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It Chapter Two (2019)
Disappointing doesn't begin to describe it
The highly anticipated sequel to the first film comes with a huge 3 hour run time that flips between the adult losers and their younger counterparts as they return to Derry to destroy It who has returned after 27 years and begun kidnapping children again. While the adult cast offers a broad range of talent and they all deliver outstanding performances, the long run time allows for a lot of filler making you feel every single minute in the film's incredibly show second act. The scares are still here but have been dialed back to be more creepy than scary. Fortunately Bill Skaarsgard's performance as Pennywise is still as unsettling and terrifying as ever and is worth the price of admission alone.
It's been 27 years since The Losers defeated IT, forcing it back to its slumber and while all of them have left the town (bar Michael) their memories of Pennywise and the atrocities they endured have become a faded and distant memory. When a river of missing bodies are washed up in the river at Derry, Mike (Isaiah Mustafa) who has been monitoring the activity since the others left. When he convinces them all to return after 27 years Beverley (Jessica Chastain), BIll (James McAvoy), Ben (Jay Ryan), Eddie (James Ransone) and Stanley (Andy Bean) arrive back in Derry to regain their memories and destroy It once and for all.The film has a 3 hour run time which for any movie is a big ask for an audience to sit through, particularly only after one film. While the first film was a huge success it does feel a bit much to ask fans to sit through 3 hours of the concluding chapter. There were times I thought a third movie may have been more appropriate, however there is a lot of filler scenes, particularly in the second act that could have easily been scrapped and weigh the film down before ramping up to the final showdown. The film allows each character to have several interactions with Pennywise and while one would be enough, by the third time it happens it fuels into overkill and you start to feel every minute of the film.
Factoring in the above, there is a distinct change in the level of horror in the this. While it is still present, it feels severely dialled back compared to the first film with the film being more creepy and eery as opposed to the scary horror dished out previously. If you are looking at this as a standalone film then the horror elements are there but if you compare it to the first film it pales in comparison. This can also be attributed to the introduction of humour that has a hit and miss effect. Fortunately Hader balances the line perfectly but when other characters try it misses the mark and a lot of echoes and awkward silences in the cinema followed.
The young cast of the original movie return as the story drifts between past and present. Diving into what happened after they defeated Pennywise the first time, their relationships and how they changed is a great offset to the story of the adult Loser club. The young actors all again bring their A game to this second part and a fleeting but terrifying appearance from Georgie actor Jackson Robert Scott is truly effective as a quick scene provides one of the more terrifying parts of the movie.
Effects wise the CGI that is overused in the film (for necessary reasons) goes from laughable at the start to gloriously epic in the balls out finale that will blow your mind. While I don't want to spoil anything the explosion of illusions in the final moments of the film do make this journey worth it. It just takes a bit longer than it should have.
It Chapter Two boasts an incredible cast but by trying to stay faithful to the source material (namely the book) is fleshed out with a run time that could easily be carved back or adapted into a third instalment to save the film from the middle act slog. Fortunately the performances from the cast both young and old are spectacular and while the jokes don't always land from other characters who aren't Hader, scenes that will become integral to this adaption are the reunion dinner at the chinese restaurant that boasts a chemistry that is undeniable. The Losers re-discovering their fortress as adults and flashing back to their unveiling when they were children is incredible storytelling. While these elements are great, particularly for a horror film, the toned down scares are turned to the creep factor make for a less engaging experience if you are looking for pure horror.
Spiral (2019)
A total 90's surprise
Set in the 1990's this horror/thriller takes all the good parts of Get Out and Hereditary, smashes them together with some glorious gay themes, great acting and a gripping story to deliver one of the best gay centric horror films to date.
Spiral is set in the mid 90's and focuses on a family consisting of Aaron (Ari Cohen) Malik (Jeffrey Bowyer-Chapman) and their daughter Kayla (Jennifer Laporte) who move from New York City to small town USA. Upon moving in Malik is still suffering from flashbacks from seeing his ex murdered in the street. The people of the town are surprised at how out and proud the family are. Particularly their neighbours Tiffany (Chandra West) and Marshal (Lochlan Munro) who welcome the family in and take them in under their wing. As strange things start happening around the town, the family must band together to survive cult like activities while uncovering the past. The story comes down to Malik, he is the MVP here and has no issues commanding the screen. Chapman fits the role perfectly as he balances between doting father, loving husband, struggling stay-at-home writer and as he questions his sanity as the events of the movie unfold, the audience questions what is real and what isn't. Cohen dips in and out of the leading role and is probably the less interesting character in the film. Laporte is perfect casting as she interacts with Malik and their next door neighbour's son Tyler (Ty Wood).
