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Reviews
Late Night with the Devil (2023)
Exorcising a tired sub-genre! Fantastic and fresh.
If this had been shot on 16mm with all practical effects, I'd give it a 10/10. But, that's my hopeful, self-entitled wish as a viewer.
While the plot of "Late Night with the Devil" rubs up against 2019's "The Cleansing Hour", I found this one to be done with considerably more vigor, style and slick execution. I was emotionally invested and even though the subject matter is indeed fantastical, it still felt grounded and honest to its inspirations. In this case, not just a possession story, but old school, 1970s late nite. I loved it!
I often find myself avoiding possession films. The trope can sneak its way into other paranormal films and be done well, (see "The Conjuring") however, when the hook is demonic possession, you will typically see something you've seen before; a messy film, recycling bits while chasing the granddaddy of 'em all, "The Exorcist." Friedkin's masterpiece sits alongside movies like "Jaws." Genre films that essentially launched, perfected and closed the book on a horror/thriller trope. They are incredibly tough to compete with. If you are going to attempt it, better come with strong characters, and hopefully something fresh. Late Night did it.
The filmmaker used an isolated setting to its best. Consistent pacing, dialogue woven in incredibly well, propelling us through a night of chaos and uncertainty, all surrounded by beautiful set decoration. For a contemporary, lower budget film to be set in the 70s and not cause me to be taken out of the story, noticing inorganic costuming, lighting, and anachronistic elements, I was more than pleased.
The character of the Skeptic even harkens back to James Randi, albeit more of a condescending portrayal, showing up on a panel show and embarrassing a con artist with "telekinesis." There was more evil at work this night than just a demonic force. The monologues, puns and co-host banter, all backed by a house band, conjured up my often romantic longing for decades past, particularly the 1970s. All objectivity removed, I just loved the movie on a sentimentally intrinsic level. That is usually what really grabs me in a film, even if it's not perfect. I certainly love several that wouldn't be called "classics" by many people but me and other genre fans.
Familiar possession gags are most definitely present in this movie, but the machine pushing the story forward, the character development and the ultimate heart and earnestness was a surprise. This could've easily devolved into a comedic romp with gratuitous "the 70s was wacky!" references throughout. I am glad it didn't. What a blast with wonderful performances.
9/10.
The Iron Claw (2023)
North Texas History - a Family story
I live in, and grew up in, the Dallas/Fort Worth area. My father used to see the Von Erich's at the legendary Sportatorium depicted in the film. He told me about the tragic story of the family and he often wondered if a story so unbelievably unique and heartbreaking would ever make it to film; it was begging to be explored most certainly as a documentary, but as a dramatic retelling as well. It finally made its way to the big screen.
First off, I applaud the writer and director for his approach and tonal sensibilities. This could've have been bright, sleek and far to contemporary to encapsulate the era of wrestling and general American culture of the time shown in the film. The warmth and almost sepia-toned aesthetic draws you in and thankfully the movie feels like it was shot on film rather than purely digital. It felt organic to me.
The entire cast and especially Zac Efron, was fantastic! As the de-facto lead in a truly ensemble story, his performance and "family-focused" view on life was the constant through line. That's what this story is actually about. It's about family and love, with wrestling as a framework and storytelling device. And the fact that the wrestling scenes were portrayed in such a balanced and grounded manor, very reminiscent of the earlier days of the sport, was such a smart decision. It could've easily strayed into hyperbolic, over the stop action set pieces but it didn't.
