Archives for : Mystery
It’s rare these days to not be able to predict the end of a movie, especially one that appears to be formulaic, but I can assure you, you won’t know what to expect from Universal Pictures’ new, surprisingly funny thriller, “Abigail”.
After a group of criminals kidnap the ballerina daughter of a powerful, wealthy man, they must wait 24 hours in an isolated mansion to collect their 50-million-dollar ransom, but things quickly go awry when the group discovers they are locked inside with no normal little girl. What proceeds to happen is an entertaining, creatively shot blood bath that will shock and humor audiences.
The plot is straight-forward, but the production and performances elevate what could have been a bore. Directors Matt Bettinelli-Olpin and Tyler Gillett film a balanced narrative that flows much like a ballet performance. There’s a good rhythm at the start and engaging theatrics throughout with Abigail’s random, but impressive dance moves right before she remarkably lands her bait. And while the band of crooks do a fine job, it’s our young star, Alisha Weir who steals the show. She’s natural at playing an angelic scared little girl, who in an instant can flip the switch to a terrifying demonic tiny dancer.
But “Abigail” does have its flaws. Towards the end, the film does waver and stubble over its steady beat with too many betrayals and inconsistent character identities. Which prevents it from providing the depth that was potentially there. That being said, there is still more positive than negative here, especially from the comedic timing of the entire cast. It’s very much M3GAN meets Ready or Not, just nowhere near as good. But, if you’re a fan of the horror genre, then “Abigail” is satisfying, mindless bloody fun.
Rating: B-
“Abigail” opens in theaters April 19, 2024
This week I review “Five Nights at Freddy’s”. It’s about a security guard who begins working at Freddy Fazbear’s Pizza and discovers the animatronic costumes that reside there, aren’t just robots. They are alive. Find out if I think the film is a fun thriller.
“Five Nights at Freddy’s” is playing in theaters and streaming on Peacock.
Rating: D+
This week I review Jordan Peele’s latest sci-fi horror, “Nope” and the film adaption of the Delia Owens’ best-selling novel, “Where the Crawdads Sing”.
“Nope” and “Where the Crawdads Sing” are currently playing in theaters.
I spoke with the star of the highly anticipated new Jack Reacher series (“Reacher”), Alan Ritchson. We talk about what small detail says the most about him, what he was like as a teenager, and we play a rapid fire game related to the show.
“Reacher” is based on Lee Child’s first Jack Reacher book, “Killing Floor”.
“Reacher” streams on Amazon Prime February 4, 2022.
Even as I write this review, I am a little nervous to type “Candyman”. After seeing the new film, that name instills the same fear I felt after watching the original 1992 movie.
In case you’re new to the franchise, the original film follows Helen Lyle (Virginia Madsen), a grad student researching urban legends who learns of the mysterious murders that happened at the Cabrini-Green housing projects. Residents suspect the killer is the notorious Candyman (Tony Todd). He was born in the late 1800s and was the son of a slave. He grew up to be a well-known artist that wealthy white people sought out for their portraits. But when he fell in love with the daughter of one his upper-class customers, her father sent a lynch mob after him. They cut off his right hand, smeared him with honeycomb, let the bees sting him to death, and burned his body on the land that the Cabrini-Green neighborhood was eventually built. When a person says his name 5 times to a mirror, bees trickle in and a few candies drop before he appears and kills you with the hook attached to his bloody arm.
Fast forward to 2019 and we’re in the middle of a dinner party where couple, Anthony and Brianna (Yahya Abdul-Mateen II and Teyonah Parris) are learning about Candyman for the first time. Brianna is an art gallery director and her partner, Anthony is an aspiring artist whose suddenly fixated with Candyman. He paints the images of the most recent Candyman symbol, a misunderstood resident named Sherman Fields (Michael Hargrove), who was mistakenly accused of putting razorblades in Halloween candy. Eventually Anthony’s disturbing artwork inspires others to start uttering the word “Candyman” into a mirror 5 times, and that’s when the bodies begin to pile.
Director Nia DaCosta (Little Woods), Producer/Co-Writer Jordan Peele (Get Out), and Co-Writer Win Rosenfeld had a keen vision for this continuation of the legendary horror. Lots of praise goes into the storytelling. Instead of flashbacks of the original film, they use silhouettes of puppet paper cut-outs to explain the history. The images are unique and engaging. They also don’t take an extremely graphic route. Although blood is shed, there’s more reaction to the gore than action. One of my favorite scenes is the death shown through an apartment window as the camera zooms out. It’s subtle, but effective bloody art.