The movie often hints that she is the main character and while I don't want to give away too many spoilers, the clever script keeps you guessing as more about the town and its sordid past come to the surface. Story wise the film does hit at a bit of a mix between Hereditary and Get Out, while it isn't a straight up copy, it does take the best parts of each script and paves its own way by fusing in a queer family while building jump scares and a sense of mystery. The films cinematography is gorgeous. Set in a dark and foggy town it is easy to establish a creepy aesthetic. Being set in a brand new house in suburbia in the 90's has a lot of claustrophobic atmosphere. There are plenty of rooms for characters to hide in, but they are small and poky with nowhere to hide. This is half the fun of this film as it uses the setting to its full advantage.
Going hand in hand with the cinematography is the score. It's sweeping and dreary, often imitating what is happening on screen building tension to a crescendo that adds to the horror of this film. The movie isn't afraid to go into murky territory, the way it respectfully talks about sexuality and race is ground breaking. Even though it is set in the 90's, the message still rings true today, which is well told in the final moments of the film.
Spiral is an extremely well made film. The outstanding performances, in particular from Chapman is worth the price of admission alone. One of the best things is the film's not afraid to dive into racial issues that go hand in hand with sexuality. It is something that we are used to seeing in straight relationships and films, but the added layer of gay and coloured in a small white town is worth exploring, particularly when it is done right like it is here. Fans of the horror genre will enjoy the jump scares and thriller mystery perfectly guided by director Kurtis David Harder. If you are looking for a queer horror film that isn't afraid to have some depth and leave an impression, this is the film for you.
Kimmy vs the Reverend (2020)
Could have been better...could have been worse
It's been a few years since the cancellation of The Unbreakable Kimmy Schmidt ripped my heart into a million tiny pieces. The sharp and witty writing combined with the positive and whimsical nature of the show turned into a huge hit for Netflix in its early days of producing original content. A movie really wasn't something that alot of people where clamouring for, fortunately though the entire cast has returned with a few fresh additions to deliver an interactive special that attempts to retain the joy of the show but fails to deliver, despite the interactivity elements.
Kimmy (Ellie Kemper) has been living it large with a new career and fiancee Prince Frederick (Daniel Radcliffe) planning their dream wedding when Kimmy finds a book that makes her think there is another bunker with women that the reverend has hidden somewhere. After a conversation with Reverend Richard Wayne Gary Wayne (John Hamm) she sets out with Titus in tow to track down the hidden bunker and free the women.The biggest part of this movie is the humour, usually Schmidt has a distinct pop.culture satirical slant that won't age well. It is only slightly similar here, the humour seems a little watered down without the onslaught of quips that the show offered up. That being said Titus (Titus Burgess) is still as extra as he has ever been and his constant quips with Jacqueline (Jane Krakowski). The cast have a lot of fun with the choices offering up some great segways when faced with a choice. Unlike previous CYOA's (Choose Your Own Adventures) making a different choice from the main plot doesn't take you down too wild of a path and will more often than not result in a do-over forcing you to take a certain way which seems to defeat the purpose.
Story wise, it's a great idea. It seems totally plausible that the Reverend would have more bunkers and when Kimmy gets more switched on to the world around her would trip him up on this. The concept is sound, however the execution is a bit rushed and would have served better if fleshed out over a sesaon of the show (which is seems like it was probably meant for). The main story focuses on Kimmy and Titus on a road trip adventure, while Jacqueline gets an odd sub-plot seeing her stalling on the set of Titus's new movie opportunity. It doesn't always work but the show has always been quirky enough to pull it all together and make it look intentional.If you are planning to jump into the CYOA part of it, I really encourage you to press "SKIP INTRO" when the theme song starts, it is worth every second! While the show may have finished, this special proves that Schmidt still has plenty left in the tank creatively and checking in with these characters every few years may not be a bad thing.
Kimmy Vs The Reverend may not be as innovative or side splittingly hilarious as the TV show previously was, it does offer a glimpse and some finality into where these characters have fit into the world around them. Radcliffe is a great new addition to the cast and has just enough to showcase his comedic muscles. Fans of the series will enjoy a fresh glimpse into Kimmy's colourful world, newcomers to the series may just leave a little confused.
The Wretched (2019)
Great idea, horrible execution
Two brothers to team up to write/direct a new horror film. While the lore is rich and designs are great to look at, the story is cliched and matches the tone of trying to be a cool 80's/90's film. While it is trying so hard to do this, it fails spectacularly. The characters are flat and one dimensional with dialogue to match. What is a really great concept fails under the creative hands at play here resulting in a movie to definitely miss.
The main story follows Ben (John-Paul Howard) a recent child of divorce who is sent to live with is dad for the summer holiday. Liam (Jamison Jones) owns the marina and puts Ben to work where he meets his summer romance Mallory (Piper Curda). Things seem to be normal in this beachside town when one night Ben hears a noise on the roof. His next door neighbours seem to be acting weird and after the disappearance of their kid (and memory of the incident!) he explores the lore of a witch who emerges to eat children and then make their family forget about them.