My only real critique is that the movie kind of plays out like a collage of scenes due to the fact that the story is so incredibly dense. It's not the smoothest narrative, but based on the fact that the filmmaker had to find a way to squeeze essentially a saga into a feature length film, I understand the time jumping and unfortunate omission of Chris. It would be easy to say "make the movie four hours long or make it a mini-series on HBO." From the little I know about creating films and TV, it's not always that easy. If this was his passion project, I guess you gotta take the opportunities you have, and it was done with respect and integrity. I sensed an earnest pursuit of honor and empathy rather than any hint of exploitation. As the curtain of wrestling has long since been lifted, there is a plethora of content about behind the scenes and the sad, damaged lives many former wrestlers have lead and lost. The Von Erichs are most certainly part of that history - but this one isn't about sensationalism, it's not really even about "the business." It's about the human condition and what it's like to live through absolute devastation while finding a way to not lose all hope, even when you have every reason to. Beautiful film.
Misanthrope (2023)
Horrifically cheesy
The entire film comes across like a fan of James Patterson and Law & Order: SVU watched a John Douglas interview and thought, "I can write a screenplay about profiling!" But not just any cat and mouse, "on the trail of a serial killer" story! No, this one will have dialogue with the confidence and uncomfortable mellow-drama of a slam poetry reading.
I can suspend disbelief with films. If it's engaging and feels earnest, I can enjoy it, even if it strays outside of "realistic." This movie and its primary characters, are absurd. Apparently the FBI is filled with hapless, knee jerk egomaniacs that don't think before they act or bother to thoroughly investigate a suspect. Oh, of course, except the philosophical lone wolf agent who could easily crack the case on his own, but for goodwill and a lark, enlists the help of a suicidal, mentally ill beat cop who was denied entry to the bureau years ago despite her uncanny, stellar insights into the mind of killers. She has an eye for them because she, too, is tortured!!! Big ol' booooo!!! I wonder how many FBI agents wax philosophic while sipping coffee and then subvert the cliched movie trope of telling the local authorities to "stand down", by doing open mic night/motivational speaking in a quiet room of eighty cops. I can see the writer fist pumping and cracking his knuckles after that one.
Everything about it smells like contemporary studio films with a checklist of disingenuous, forced archetypes (both "good guys" and "bad guys") and producer notes. Like, can we get some high fives for *insert gender, race, sexual orientation, possible mental afflictions, political affiliation, etc*?
Also, I get tax incentives, and movies are very expensive, but Baltimore by way of Canada, including Montreal accents? I gotta have at least one character that sounds like they're in a John Waters movie.
And the runtime. Come on. Wrap this up in 1:40:00 and then shave off another ten.
Anaconda (1997)
Best bad of the 90s
Here's the deal.. Anaconda rules. Enough time has passed for irony to catch up with "cult film." Once upon a time, "so bad it's good" movies were gifts spread by word of mouth, through genre communities or blogs, publications, etc. With the rise of movies like "The Room", irony has found its way into movies in non-oganic ways. Sometimes, irony has even been adopted as an interest or a personality trait. If movies like "Cocaine Bear" are made for absurdity's sake, in a ham-handed, wink wink manor, I feel the authenticity of a laughable film made in earnest cannot be contrived from forced silliness. Plus, we see through it. Nice try, poser.
Anaconda, is quite the exception. The team behind this picture wanted a hardened thriller; they wanted a mainstream, off the wall, adrenaline soaked thrill ride with potential to sweep the MTV movie awards. What they got was John Voight playing a Latin American snake poacher who calls women "baby bird." They got bad cgi and practical effects. They got not only Ice Cube, but inside jokes related to Cube's career. They got a poisonous insect tracheotomy, Owen Wilson being horny, a Mr Howell-esque aristocrat on the boat arguing about hip hop, more of John Voight's Paraguayan accent(?), Anaconda regurgitating, dynamite, a Panther, J-Lo giving it her all like she's in an Oscarbait flick and, well, John Voight..
I love this heinous movie, as does my wife. This is the de facto, "I can't decide what to watch and I'll probably fall asleep soon anyway" choice at our house. I suggest doing a double feature with "Twister." Take my advice and enjoy your night in.
