Madeline Brewer as Alice Ackerman/Lola_Lola Patch Darragh as Arnold/TinkerBoy Michael Dempsey as Barney
Release Date
2018
Language(s)
English
Running Time
95 minutes
I”ll be the first to admit that I thought this movie would be a crapshoot going in. I didn’t see any reviews or anything. I just thought the description sounded interesting enough to warrant a watch . A cam girl psychological horror? Even if it wasn’t that great at least it’d be something new. Man oh man, did I underestimate what I was getting into. From the very first scene, Goldhaber lets you know that this isn’t some trendy social media cash grab movie like Friend Request. Instead it’s a deep look into the horrors of internet privacy and security and the ways we’ve become almost defined by our digital personas.
The movie follows Alice Ackerman, more popularly known by her online persona, Lola_Lola. She’s a camstar who’s been rising through the ranks and is finally on the cusp of making the top 50 most popular content creators. However, just as things start to look promising, Alice notices that her account has been hacked by a girl who looks exactly like her. This clone “Lola” acts,looks, and feels the part and Alice is forced to navigate a harrowing situation with little to no support given the nature of the occupation. The set up is even scarier when you take into account the rise of things like deep fake technology. The movie isn’t based on real events, but I wouldn’t be so sure of that in a decade or two.
This is a movie that treats its subject matter with serious respect. The camgirls that are portrayed are real human beings. They’re smart and treat their source of income like any other working adult would do. Screenplay author Isa Mazzei needs to be commended for creating a nuanced, balanced look into the lives of a group that’s constantly judged but never given a fair shake at presenting their own stories. Likewise, every single person who knows of Alice and her occupation treats her differently. Yes, there’s slut shaming and vicious judgement, but there’s also acceptance and solidarity. It keeps the movie from feeling preachy, and helps focus attention on the plot, so the themes come off natural.
The discussion at hand is broad and touches on a lot of different topics that come together in interesting and horrifying ways. After Alice has her channel taken, she attempts to use different legal channels but never receives a proper response. It’s reflective of the way the law and corporations receive social buy in under the idea that regulative channels will properly do their job, but if people are willing to keep in line with sub-par service, then what’s the point of fixing anything? Interests are transient and there’s a quick fix for any kind of entertainment if you’re willing to look for it and have the capital to ensure that it happens the way you want. You don’t need to fix the system. You just need money to navigate it.
This idea is only expanded by the streamer/anonymous chatroom setting the story takes place in. Yes anonymity and ease of streaming allows content creators to reach out to their expanding audiences more often, but it comes at the cost of putting oneself out there. People give money to those do what they want, and given the ability of anyone to be a content creator, newer entrants have to constantly one up themselves and their peers. You never know who’s giving you the money or why they’re doing it. The audience never has to share and the information asymmetry can lead to some pretty horrendous situations. In some cases, it means receiving money to participate in awful activities. When a creator gives in, the result generates more depraved behavior because suddenly everything has a relative price point. It’s a vicious feed back loop that culminates in the virtual erasure of people. Cam girls aren’t people . They’re consumable objects . It’s just a question of whether or not the audience wants to hurt and/or sexualize them.
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TLDR
CAM is a dark look into the tumultuous, and highly dangerous lives of cam girls. In a world where relevance equals money and money equals livelihood, people are forced constantly escalate their behavior to make ends meet. In the cam girl industry, that escalation comes with serious, sometimes horrifying costs. If you’re looking for a horror movie that effectively uses social media at the heart of its scares, look no further than CAM. It’s one of the best.
Rating
9.1/10
Grade
A
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Carla Gugino as Jessica Chiara Aurelia as Young Jessica Bruce Greenwood as Gerald Henry Thomas as Tom Kate Siegel as Sally Carel Struycken as Moonlight Man
Release Date
2017
Language(s)
English
Running Time
103 minutes
I’ve said it before and I’ll say it again- Mike Flanagan is one of the best horror directors in the game right now and this adaptationis the some of the best proof. Gerald’s Game is one of the few King stories I’ve read so when I saw Flangan was directing, I was intrigued in seeing how he’d adapt the unconventional narrative style the story uses. Flanagan and Jeff Howard both deserve applause for synthesizing the ideas of the novel in a suspenseful and easy to digest way.
The story follows a couple, Gerald and Jessica, as they go off on a trip to rekindle the spark in their marriage. After handcuffing Jessica to the bed and downing a few viagra, Gerald tries to initiate some rape-play which Jessica finds too disturbing to continue anymore. After she rejects his advances, he dies suddenly of a heart attack and she finds herself trapped in an abandoned house, handcuffed to a bed, and completely alone. The initial build-up to all of this is handled with an great eye for detail. Issues that come to plague Jessica in her struggle to survive are set up early on, so subsequent reveals and twists feel sweet and satisfying.
The story primarily takes place through a series of conversations Jessica has with projections of her subconscious. Representations of herself, her late husband, traumatic memories of her family and the situation that they placed her in, and nightmare scenarios plague her as she attempts to make out what’s real and what’s relevant to keeping her alive. As Jessica struggles to survive, she’s forced to navigate her trauma and the way she’s attempted to handle it throughout her life. Her story goes to dark places and if is presented with the respect and seriousness it deserves. There are hard scenes to watch, but they’re never exploitative or voyeuristic. They exist to remind you of the uncomfortable truth, but aren’t visceral or provocative outside of that. The deplorable nature of the act is horrifying enough.
A lot of the movie rides on Carla Gugino’s performance. She’s the protagonist and has to play a women who goes through some heartbreaking and emotionally complex realizations about herself and the way she’s dealt with deep seated trauma. Watching the layers of herself slowly fade away to the core of who she is is amazing, and you can feel the intensity of her desire to get to heart of what ails her. Gugino also talks to herself for most of the movie, but breathes life into the conversation so you always feel like something’s going on. The entire movie is her talking to projections of her subconscious, one of the avatars being her subconcious personified as a clone of herself. She manages to be just as convincing talking to herself ( aka nothing in the room) as she does when she talks to Gerald. It’s a testament to how well she threw herself into the role.