As Ben gets closer to revealing the witch, the more that things just go off the rails story wise before whipping into a semi-origin tale for the witch and it just ends on a weird note that sets up a sequel.
While the film struggles with the story, the visuals are incredible. the design of the witch and the forest she inhabits utilises practical effects and is the best part of the movie by far. There is a creepy skull device that a lot of characters use as they get possessed by the creature. It is definitely effective and works well with the Witch's look. The tone of the film is trying to be a movie of the week horror film from the late 80's/early 90's and while it is trying to pay a homage to this, it just comes off as cheesy and outdated.
The performances from the cast can easily be forgiven due to the material they have to work with. It's unfortunate that a diverse cast get lumped with one dimensional characters and throwaway lines. It's a shame that a great concept went to waste, the film probably would have succeeded under a different director and a hefty re-write.
Ghosts of War (2020)
A mish mash that sometimes works, sometimes doesn't
Centering a story around a group of soliders in WWII is no original thing, but add in a supernatural element, a cast of young familiar faces and some great special effects and you have a movie that's perfect for a Saturday night in. The film is set in 1944 and a group of five soldiers led by Chris (Brandon Thwaites) Butchie (Alan Richardson) Eugene (Skylar Astin) Kirk (Theo Rossi) and Tappert (Kyle Gallner) are all soldiers in Nazi occupied France during the second world war. They are in charge of guarding a chateau that seems abandoned, after they spend the night and supernatural events start happening, they are roped into a house that invades each part of their brain playing tricks and mind games to tear them apart.What really stood out in this movie is the cinematography. The house itself is beautifully detailed keeping with the style at the time. Having the mystery of something popping out from every dark corner of the space is something that Lorenzo Senatore absolutely nails in this film. While a lot of the scares are jump ones, this is something that has been overdone in these kinds of films in recent years, fortunately it feels fresh and the combination of the aesthetic of the house itself with the supernatural beings make for a winning combination. Director Eric Bress does a fantastic job of making you care about these 5 soldiers from the opening shot. As their journey evolves and things get stranger, your focus and attention is sorely on making sure that these 5 soldiers get out of this situation alive and solve the mystery that this chateau alludes to. While there are a lot of supernatural elements in the story, it really is a character driven story that explores the effects of war on young soldiers, especially those placed in foreign territory with little awareness of what is really happening in the bigger picture. While this is alluded to, it is never fully explored as the horror elements need to be implemented for the movie to live up to its name.
Performance wise, it is obvious that this cast were chosen for their abilities and the chemistry they have together as a group plays a large role in allowing you to suspend your belief. Thwaites in particular commands the screen as the lead. While his backstory is not as detailed as the others, he plays a lot with his eyes expressing the shock, horror and curiosity throughout the story. Ritchson is typecast again as the loudmouth American and while he does play this role well, it was another character that didn't have much depth and could have had some more on-screen time to help this. Astin plays the nerdy smart guy and does actually really well in this role. His character is very philosophical and it really fleshes out his character. I would be remiss if I didn't mention Billy Zane who plays Dr. Engel, a crazed lunatic who is unafraid to pull the punches. Ghosts of War is the perfect film for a movie night at home. It has just enough frights to keep you on the edge of your seat that weave with a great story embedded in war and despair that make this a great choice for a night in. Packing in a star studded cast from your favourite TV shows and movies also helps you instantly feel at home with this movie. Ghosts of War is now available on Google Movies, Apple Movies and online digital video stores for rental and purchase. Review by Alaisdair Leith
The Faceless Man (2019)
A surprise Aussie hit
There is something about Aussie horror movies in the last 10 years that has shifted them into international hits like The Babadook, Saw and Wolf Creek. These incredible films have propelled local actors, directors and crew into the spotlight of Hollywood and created careers. Then we have our homegrown cult favourites like Wyrmwood, Two Heads Creek and now comes The Faceless Man to join the ranks. This thriller/horror movie filmed in Melbourne has an intriguing premise and is layered with incredible performances from a cleverly selected cast, practical effects and a well written script that showcases some horror elements that are infused with some dark Aussie humour that constantly bounce between horror/thriller/comedy that make this a homegrown horror hit.
The story revolves around cancer survivor Emily (Sophie Thurling) who after a random encounter with her estranged father, decides to get a group of her friends together to rent out a holiday house in a small town. During the weekend, the group make some enemies among the locals while also being haunted by a supernatural being who blurs the lines of reality, forcing them to question what's real and what's not.