Whiplash (2014)
Jazz! Music for musicians
I was eventually able to separate my hatred of jazz from the story by the third act. As biased as I might be, and as hyperbolic and contrived as this film feels in parts, it was certainly enjoyable; Performances, impeccable lighting and photography in general. For a fairly subdued movie on an action level (certainly not dialogue) it was incredibly engaging and the use of legitimate musicians was fantastic and appreciated. I don't think this movie could've been done without that level of authenticity.
Jazz, in its traditional sense, is a musician circle jerk. Technical proficiency, time signatures you can't tap a foot to, "standards" recycled and reinterpreted. It is music for lifers to nod across a ten foot stage at each other and say, "I see what you did there." When mathematics meet traditions, I am rarely moved as a music fan. It doesn't mean there is no merit, it's just more about the players than the audience. That's why I think "Whiplash" is a fantastic representation of this music genre. I am not a career musician, nor did I attend a prestigious music school, but I'm guessing this movie is an embellished portrayal of that world. Maybe not... Either way, the message I received was this: it's not about expression, it's not about conveying a feeling, it's about perfection. It is about such meticulous, maniacal precision that any level of humanity and nuance is to be removed. Fletcher was essentially John Voight from "Varsity Blues", just much more clever in the dressing down of his team.
There is a scene in the last act where Fletcher utters "this is why jazz is dying." To me, this moment was the most impactful. While the structure and beats of the story fit right in with any movie about sports, or ballet, or any insular world with rules and traditions, it is essentially a study of perfection and ego. Do you want to be the biggest fish in a small pond and look at the big lake with contempt because they just aren't up to your standards? Maybe it's dying because no one outside of your world cares what your tempo is.
While JK Simmons if very much deserving of praise for his performance, I think Miles Teller deserves a great nod as well. They played off each other well and sold the nonstop tension well. It took me almost ten years to see this Oscar darling and I'm glad I finally got around to it. I feel like it is a tinge overrated, but definitely a solid, entertaining movie.
Pyewacket (2017)
A lot with a little
A cloud of sadness and despondency covered the story from beginning to end. "Pyewacket" maintains a tone and ambition deserving of at least a little praise for an indie horror. I root for filmmakers who do their best to make a small movie bigger than its funds, and this one possesses the scope and execution to do it. It's done through slight character building, without making the occult-obsessed teen, or the grief-stricken mother, caricatures of those archetypes. The film appears to take advantage of the "satanic panic" trope and treat it literally rather than sardonically or as parody. This, despite what any horror film centered around heavy metal + occult typically does, was actually refreshing.
For a low budget spooker, heavily focused on atmosphere rather than action, I'd say it was done very well. What could've easily turned into a meditation on grief (like the infuriating "Babadook") picked up in the third act and gave us the goods. We are watching a horror film after all. And I love the horror genre!
The casual and slightly veiled reveal of Pyewacket is what really sold me. If I were making a creature feature, that's exactly how I would want to portray the entity; a real actor, inhuman movements, and mystique. The "uncanny valley" of a physical actor far exceeds any contrived terror from computer animation. It's like the "Jaws" method; don't show us too much of the shark.
8/10 - Solid movie for this October.
Bliss (2019)
Visually rich, narratively challenging
I am a fairly easy sell for a movie, particularly a genre film, when its tone, mood and aesthetics are up my alley. "Bliss" does that, which is why I've found myself throwing it on frequently over the last few years.
Despite issues I have with some of the dialogue, and the Pulp Fiction-esque drug-buy scene, I'm all in for the journey. Begos' visual sensibilities and set pieces keep me coming back. This film feels very much like a West coast take on the 80s and early 90s, gritty exploitation run of New York films; specifically Abel Ferrara's filmography. The use of neon lights, 16mm grain and chaotic perspectives is enough to capture a simple dude like me. I love it!
Our main character is challenging, no doubt. She is quite unlikable. She is crass, selfish and, well, hard to root for? With that said, her only antagonist is herself. The minimal storytelling style is suitable for a movie like this; nightmare logic and a "descent into madness." This combination could absolutely alienate a general audience and any issues one might have with the film, are likely understandable. It is far from a traditional or comprehensive narrative, but that just doesn't bother me.