I love this movie because I never thought it would be something that could be adapted (a fairly common sentiment). The way that the ideas and discussions are streamlined into easy to follow story-lines gives the movie a more complete and tight feeling. Rarely do I like a movie for than a book, but this is one of those rare exceptions. The adaptation gives Jessica far more agency, which is important because the heart of the movie is learning how to deal with trauma. More agency means more ability to introspectively act and engage in a more thorough catharsis. Her journey through her trauma is moving and never comes at the cost of the more exciting elements of the story. The hard to imagine gory scene from the novel makes its way here and is just as hard to watch. It all just comes to demonstrate how well the adaptation understood the source material and the strengths of a film over a book. It only takes what it needs and does its best to cover the sentiments of what it doesn’t directly copy over.
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TLDR
Gerald’s Game is one of the best King adaptations to date. It’s a touching tale about overcoming trauma and reclaiming agency. There are certainly visceral scares, but the real horror comes from understanding of the way we try and deal with our pain.
Rating
9.5/10
Grade
A+
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Jane Levy as Mia Allen Shiloh Fernandez as David Allen Lou Taylor Pucci as Eric
Release Date
2013
Language(s)
English
Running Time
92 minutes
Normally, when a horror fan hears the word “remake” they feel a deep sense of fear. Most horror remakes usually suck and are made as cash grabs that prey on nostalgia. They usually have a weak plot or one that’s functionally the same as the original with none of the soul or passion behind it. Certain iconic scenes will be redone as a moment of fan-service, but nothing of substance will be added to differentiate the movie outside of this fan-service. Outside of a few rare instances (like The Ringas an adaptation of Ringu) , horror remakes are doomed to fail because they refuse to innovate or add their own mark on the franchise. Thankfully for The Evil Deadfans, Fede Alvarez isn’t about that, and has managed to create a familiar but wholly unique Evil Dead origin story.
The film literally opens with misdirection, framing shots and moments to jog fan memories. You think you know what’s going to happen, but then it’s something completely different. Over the top violence, linguistic jabs, emotional turmoil. The first five minutes is like a small demonstration of what’s to come.The story picks up a while later, as a group of friends goes up to the iconic cabin the woods. Their purpose? To help their friend, Mia, get over her problematic drug addiction. The group is comprised of Mia, her estranged brother David, their eccentric friend Paul, David’s girlfriend Natalie (Elizabeth Blackmore), and the self-appointed leader of the healing expedition,Olivia (Jessica Lucas).
The set up adds a nice motivation for the trip. All the characters are going to help their friend deal with a life-threatening issue. When a user goes cold turkey they become more paranoid, frantic, desperate, and afraid. The set-up would make any sign of possession easy to disregard as just as an effect of rehabilitation. The stakes are set early on , so the groups decision to stick out terrifying situations makes sense. It’s a clever premise that’s utilized properly.
However, unlike the original movie, this soft reboot struggles at establishing memorable moments for its characters, outside of just really gory sequences. The only interesting characters are the siblings because they get the lion’s share of characteristics and backstory. Their estrangement gives the relationship a sense of mystery which keeps us invested in figuring out what really happened between them. The most memorable sequences in the movie involve them because they’re the emotional core of the movie. They both have reasons to care about and be cautious of each other and the movie demonstrates that nuance properly. Granted, it’s not like I hated the other characters. I did like Pucci’s performance as Eric, but the story only starts to make use of his ability to be manic in the third act. Outside of that, every character feels like they exist just to be abused and disposed of by the script/ the ghosts that get summoned by the Necronomicon.
Speaking of which, the Necronomicon looks amazing and I love how much fun the team had in making and styling it. From the protective sealing around it, to the scrawled messages in it begging users not to use it, the book evokes a different sense of dread. In the original , the text is indecipherable/in another language , but here there are very clear visual cues.
Evil Dead – Page from the Necronomicon warning users not to touch it.
It makes the danger more apparent, but it also makes the decision to read it seem more absurd. The original gets away with it because the circumstances leading up to it are just an unfortunate result of the supernatural and the worst of peoples’ habits coming together with catastrophic consequences. It’s not that its the worst set up ever. It just feels messy. The character that ends up reading it is repeatedly shown to be a bit eclectic in matters about the occult. It just feels like if that’s the case, and they’re thereto help their paranoid friend suffering from withdrawal, that they would not say horrifying incantations. I can forgive it though, because it’s an Evil Dead movie and no curse means no fun.
That’s good, because the movie is a TON of fun. There’s a lot of love for the source material on display and you can tell that Alvarez understood how to adapt those original moments and update them for mainstream audiences today. The gore is even more over the top here and there are sequences that will leave your stomach queasy after watching. What makes these bloodbaths stand out is that they’re all done with practical effects. The horrifying applications of sharp material to flesh will chill viewers to their bone, and it makes sense when you realize it’s created via actual practical illusions and tricks. I love that they went the extra mile in selling the hyper-realism because it gives the franchise something completely different.
Now that I’ve said that, if you like the Evil Dead movies because they’re really funny, this movie may not be what you’re looking for. The movie attempts to replicate a lot of humor ,and to be fair to it, I did chuckle at some of the fast verbal lashings delivered by the deadites. My issue is just that the humor is few and far between. Most of the time it’s too fast or just feels like something edgy that should be funny but has no real meaning or weight. Though the movie can’t balance the its serious and comedic tones at the same time like Evil Dead 2,the way it handles its themes of overcoming addiction gives it something unique that the others don’t have. It’s also not chock full of fan service. Personally, I think it has just enough references to have older fans smiling, without focusing on them so much as to alienate brand new viewers. Its the golden amount.