A big part of what makes this are the performances from the cast. The opening monologue from Thurling left me breathless and on the edge of my seat. The ferocity and anger emanating from her character as she confronts her absent father who reappears as she is going into surgery. Thurling keeps this going throughout the rest of the film right to the closing scene at the beach. The other main stand out is Daniel Reader who played my personal favourite character Barry the c...well let's just say Fixer to get past any censors. He has that okke Aussie accent and commanding presence that has a real sense of familiarity, particularly for local viewers. We have seen this character many times before but Reader brings a fresh spin to it. Another familiar face is Andy McPhee who plays Eddie Silverbeard. Silverbeard is his surname, not a reflection of his appearance. He has a running gangbang gag that just gets funnier and funnier the more that the situation unfolds.
The rest of the group of friends are made up of Kyle (Lucas Pittaway) who plays a great supporting role that easily transitions into scared and frightened victim when the story requires him to. Sunny S. Walia plays Chad, who doesn't get near enough screen time. He plays the voice of reason in the group.There are a couple of party scenes in the movie and the first one in particular is really well shot. A backyard party with shots, the footy jock who skinny dips and of course a drug infused montage effectively showcase the camera zooming around the different areas of the party. This sounds like a weird thing to highlight in a horror movie, but it really is one of the best shot parties in recent memory.
The location of the rental house is incredibly cinematic, there is an overhead shot as the car pulls up to the location that is truly breathtaking. There are many more examples of outstanding filmmaking in The Faceless Man. There is a tribute to Psycho in which a knife repeatedly stabs a victim while blood sprays on a plastic sheet. There are several other nods to classic directors and films, all of which are drenched in director Di Martino's unique style and flavour. Special effects wise the film goes for the practical side which work to great effect. There are several scenes in which Emily is bent over a sink coughing up blood. Di Martino uses a blend of lighting and camera angles to make it feel extremely real. The supernatural creature that haunts the crew is also well detailed. The long nails are reminiscent of Freddy Kruger and the many severed heads and limbs all help sell the film's premise.
I would be remiss if I didn't comment on the mobster and local biker gang that show up at certain points in the film and provide the closing moments with a mobster style showdown. There are a ton of references here from Tarantinto to Home Alone (yes, really!) and they all land beautifully. There are quite a few groups of people who come after Emily and her friends on top of the supernatural creature that appears ominously and when you least expect it. The Faceless Man delivers on scares giving more questions than answers. While there are a ton of jump scares, they always took me by surprise with Di Martino planning each one to make sure they keep the scare rate up. Making Emily the central part of the story and her friends as they go on this weekend-away, showcases the city vs regional divide that is rarely explored well. Fortunately Di Martino knows his way around this and having Barry the C..I mean Fixer and his crew as the gatekeepers to this, make sure things stay neutral. Using practical effects and location shooting help the town's slogan of "We are a good town with good people" feel like a real place. The complexity of the story and its characters are elevated by outstanding performances from the cast and the master writing and directing by James Di Martino. We will all be watching very closely to see what Di Martino does next.
Cerulean Blue (2019)
Another Aussie classic
The great thing about Melbourne International Film Festival is the chance to view new films for upcoming directors. The first film from Aussie director Adrian Ortega is a road trip movie about love and self-discovery. The movie is held together by a great story, outstanding performances from its lead actors and breathtaking cinematography delivering one of my favourite films of the festival and the year.
The story follows Alex (Jack Michel) a closed off loner who is driving the scenic route to Melbourne. Along the way his trip gets crashed by Lily (Senie Priti) who is an outgoing sanguine needing a ride. Along the way they run into car trouble and plenty of heart to heart discussions about life, love and their past and future.
The cinematography is breathtaking, the film showcases sweeping landscapes, wistful waterfalls and lagoons contrast against small country towns, petrol stations and cheap motel rooms. The camera work is incredible in the road trip scenes with shots switching between in car conversations and rolling hills and green fields on each leg of the trip.
Performances from Muchel and Priti are the standout of this film. They each play their own personality side to a tee. The introduction scene where Alex is purchasing petrol and the attendant is a voice coming from the floor, apparently from slipping over. The extreme caution and hesitation are showcased through this scene, similarly Priti jumping out in front of the car and hiding in the boot, with a sense of determined curiosity about Alex and how he operates. It does take a while for Alex to respond to Lily and break down his walls. This exploration of two polar opposites is worth the watch alone.
Cerulean Blue is the surprise of 2019, it offers an insightful look into two opposite travellers heading in the same direction. As the story reveals more of their past, it helps sell the premise and in turn grow affection for each of these wayward travellers. The film allows the characters to breathe and lets the cinematography tell part of the story. This film is a spectacular introduction for director Adrian Ortega and is one of the highlights of the Melbourne International Film Festival.
4 stars
Review by Alaisdair Leith