A great strength it has, is it's runtime. It doesn't overstay its welcome, which when combined with all above, makes a fantastic midnight movie. After Joe's "neon trio" (Bliss, VFW and Christmas Bloody Christmas) I've found myself really looking forward to seeing what he does next. I'm sure it will be polarizing.
8/10.
Chernobyl (2019)
Horrified horror fan
I just decided to check out Chernobyl again, having burned through it upon its original release. Within minutes of the first episode, I am reminded of exactly how horrifying this series was and still is. As a lover of horror films, I find myself taken aback and stupefied by not only the quality of the show, but the absolute horror, desperation and devastation the creators and actors achieved. It is a perfect, tight series, and it is heartbreaking. The real-life story lends itself to a tremendous history piece to convey. But the execution is beyond remarkable. You feel like you are there; facing imminent death. You are immersed in terror and uncertainty with the people whose lives were obliterated by negligence and ego. Nothing is ever as frightening as real life.
Brutal and fantastic. 10/10.
You're Next (2011)
Didn't get enough attention
"You're Next" didn't garner enough attention upon its release, and still hasn't received the appreciation it deserves. In a way, considering it's barely ten years old as of 2022, it was ahead of its time. With a pleasant balance of humor, satire, violence and suspense, it flips the final girl trope and sustains an impeccable pace.
I have a love/hate relationship with "comedy-horror." More often than not, films in the genre come across as "inside baseball" for genre fans. "I cannot construct a solid scare, but I will hammer you with insider references, comical kills and nod to the back of the room the whole time" When horror becomes so self-referential, it tends to veer far from what I love about the genre; suspense, danger, thrills, and... HORROR.
While this movie has jokes, it comes form a place of originality, while putting tension and violence first. You can elicit laughs with funny or sardonic people in the middle of a bloodbath. There is no set up-punch motif, as much as an enjoyable level of absurdity amidst chaos. It is filmed and paced phenomenally, twists and all.
I wish You're Next got more love and support from the mainstream, but, selfishly, the ultimate protagonist was so incredible and unexpected, it might have (maybe should have) been granted with a sequel, and those aren't always good for the initial film. Either way, I'll probably revisit this one annually like I have since I first saw it in the theatre.
It's a blast!
The Babadook (2014)
Vasectomy inspiration
Listen; I understand the implications and exploration of grief and depression in this film. I also wouldn't frivolously say this is a bad film. It's not. It is original, most definitely. I also don't completely disregard movies with unlikable characters. In many cases, a truly unlikable character can evoke emotions and honestly, make a story more effective and relatable. My 6/10 rating is based solely on how much I enjoy this movie versus its merit.
I am one of the viewers that is so completely enraged by the kid that, the little actor's impeccable performance as the personification of obnoxious irritation, ruined everything. Mom is merely a supporting character to outbursts. This movie is 80% character study/tired, grief-stricken mother/unruly child and 20% horror. The Babadook itself serves as a brief reminder that you are watching a horror film.
If Franklin from TCM '74 and this kid could die twice in the same accident, I would suggest a third time around.
Conjuring a response like this is absolutely a sign of an effective movie. It doesn't have to solely make you excited, happy, sad or scared. If the intention was to overwhelm and anger the viewer, maybe it's a 10/10.
Watcher (2022)
Subtle thriller - Includes references inferred from trailer
I dug it. Yes, it is a slower pace by conventional standards, but I was never bored. I have no problem with, and often times enjoy "slow burn" horror films. If I can connect to a character and the tone suits the pace (which I feel this movie accomplished) I can be patient and remain engaged. It's also possible that I am biased towards Maika Monroe, exclusively because of my love of "It Follows."
On a technical level, I have no complaints. The photography and acting were solid. The sense of isolation amongst humanity, obviously driven by a language barrier/fish-out-of water aspect was effective and it accelerated my connection to the protagonist. What would you do alone in an apartment, in an unfamiliar country where you don't speak the language, and the unidentified person across the alley is staring at you every night?