If you’re looking for an Evil Dead movie that’s more related to the first movie in the franchise and are okay with/enjoy a more serious story-line, you should definitely check this out. I think one huge advantage this movie has is how easy it is to show to people who want to be scared by a horror movie. Aaron Morton did a great job at getting great shots and Bryan Shaw’s editing keeps tension high at all times. There are no lazy sequences and the supernatural events always feel like a threat. Jump scares are expected but get the job done and don’t feel cheap. Gory moments are actually hard to stomach (if you don’t like gore), and demonstrate real creativity in figuring out just how far to push the audience. Alvarez is a master at pacing so the movie always feels like its progressing towards some goal. When I first saw this movie, I was on my feet during the ending. Couldn’t believe how cool and aesthetic it all was.
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TLDR
Evil Dead is a great soft reboot that manages to tell the original’s classicstory with enough twists to feel like its own creature. The film’s packed to the brim with gore and scares alike, so check it out even if you’re a horror fan not familiar with the franchise.
Rating
8.6/10
Grade
B+
Go to Page 2 to view this review’s progress report .
Bruce Campbell as Ash Williams Denise Bixler as Linda Sarah Berry as Annie Knowby
Release Date
1987
Language(s)
English
Running Time
84 minutes
If I’d have known how funny Evil Dead 2 was, I’m pretty sure I would’ve watched The Evil Dead a lot earlier. Somehow, Sam Raimi took everything good from the fist movie, removed the unnecessary clutter, slapped in some intriguing retcons, and amped the comedy up by a factor of bonker. The result is a one of a kind sequel that gives fans of the original everything they want and more , while feeling like its own story The scares are more interesting, the turns are completely out of left field, and the movie has a lot more fun with itself.
I knew the movie was going to be weird the moment the first scene started. The movie picks up on a “recap” of the events of the first movie, except this time everyone except Linda is missing. Missing as in Ash doesn’t even mention their existence.In his recounting, Ash explains that he went to the cabin for a romantic get-away with Linda (not the fun group bonding we were told in the first movie). Once there, a similar series of events lead to Dr.Knowby’s tape being played and the evil of the Necronomicon being summoned. Right off the bat, the movie forces the audience to come to its own conclusions. Did Ash experience so much trauma during the first movie, that his mind warped the perception of events to the most painful event he went through? Did burning the Necronomicon at the end of the first movie cause an alternative timeline where everyone else didn’t exist? It’s up to you to decide. After the”recap” concludes, Ash finds himself forced to once again deal with the hijinks of the cabin.
With each passing supernatural phenomena, Ash finds himself slipping, unable to differentiate between real events, his delusions, and the supernatural happenings. His experience and interaction with the world feels surreal. Ash is very clearly is experiencing some kind of trauma . Within the span of a day he’s lost his friends ( who may or may not exist), had to kill his girlfriend, been tossed around by supernatural happenings, experience a litany of physical injuries (many self inflicted through sheer clumsiness), and been incessantly mocked by deadlites. It’s enough to turn anyone bonkers, and Bruce Campbell proficiently demonstrates as much with his absurd and hilarious facial expressions. He constantly moves/messes with his eyes, eyebrows, and forehead making him feel unpredictable and energetic, like a switch has flipped in him that’s caused him to become a loose cannon. He really channels this raw chaotic neutral/good vibe that never slows down.
Ash’s (Bruce Campbell) crazy facial expression.
His descent into madness is equal parts terrifying and hilarious. This is a man who’s clearly lost control in his life. He didn’t sign up for any of this and awful things keep happening at breakneck speed forcing him to constantly fight for his life. Losing your mind on top of dealing with all of these issues sounds like hell, like an infinite void that will never let go. Thankfully, the whole experience comes off as a joke. As Ash loses his mind, he becomes more unhinged and cartoon like, going from a clumsy and sweet goof to bloodthirsty and confident. It’s not that the situations are any less serious. It’s just that the story lets you experience them without falling into some weird nihilism.
Everything you loved about the first movie look and feel wise is here and polished up. Fast paced camera chasing subject through the forest? Check. Chainsaw slashing through deadlite splattering blood everywhere? Check. Bruce Campbell’s eyebrows threatening to fight the enemy by themselves? Also check. The best part is all the effects have gotten even better and more polished. The practical effect work feels even smoother and works seamlessly. Possessions look more crisp and grounded as opposed to just nightmarish. My only issue is that ome of the stop-motion feels a bit choppy in the third act, but that’s a small complaint in the grand scheme of things.
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TLDR
Evil Dead 2 is honestly just one of those rare sequels that takes an winning formula and fine tunes it to near perfection. The comedic turn the franchise takes gives it a unique flavor and allows its horrifying elements to really shine. If you enjoyed the first movie and want to see more, check this out. It’s one of a kind.
Rating
10/10
Grade
A+
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
Bruce Campbell as Ash Williams Ellen Sandweiss as Cheryl Williams Hal Delrich as Scott Betsy Baker as Linda Theresa Tilly as Shelly
Release Date
1981
Language(s)
English
Running Time
85 minutes
This is one of the few western horror movies I grew up watching, so it’s near and dear to my heart. As a naive middle school student, I believed the reviews online that said it was cheesy and corny. The word funny was thrown around everywhere, so I went in thinking I’d be laughing a lot. After the movie, I was left horrified. Nightmares for days on end. Tons of high pitched cackling involved. I refused to go near it again. Then the soft reboot, Evil Dead, was announced. It looked scary and intriguing and I was immediately reminded of the terrors of my not so distant youth. I decided then and there, that I had to get over the movie eventually and immediately went and saw The Evil Dead. The movie still scared me, but because I knew what was going to happen, I could view the events with a certainty.I could sit back and just watch the madness unfold. Now that I’m done a few rewatches, I can confidently say Sam Raimi’s low budget horror movie is one of the best ever made. It manages to scare me, intrigue me, impress me, and make me chuckle a few times every time I put it on.
