off in the themes. So their fun but feel pointless. The movie also kind of drags on in the end. Don’t get me wrong – I love the ending. It’s amazing. But it also had me going why? These aren’t huge issues but I feel like they kind of muddled the point.
Report Card
TLDR
Despite being too absurd for it’s own good at times, Dude Bro Party Massacre III is a surprisingly topical satire that’s sure to leave you smiling by the end of it.If you want a fun movie to watch with friends put this on (as long as people are okay with gore). It should delight a lot of audiences. It’s smart, unexpected, and feels like a roller coaster in the absurd.
Rating
8.8/10
Grade
B+
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