What I thoroughly enjoyed about the movie is the potential for subtext. It made me consider what it would be like to be misunderstood and thought of as delusional; hysterical and foolish. I have zero clue if the filmmaker had intentions to convey a deeper meaning than, "how can I make a 'Hitchcockian thriller?'". And I love that. I love contemporary horror that can elicit thoughts of themes and messages, rather than hit me in the face with blatant, directed symbolism and commentary.
7/10.
Running with the Devil: The Wild World of John McAfee (2022)
Hilarious!
Watch it with some friends. It's absurd, enthralling and hilarious in many parts. If you appreciate debaucherous, self-indulgent narcissists and their follies, I say strap in. Drugs, booze, guns, corruption and the open sea. (They should have asked me to write a tagline for this one)
For those criticizing Netflix's ever-growing catalogue of bloated documentaries/docu-series; I hear you. They've been on a run for a while. Please keep in mind this is a one-off 1:40:00 doc and there are zero lulls within. You won't have to commit to three episodes of meandering fluff with no payoff. This one is a blast.
Chicken People (2016)
More than just chickens
What I loved about this documentary, and many like it, is the fact that the focal point (in this case chicken competitions) is really just an entry point into the human condition. Yes, there are chickens. Thousands, possibly. But the three characters followed through their own respective journeys to a big competition, as well as their lives both past and present, is what the story is really about.
A young, kind hearted man who struggled to find acceptance. A middle-aged man who thrives on problem-solving and analytical pursuits. And a woman simply trying to find peace in life, peace in herself and learning to work through trauma. It's certainly an easy assessment to make, but it works: sometimes people need chickens more than the chickens need them.
This doc is organically endearing, interesting and I fell in love with the contestants, and the contestants', contestants.
9/10.
Near Dark (1987)
Antisocial Lost Boys
Somewhere in Near Dark is an inventive, dark and original vampire story. It's underneath an incessant and overpowering score, never letting up; much like the barrage of scenes that play out hurried and propelled by underdeveloped characters.
The movie feels incomplete. Like a dense screenplay with adequate pacing was cut down to appease a mainstream audience. "No one wants to see a nihilistic vampire film where we root for the villains for two-plus hours. Cut it down to a handful of cool scenes and keep it under 1:40:00." The relationship beats were established (family and romance) but I couldn't care less about those characters, nor did they have the depth or screen time to make me care.
And there are some fantastic scenes and takes on vampire mythology. The bar scene, in particular, stands alone as tremendous one act play in the middle of a muddy movie. That was kind of the highlight, I suppose.
The main protagonist could have been removed entirely, and the story could have been centered on the traveling vampires. Delve into their background, their own dynamics, etc. Play with the viewers' morality and make us identify with the "bad guy." I don't know, just develop a character or relationship fully.
I just want to watch that dude play the sax in the Lost Boys now.
The Allins (2017)
Great companion piece to "Hated."
I've always been fascinated by GG Allin. I think if you're familiar with him, or you are now after seeing this documentary, you know why.
I own Hated, I've seen plenty of live footage, interviews and talk show appearances with GG and Merle, as well. I was familiar with their childhood, the existing incarnation of the Murder Junkies, Merle's online presence and merchandise, etc. But I have never seen the actual people behind the sensational, antisocial mystique of GG Allin.
You can't make this documentary and not have GG as a focal point or driving theme, but I appreciated the fact that the story primarily held true to the the tile: "The Allins."
Their mother is what most would hope a mom would be; someone that loves unconditionally. Merle was humanized and I can't believe it, almost vulnerable. I think it could be easy to assume he's been riding his late brother's excrement-soaked coattails, but it seems as though he genuinely wants to keep his legacy alive and just misses his best friend.