The plot is campy if you look at it from today’s standards but you should keep in mind the movie came out back in the 80’s and was considered one of the scariest back then. It was ahead of its time and dared to go to some awful, depraved places. The story follows a group of five teenage friends – Ash, his sister Cheryl, his girlfriend Linda, their friend Scott, and Scott’s girlfriend, ,Shelly – as they go off to a cabin in the woods to party and enjoy themselves. From the moment they step foot in the area, things are off. When Scott goes to open the door, a swing repeatedly knocks into the wall of the house, almost as if another entity is trying to enter. Once our group opens the door, the knocking stops creating a sense of impending doom. After a series of events leads to an incantation from the Necronomicon Ex-Mortis being chanted , things quickly go south as malevolent supernatural entities come to play.
The movie is very much a story of an unfortunate group of “kids” who are only partially to blame for their situation. They barely have time to do anything because the action st arts almost immediately, and the actions they do end up taking are heavily influenced by the supernatural. It’s almost like they’re doomed into a situation. This is made all the worse because the story takes time to develop the characters, so watching them get tortured is hard. It’s a few moments here and there, but character motivations are fleshed out and almost everyone feels like they have a purpose in the story. Yes, the story is mainly about Ash, but that doesn’t mean everyone else just exists as a prop. The story makes use of these relationships to create horrifying, gut-wrenching, and comedic moments.
It’s easy to tell there are production issues. Yes, Raimi didn’t have a ton of money to spend to make this look realistic. So he doubles down on the absurdity of the situation and makes the action and horror sequences bloody, over the top, and disturbing all at the same time. Makeup is on point. It gets bloody and really shows the damage the supernatural events are having on the group. As evidenced by below, it can get pretty real.
Makeup is on point. The Deadites look absolutely horrific.
Embracing the over the top gore makes the movie both horrifying and comedic. The production issues feel like intentional ways of showcasing the absurdity of whatever is going on. In the face of absolutely nightmarish situations it makes so much sense to laugh, because taking it seriously would make you go crazy (which is more Evil Dead 2). The humor doesn’t come from overt jokes. It comes from the juxtaposition of ineptitude with the horrific nature of what’s going on. Bruce Campbell goes full klutz as Ash. He finds a way to fall or crash in every scene, and puts his full energy into each and every tumble. You can feel the incompetence seep out of him. Add on some crazy facial expressions with his distinctive eyebrows, and suddenly every situation becomes a bit funnier. The spirits haunting the cabin also have a sick sense of humor. They love laughing in horrific sounding cackles and joking about everyone’s darkest fears. They actually relish just making people suffer. It’s funny in the moment, but every time I stop and think about the reality of what’s going on, I shudder. There’s a lot of messed up stuff here that I laughed at because taking it seriously was too off-putting. One scene involving Cheryl has stuck with me ever since I saw it. I have no idea how it got in there, but if sexual assault scenes that are visceral in nature are too much for you, you might want to watch it with a buddy.
To add on to all of the visual splatter and horror, the movie employs a lot of surreal/abstract imagery. There are recurring motifs that are fun to track throughout the movie that have you questioning their real purpose. These scenes are my favorite because I love that weird ambiguous artsy stuff that has you analyzing and re-contextualizing constantly. There are some more obvious symbols/icons that are also used to great effect, so the movie manages to balance the abstract with the “grounded” really well. It lends to a well crafted horror movie that has scares for multiple groups of people.
The camera movement is also exceptional and highly effective. Raimi knows exactly when to do close-ups and every time he does one it feels purposeful. No movement ever feels wasted. When the supernatural force is hunting down the members of the group, the camera moves frantically showing it choosing its next victim. It’s almost like the air and everything around the cabin is tinged with a negativity that seeks to envelop everything.
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TLDR
The Evil Dead is a movie that manages to be hilariously over-the-top and horrifying at the same time. The humor is dark and absurd in nature and is used to counterbalance the violence and splatter-fests the movie ventures off into. If you can get over the “dated” feel and/or watch the movie as if it’s 1981, you’ll get swept up in one of the scariest horror movies made. A surreal nightmare turned black comedy.
Rating
9.8/10
Grade
A+
Go to Page 2 to view this review’s progress report .
Kate Siegel as Maddie Young John Gallagher Jr. as The Assailant
Release Date
2016
Language(s)
English
Running Time
81 minutes
Hush tells the story of Maddie, a deaf author, suffering from a particularly grueling case of writers’ block. Given her condition, she doesn’t notice when a nameless intruder stakes his claim in her house, hell bent on torturing her until it’s no longer fun and then killing her after. Little does he know that Maddie’s not ready to give in and she’s more resourceful than she looks.
This is the first Mike Flanagan movie I ever watched and is the first of many reasons why I will watch anything he makes (As of writing this, I’m only missing The Haunting of Hill House). Typically when I watch a movie, I have anywhere from a few to a lot of “Why don’t they just…?” or “That doesn’t make sense and would never happen!” thoughts. That issue happens far less often in a Flanagan movie because he spends time justifying every decision and helping the audience understand exactly what all the outs are. This movie takes great pain to humor the audience’s “what-if” scenarios, in a way that’s both logistically and visually satisfying.
The movie does a great job of establishing each of the main characters as individuals and as a cat-and-mouse pair that’s trying to take each the other one out. Siegel is excellent as the lead and manages to convey a lot of intention and emotion through excellent facial expressions and physical acting. She’s not allowed to talk in a traditional sense, so watching her “show” her thoughts makes the experience feel more personal. Within a few scenes, I was invested in her well-being and found myself rooting for her to win. She uses her circumstances and wit to constantly navigate the situation, so the movie feels unique in how competent the “final girl” starts off. It’s a refreshing change of pace that keeps the movie feeling fresh in a genre that needs new life injected into it. John Gallagher Jr. is unnerving as the unnamed assailant. He’s a total psychopath and the movie hammers that point in more than once. Early on, when he realizes Maddie is deaf, he decides it would be more fun to torture her and go in for the kill, because he could prolong it like a game. The cold, calm, and composed way John fulfills his actions makes it clear that the events in the movie are nothing more than sick and twisted entertainment for his character. Side characters are used effectively. None of them linger for longer than they need to and they’re presented as capable in their own right. It makes them feel like they’re real parts of the world, as opposed to throw-away characters meant to change the pace up and add new sources of tension.
Maddie’s condition is used to great effect and Flanagan has found a way to give her a voice in spite of her lack of speaking. Things happen in the background, and Maddie doesn’t turn around to look at them. It’s typical horror movie bad decision 101, but in her case it’s understandable because she can’t hear the noises of the “things” happening around her. It creates excellent square sequences where we see menacing things happen around her and know that she’s walking straight into harrowing circumstances.
Though the movie is deftly crafted and well-paced, it doesn’t do anything spectacular to change up the genre or make its themes refined. There’s a simple underlying story of defying expectations and using them to your advantage, but it’s only ever explored in one way. It’s relatable but not complex. That’s not a bad thing, but given how well executed and conceived the mechanics and performances are, the same level of nuance in the themes or story would have elevated this movie into something really great. Don’t get it twisted, this is one of the best slashers of the past decade. I just thought it had way more potential.
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TLDR
Hush is one of the best slashers of the past decade and is sure to entertain anyone who has a hankering for a bad-ass “final” girl. Deaf author vs sadistic psychopath plays out with a lot more finesse and nuance than you’d expect.There are innovative communication strategies, well executed chase sequences, and tons of chilling harrowing moments. Best part? It’s only 81 minutes, so you don’t need to spend a long time waiting around.
Rating
9.0/10
Grade
A
Go to Page 2 to view this review’s progress report .
Saoirse Ronan as Jo March Florence Pugh as Amy March Emma Watson as Meg March Eliza Scanlen as Beth March Laura Dern as Marmee March Timothee Chalamet as Laurie
Release Date
2019
Language(s)
English
Running Time
135 minutes
That settles that. I’m watching Ladybird as soon as I can. After having experienced the feel-good delight that is Little Women, I’m more than excited to watch more Gerwig and am super excited for whatever she does next. I came into this movie as someone who has not read the original book or seen any other adaptation (I want to read the book now and then watch the movie again to see how it fared as an adaptation) . I only decided to see it because it was nominated for best picture and I’m glad I did.
The story is a coming-of-age story that follows the women of the March family, four daughters and their mother, Marmee, who are forced to maintain the household as their father is out fighting in the Civil War. Every single daughter is driven and has their own set of passions. Meg, the eldest, has acting aspirations. Jo, the second oldest, wants to be a author and writes stories to get money. Amy, next in line, is more spoiled and wants to be an artist. Beth, the youngest, loves music and wants to be happy with her family. The movie cuts between this past and the present (set a few years later) seamlessly, juxtaposing each of the girls idealistic younger selves with their more worn and mature selves. It creates an expectation because you know what’s going to come, but also a sense of mystery because you want to see how we go from point A to B.
This sense of mystery keeps the movie fresh from a storytelling perspective and happens seamlessly in the background, without you realizing it. I knew that we were going back and forth, but I was never focused on it. My brain just automatically accepted it. Editing and scene placement is on point and it creates a piece that seems to reveal information at precisely the right time. There are meta-narrative moments that are placed perfectly in the third act and allow for a lot of interesting interpretative leeway (I’m assuming on purpose) that I can’t help but admire, especially after reading about the movie and the stories original writer, Louisa May Alcott. Every thread comes together at precisely the right time and it makes the whole experience an emotionally satisfying roller-coaster. I would go from feeling sad, to feeling hopeful , to laughing, to tearing up, to feeling inspired, to some combination of any of these, and all the feelings in between and I never once felt any kind of tonal whiplash. The only issue I felt was ,because there’s no clear passage of time, certain character decisions in the latter portions of the movie feel rushed given the the gravity of what they are. It’s a fleeting issue that didn’t bother me too much in the moment, but after finishing the movie I did feel like some of the later portions of the movie feel less earned.
Acting, characterization, and dialogue are almost always impeccable. Every conversation feels real because each actor/actress nails their motivations from their cadence to their body language. It’s hard to praise any performance in particular because all of them, especially each of the titular “Little Women” completely feels in the moment. Saying that, I have to be honest on how impressed I was with Florence Pugh. I already thought she was amazing in Midsommar – being able to portray grief and anguish in an very visceral way. After this, I’m in awe of her acting range. She gives Amy a real brattiness and sense of indulgence in the earlier timeline and projects a lot of maturity and pragmatism in the latter timeline. It’s a surprising blend that had me rooting for her character, in spite of the kind of horrendous things her character does.
The movie is packed to the brim with tons of relatable themes. Despite having a particularly feminist flair, the movie is for everyone. It’s not trying to exclude or ostracize. It never comes off as preachy. The ways that it critiques gender roles, women’s treatment in society, and the functions of marriage are all relevant and presented fairly and naturally. I thought the discourse on marriage as a communion predicated on love versus social ladder was made even more interesting by placing it in front of a discussion of a woman’s agency. If that’s not your groove, the movie tackles common issues we’ve all gone through- being nervous of pursuing our dreams, thinking we’re not good enough, balancing dreams with financial concerns, and trying to find love in a world that often times alienates us. There’s something in here for everyone.
REPORT CARD
TLDR
Little Women is the feel good movie of 2019. The March family’s coming-of-age story has something for everyone and will have you laughing,crying,smirking, and glued to the screen the whole time. A fun time for the whole family with a ton of messages to boot.