I think this is an efficient, tight and surprisingly tender doc about an infamous figure in music history. Great for fans and curious newcomers.
American Horror Story (2011)
I tried
I want to love this show. As a horror fan, I'm always hoping for the genre to cross over to television in some form or fashion; preferably more horror than comedy.
When AHS premiered I checked it out, but didn't pique my interest enough to stick with it. I wrote it off but somewhere around the fourth or fifth season, a friend of mine suggested I try season two. That would be the one I would connect with. That was when the original promotional description came back to me: "Creators of Glee & Nip/Tuck." It made perfect sense. It's somewhat transgressive, dark-comedy, wrapped in a theater kid's sardonic wet dream.
I still didn't give up. A few years went by and another friend of mine, another horror fan, told me to give 1984 a chance. Ok, this one has to work. I love Camp Crystal Lake, the Burning, Sleepaway Camp, slashers, 70's & 80's exploitation. I dig it all. By the second half of the third episode it hit me again. I'm not scared, I'm not laughing and Richard Ramirez has great teeth. I can't tell if the genre is being paid homage or mocked. Maybe both?
The show clearly has its audience and great success, so it's purely a matter of taste on my part. I don't think I can try again, though.
The Rental (2020)
What you didn't like about this movie is what I loved.
I just watched the Rental and I liked it even more than I expected. I saw the meager rating on here before I started the movie and I went in with low expectations, but I was more than surprised, especially with the ending..
As soon as the credits rolled I knew, clearly, why people have an issue with this movie. It did two things that turn off mainstream audiences, but I actually find refreshing. 1. It took its time and developed characters, whether you found them likable and care whether they live or not, is subjective. 2. The ambiguous ending. There was also a third component; not a storytelling device, but a plot point and turn in the story. 3. Why wouldn't you just own up to cheating and call the police immediately?
"Who was he?!!" Why do we need to know anything about him or why he does what he does? Isn't that more frightening? Did we need confirmation that he did, in fact, have a heinous childhood? I think it was clear that this person is a psychopathic murderer that preys for pleasure and sport. The faceless killer (and winner in the end!) doesn't need more story. If you were secretly observed, stalked, mentally tortured and ultimately murdered by a masked person, you would never know who they were or why they did it.
Some people say, "it's slow and went nowhere." I disagree. We got to know the characters, infer their personality types, and see their strengths and weaknesses. Why didn't Charlie & Mina come clean, admit their mistake and save the day? I don't know, maybe they're self-centered narcissists? Sometimes unrealistic decisions can be picked apart as a plot failure, but in this case I think that's just who those people were. They'd rather gamble and protect their assumed respective appearance. You don't have to like and respect all characters.
Also, they did a great job capitalizing on a contemporary trope with Airbnb. This may have already been used in another movie at this point, but I thought it was a great choice, especially for a confined horror film. How much is staying in a strangers home worth it for the price and location?
Great job, Dave Franco. I was skeptical but I'd definitely check out another horror flick he does.
Mandy (2018)
Bad trip!
I cannot wait to see what Panos Cosmatos does next. I saw Mandy first, then went back to Beyond the Black Rainbow, then back to Mandy again..and again. And again. I can't often objectively explain why you should appreciate a movie, nor do I care to. I just like what I like and that's what this review is about.
I feel like minimalist storytelling turns people off, but sometimes less layers to peel back isn't a bad thing; especially when the story unfolds though a deliberate, meticulous, nightmarishly hallucinogenic lens. Panos creates a world, maybe earth, maybe not, where genres are blurred and Nick Cage wields a gigantic chainsaw. Hippie cults, Black Metal, motorcycle mutants and a cheddar goblin. It's even more bizarre and exploitative on paper.
This movie, albeit violent and harrowing, is gorgeous! It hits every visual, sonic and emotional angle that keeps me thinking about a movie days after I first see it. It's the kind of movie I leave and immediately say, "I can't wait to watch that again", knowing full well I will pick up something new the next time around.
Mandy rules.