Rating
9.7/10
Grade
A+
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
John Edgerton as Paul Carmen Ejogo as Sarah Kelvin Harrison Jr as Travis Christopher Abbott as Will Riley Keough as Kim
Release Date
2017
Language(s)
English
Running Time
91 minutes
This is a movie I’ve seen three separate times and come away with a different interpretation of its themes each time. There’s multiple ideas I have stretching from the logistics of the plot to what thematic idea the movie most strongly ties into. None of these theories are more or less correct than the other, because the movie is intentionally ambiguous. Shults has said as much in interviews. If the idea of not having a “proper” answer irritates you, then you might want to skip the movie. On the other hand, if you’re someone who loves being forced to think and re-visit your previous interpretations, this is the movie for you. It’s slow and and purposely ambiguous, constantly acting provocative, but never pulling the trigger in giving you a coherent answer. I say this because advertising for the movie makes it seem like it’s going to be this cool post-apocalyptic creature-feature of some sorts and it’s not. The real “it” , no matter what it really is, is just a stand in for darker human thoughts and ideas.
The movie follows a family of three: Paul, the father; Sarah, the wife; Travis, the son. They live in a post-apocalyptic world ravaged by a disease that necessitates the infected be killed and then burned. The family is incredibly secure about ensuring their safety. As they meet more people and things start to go bump in the night, everyone’s suspicions rise and the misery starts to ratchet up. The movie is dark and things linger in the background. The camera cuts just when threads of the story begin to get just a bit less ambiguous . It gives the movie a frantic, uncertain vibe. Everyone’s character and their respective performance add to the mystery. All of them have understandable motivations and no one ever feels malicious. The element of fear is always present, so when revelations happen you get why everyone is so on edge. By the end of the movie, I was uncertain of who did what to whom and the feeling hasn’t changed on re-watches.
This is a tough movie to watch because it almost feels like a deep dive into peoples worst fears , the fears that paralyze action and cause social disintegration when they become dominant. Add on to that the natural decline in resources and you have a nice little state of nature. On my first view, I thought the movie was an allegory for the pitfalls of the Hobbesian state. For the unfamiliar it goes something like this – people are inherently savage and are motivated by a survival instinct. In a world without rules and assurances, they strive to maintain a hold on their resources. This leads to a state of perpetual violence because any other person is a threat to those resources and thereby the initial agents survival. Eventually, people, sick of living in constant fear, come together and form a government where a single authority figure, aptly named the Leviathan, determines what is and isn’t allowed. The movie feels like an instantiation of this larger theory and an examination of how it would eventually play out. It also feels topical given the global rise in nationalism and stirring of xenophobic fear of the Other. In a world where we’re constantly fed ideas that people from elsewhere are dangerous ,discussions like this are even more valuable. Should we be cautious and what are the costs of being too ready to eliminate difference?
What sets the movie apart from other post-apocalyptic movies is the sense of unknown. It’s established early on that the succumbing to the disease transforms you, but that transformation isn’t explained. The impact of it is hinted to be so awful that the characters are willing to drop anyone who even hints at having it. It makes you think about what it could be that’s so bad. Is it related to the night? Maybe, maybe not because the night is usually dominated by nightmare sequences. They’re shocking, but they’re not clear and leave their interpretation up to you. The movie is edited so that no definite answer can be reached. Everything blends into each other so you’re left to determine what’s real and whats fantasy. Obviously some theories seem more valid and others feel like wild conjecture, but the story is open to a lot. As such, the movie has immense re-watch value because you can always get something out of it, even if that something leaves you feeling misanthropic. This is the kind of movie you watch with friends who like to really get into making theories, because the subject matter and its presentation naturally lend themselves to being interpreted in different ways. On the other hand, if you like solid answers, the movie can come off as jerking you around. I only started to really appreciate it my third time and I think it’s one of movies that grows on you.
Given all of that, my issue with the movie is it I think it doesn’t go far enough. I’m fine with getting lost in a maze trying to figure out what’s going on, but I can’t help but feel it can come off as a bit dull the first time watching it. Unless you’re actively playing with a subtext and trying to view the movie through that lens, the whole thing can come off as hard to remember. The feelings it generates are certainly visceral, but the ambiguous storytelling makes it hard to remember finer details if you’re taking the story seriously at face value.
REPORT CARD
TLDR
It Comes at Night is a puzzling look into the darkest parts of the human psyche. If you like slow, atmosphere driven, open-to-interpretation horror you need to give this a watch. There are no routine jump scares or straightforward plot threads here.
Rating
9.3/10
Grade
A
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
A view of the neighborhood. The camera pulls in through a window… …which is revealed to be the window of the Amityville residence’s attic. Drew (Shannon Cook), the Warren’s technical assistant, sets up the camera’s in the attic. The camera glides through a window frame in the infamous Amityville household. The attic the window sits in is outfitted with equipment meant to detect the paranormal.
A view of a suburban neighborhood transforms into a more intimate encounter as the camera glides from the street through a window pane into the attic of a specific house – the Amityville residence. When Drew (Shannon Cook), the Warren’s technician shows up in the room to set up a camera, it becomes apparent that the duo is here attempting to solve the infamous Amityville case.
Lorraine(Vera Farmiga) and Ed(Patrick Wilson) get ready to investigate the Amityville house. The camera pushes in on Lorraine(Vera Farmiga)Lorraine(Vera Farmiga) gets ready to open her eyes. As Lorraine(Vera Farmiga) opens her eyes, the camera pulls out. Lorraine(Vera Farmiga) is revealed to be in the same room, but the lighting is much darker now. Lorraine(Vera Farmiga) seems to be the only agent in the room as Ed(Patrick Wilson) and the others are “grayed” out. Wan lets the camera glide into and out of Lorraine in much the same manner as it glided through the Amityville house earlier. Both entities seem to possess an spectral agency, a tie to the world beyond. Lorraine moves from her body and demonstrates her psychic powers are similar to astral projection.
On cue, both Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) appear seated in the living room, setting up a séance with the family residing in the abode. The camera slowly pushes in on Lorraine. Her eyes are lit differently indicating she’s engaging in her spiritual sight. Eventually, the camera settles on a close-up of her face. Her eyes open, and the camera pulls back out to a darkened room. Lorraine is the only person in the area who still retains a vitality, a spark that gives her a color that the others in the room no longer possess.
Lorraine’s (Vera Farmiga) astral projection walks around the Amityville residence as her corporeal body sits with Ed (Patrick Wilson) and the house’s residents. Lorraine(Vera Farmiga) sees two of the victims. The woman in the pair looks away. There’s a jump cut and the woman stares at Lorraine’s direction. Lorraine(Vera Farmiga) loads her invisible gun and shoots the woman. There’s a jump cut and the woman lays dead next to her husband. The woman’s photograph. Wan employs jump cuts to represent the discontinuity of Lorraine’s experience. She’s roleplaying the Amityville murders, but the manner in which she does so indicates that she’s not fully in control with how the session will play out. To get access to the full picture, she’ll need to re-live the entire event.
Her astral form exits the room, leaving her body behind with the others in the realm of the living. She goes up the stairs and is met with a couple, a man and a woman, in their bedroom. The man has a gash in his body. The woman is sitting facing away from Lorraine. Suddenly, the film cuts, jumping forward. The woman stares at Lorraine and interrogates her. In response, Lorraine reloads an imaginary gun and shoots the woman. Another jump cut and the woman lays dead next to her husband. A close-up of her visage on a family photograph appears briefly. Without saying anything, it’s apparent that Lorraine is using her psychic vision to roleplay the events of the Amityville massacre, allowing herself to be possessed by the events of the house in an attempt to figure everything out.
Lorraine(Vera Farmiga) is “possessed” by the real killer as she investigates what really happened. Lorraine(Vera Farmiga) is horrified by the deaths she reenacts. Lorraine(Vera Farmiga) expresses her discontent in the corporeal realm as Ed (Patrick Wilson) looks over concerned. As Lorraine walks along a mirror, it’s revealed that she’s possessed by the actual killer. She’s “wearing” his experience so to speak, and once he’s done with his murders, she breaks out of the trance in shock. Her devastation ripples through from her astral body to her corporeal one.
More murders follow in similar fragmented manner until Lorraine jolts in horror at the scenarios she’s been forced to replay. Her emotions break through from the astral realm to the realm of the living, as her physical body reacts in much the same way. Ed, worried about his wife’s distress, asks her to call off the endeavor and return to her body. But Lorraine refuses and seeks to carry on.
A child with white eyes stares at Lorraine. Lorraine(Vera Farmiga) follows the child. Lorraine(Vera Farmiga) walks and reveals a host of ghost children. Lorraine(Vera Farmiga) is caught by surprise as the ghost children all stare in one direction. Lorraine(Vera Farmiga) investigates the object of the children’s’ gaze. Lorraine(Vera Farmiga) pulls off a cover to reveal a mirror. Lorraine(Vera Farmiga) notices a demonic Nun (Bonnie Aarons) behind her in the mirror’s reflection. Lorraine(Vera Farmiga)looks behind her and sees nothing. Lorraine(Vera Farmiga) notices the Nun (Bonnie Aarons) has stepped closer to her.Lorraine(Vera Farmiga) is choked out by the Nun. But the Nun’s hands dissapear and become Lorraine’s(Vera Farmiga) own hands. The nun conjures up a vision of a man being impaled for Lorraine to observe. Lorraine follows a specter downstairs and is shown a mirror. In her reflection, she notices another figure gazing back at her. Every time she turns to check for the figure behind her, nothing shows up. But when she turns back to the mirror, the figure, a demonic Nun, gets closer and closer. Finally, the creature steps out of the mirror and attacks Lorraine. But the attack abates as the hands around Lorraine’s neck inexplicably become hers once again. But the nun isn’t done with its target. It conjures up a vision of a man being impaled which sends Lorraine into a stack of abject despair.
She follows a spectral child who leads her to a host of ghost kids. The group stares at an object which Lorraine disrobes and reveals to be a mirror. A figure in the glass’s reflection stares at her. Lorraine turns back to confront the figure. There’s nothing. She turns back to look at the mirror. Now the figure, a demonic Nun (Bonnie Aarons) is staring directly at her. Another turn back. Nothing. When she turns her head back to the mirror, the Nun appears outside of it and proceeds to choke her.
But the Nun’s hands are then revealed to be Lorraine’s hands after all. Where did the creature go and what did it want? Suddenly, Lorraine sees a vision conjured by the Nun. A man is impaled in brutal fashion. While the visage of the figure is unknown to us, it’s clear that the demonstration means something to Lorraine.
Lorraine(Vera Farmiga) screams due to the vision. Lorraine(Vera Farmiga) wakes up in the corporeal realm screaming. Lorraine(Vera Farmiga) tells Ed (Patrick WIlson) of the depths of the depravity she’s seen. Lorraine wakes up in the realm of the living, revealing to her husband whatever vision she saw was the furthest she ever wanted to go in their encounters. The stakes are raised, but their depths are unknown.
She screams at its site as the film cuts from the astral world back to the corporeal world. The camera pulls out from her face, indicating that her encounter with the abyss is over for now. She reaches out to her husband and indicates that her experience is the “closest to hell” she ever wants to get to. The two stare at each other and the frame freezes.
A text crawl appears and explains that the Amityville case, the case we were just presented, serves as a good benchmark for the case The Conjuring 2 to explore. This time instead of the United States, the Warren’s are called to Enfield, England to deal with a haunting troubling the Hodgson family. Thus, the story proper can start; the stakes and rules of the spectral world are fully set.
In similar fashion to The Conjuring, director James Wan’s sequel follows the Warrens as they attempt to exorcist the spirits tormenting an innocent family. The story even adopts a similar structure as its predecessor and leaps back and forth between Warrens and the family they’re helping out, developing both sets of characters to raise the stakes for the finale. However, in The Conjuring 2′s case, the narrative regarding the family in question is far more focused and multifaceted. There’s a clear presentation of the family’s inner dynamics and an explanation for why and how they react to the adversities they face in the way they do.
The most important difference between the two films, however, is that this entry demonstrates and ties the nature of the Hodgson’s family’s empirical woes to their supernatural struggles, thereby giving a much-needed depth to the spectral spectacles Wan chooses to employ. [1] This is in reference to my discussion of Stephen King’s analysis of The Amityville Horror in my The Conjuring review. Check it out there for more context. While specters and demons are frightening in a visceral sense, real terror arises when those creatures represent something larger than themselves, a symbol of the more insidious terrors lying beneath the surface. Here the source of the family’s discord is tied to their newly missing father figure who left the Hodgson’s for another family, so the nature of the haunting they experience is that sense of abandonment come to life in ghostly form.
Additionally, as the opening demonstrates, the film’s focus on exploring and providing a more robust metaphysical explanation of the supernatural buttresses theatrical moments which would otherwise deflate the tension. By choosing to delve into the metaphysical aspect of the sub-genre in a manner more akin to his opaquer Insidious franchise’s “The Further”, Wan is able to provide a vantage point by which to interpret the seemingly random supernatural happenings in a manner which strengthens the film’s themes as opposed to feeling haphazard. However, instead of basking in explanation or set-up like he does in that franchise, Wan chooses to demonstrate the rules of supernatural engagement in this film via the camera movements. Push-ins indicate the presence of the supernatural and push-outs demonstrate the resolution of that presence. Consequently, Wan utilizes both camera moves in relation to both persons and locations to clue the viewer into when something otherworldly is happening. On top of serving as visual motif, the movement allows Wan to employ match cuts to hide and allow for stellar in-camera tricks. Just like Juraj Herz does in The Cremator, Wan pushes in on faces to disguise transformations in the set, seamlessly allowing the film to transition from and to areas in slick fashion.
These changes on the initial film’s formula give the sequel a springboard to jump off of which prevents the experience from feeling ham-fisted. Thus, for the most part, Wan gets to have his cake and eat it too; the theatricality and kinetic frenzy of his direction is given ample room to express itself without ever undermining the emotionally resonant story it’s meant to help tell. As a sequel, The Conjuring 2 does everything it should: it expands the scope of the original story in believable fashion while remaining consistent with the feeling and polish fans have come to expect.
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TLDR
The Conjuring 2 is the rare sequel that exceeds its original, improving on not only the narrative but also the cinematic presentation of the same. There’s a care given to developing the characters, both the family being haunted and the Warrens who seek to assist, that gives the film a depth that sustains it even during the more grandiose moments. While fans of the original will surely delight in the machinations presented here, the film’s more pronounced ambitions, namely demonstrated via its camera movements, might win over viewers who found the previous entry too simple for their tastes.
Rating
9.6/10
Grade
A+
Go to Page 2for the spoiler discussion and more in-depth analysis. Go to Page 3to view this review’s progress report .
Thomas Jane as Wilfred James Dylan Schmid as Henry James Molly Parker as Arlette James
Release Date
2017
Language (s)
English
Running Time
101 minutes
As someone who actually enjoyed 1922 (the novella), I was fairly excited when I saw that Netflix was going to distribute the adaptation. I’m even happier to announce that this adaptation is not only one of the better King adaptations out and about, but is also an effective horror movie in its own right. The story follows Wilfred James, a farmer whose way of life is under threat when his wife, Arlette, threatens to sell their farm land and leave for the city. Wilfred views land as an extension of ones worth and pride. Losing it is no real option. It gives him both the ability to take care of his family and represents the only thing he can leave his son, an extension of his name, and thereby another source of pride. Fearing that his wife will make good on her word, he decides to commit the cardinal sin and permanently remove her from the situation. However, he soon learns that everyone pays for their actions one way or another.
The framing device the movie uses to tie together all its events is Wilfred in the present day recounting his experiences fighting his wife, deciding to get rid of her, and the subsequent horrifying experiences he has to go through. The movie is a case study in the deterioration that accompanies sin. Even if no one is around to judge you, you know what you did. Your sub-conscious never forgets even if you can put your actions out of your mind. The way the framing device cuts in with the progression of the main story accentuates this feeling by giving the audience first-hand feedback on how the actions ended up impacting Wilfred in the future. As a result, watching him deal with the guilt of his action is both satisfying thematically and visually. The further he falls into the cycle of guilt , the more his world starts to visually crumble. You can always tell the state of his psyche based on the environment around him. It doubles as a cool representation of his inner thoughts and a source of visual scares.
Thomas Jane does a great job as Wilfred. You can see his resolve in his voice and demeanor. He comes off as someone on edge who’s forcing himself to stay rigid and coherent for the sake of his pride. Everything is worth it if he can succeed in his job as a farmer and in his duties as a father. His lineage determines his value as a human being and anything that could harm it is an attack on his very sense of self. It’s why his guilt manifests in such a strong and profound way. It’s because his perception of his worth has shifted, even if he can’t immediately tell it has.
My issues with the movie have more so to do with the original source material and not the adaptation itself. I think the adaptation does a great job at conveying the same sense of paranoia the novella had. The issue is that like the novella, there are some story moves that ruin the ambiguity of whether or not supernatural elements are actually at play. The story wants it to be ambiguous, but the way that it progresses makes that an impossibility. I wish the adaptation just edited certain moments in a different order because it would resolve the ambiguity issue. I also think there are certain additional sequences in the story that hurt the theme and characterization of Wilfred. I was sad to see them kept in the film adaptation. But if you enjoyed the full novella, then this should definitely please you.
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TLDR
1922 is a twisted tale chronicling a man’s descent into depravity. By prioritizing his interests and being unwilling to compromise, he ends up slowly losing his sense of self. Though the ending kind of misses the mark, the movie should satisfy fans of dramas and psychological horrors.
Rating
9.2/10
Grade
A
Go to Page 2 for the spoiler discussion. Go to Page 3 to view this review’s progress report .