Abdul-Mateen II, Parris, and Coleman Domingo (plays William Burke) shine as standouts with their harrowing performances. But the movie does suffer from a few amateur, secondary characters. Luckily, they are not on screen for very long.
“Candyman” (2021) does a wonderful job connecting to the first film. There’s still the same essence of the original, with a modern and more stylistic vision complimented by a stellar score. But perhaps, the most unforgettable addition to this sequel is how DaCosta, Peele, and Rosenfeld turned Candyman into a metaphor for the trauma that has haunted the black community for years. To repeat a powerful quote from the film, “Candyman’s how we deal with the fact that these things happened. That they’re still happening!” Making Candyman a frightening but significant figure.
Audiences will be buzzing about “Candyman” (2021). It’s a fun and refreshing spin on the iconic cult classic.
Rating: A-
I’ll admit, I scare easily. Films that aren’t even scary (Boo! A Madea Halloween) make me jump. But when I watch a truly, good horror film, I am on the edge of my seat, holding my breath during the entirety of the film. The only breather breaks are my screams. In David Bruckner’s new horror, “The Night House”, I screamed three times.
After her husband, Owen’s (Evan Jonigkeit) unexpected suicide, Beth (Rebecca Hall) is left alone in their large lake house, and suddenly haunted by a mysterious spirit. Beth heads down a dangerous rabbit hole as this leads her to digging into her husband’s dark secrets.
What Bruckner captures here is a very real and painful portrayal grief and depression. It’s not an easy subject matter to tackle, but it’s handled so well here. From Beth’s drinking, re-watching old videos of her husband, to how she interacts with her colleagues and people around her. Owen’s death has consumed Beth and is affecting her daily life and personal relationships.
If you saw Hall in the underrated drama, “Christine”, you already know how well she can portray a woman on the edge struggling with depression. So, it comes as no surprise that Hall’s performance as a grief-stricken widow is incredibly powerful. Your heart absolutely breaks for Beth as she asks the questions one would probably have if their husband chose to end their life: Why? Was he that unhappy? How was he so good at hiding it? Did I really know him at all? Was he a monster and I had no idea? These are just a few of the questions the film will answer.
“The Night House” is shot and edited beautifully. Paired with Kathrin Eder’s unsettling production design and the eerie music by Ben Lovett, the film makes for an engaging and terrifying experience.
Where the film falls short, is that it’s slightly over ambitious. Though questions are answered for the most part, there might be some confusion at the end, and there are a few small plot holes. But if you can piece together a narrative that satisfies you, then this may not be an issue.
“The Night House” is a creative story with gripping visuals and captivating performances.
Rating: B +
At this point, we know walking into any M. Night Shyamalan (Writer/Director) film is a gamble. You’re either going to get a quality movie like “Split”, or you could get the dragged-out disaster that came after, “Glass”. Regardless, we take that risk every time because we know Shyamalan is capable of greatness (i.e. “Unbreakable” and “The Sixth Sense”). Unfortunately, Shyamalan’s newest mystery thriller is far from great.
The premise of “Old” is incredibly intriguing. A family on a tropical vacation visit a beach that somehow causes you to age nearly a lifetime in a single day! Sounds good, but it seems the preview alluded to a more satisfying script.
From the get-go we are introduced to Guy (Gael Garcia Bernel), his wife Prisca (Vicky Krieps), their 11-year-old daughter, Maddox (Alexa Swinton), and 6-year-old son, Trent (Nolan River). The parents want to have one last trip together as a family before they announce their separation and reveal Prisca’s illness. Not so coincidentally, the family is offered a ride to a secluded beach for the day. Why anyone would trust a secluded anything in the middle of a shady beach, I’ll never understand. But, this family is not alone in their stupidity. They are joined by another family of 4, a married couple, and a famous rap star? Sure, why not?
It does not take long for this bunch to figure out something is wrong with the beach. People are dying, and there is no way to get back to their drop off point.
Again, the plot of the film is actually good. It’s original, and you have no idea how it’s going to end or why it’s happening. I can appreciate Shyamalan’s creativity. The man can come up with the most thought-provoking ideas. But sometimes it’s just poorly executed.
The dialogue in “Old” is painful. From the start of the movie to the very end, it’s as if the story was written for toddlers. Everything is spoon fed to the audience, and so many lines are forced. I’m not certain if many of the actors were bad, or they just didn’t believe in what they are saying. Either way, it makes for a slow and difficult watch.
I would be remiss if I didn’t at least shine a light on the two glimmers of light, Thomasin McKenzie and Alex Wolff, who play teenage versions of Maddox and Trent. These two give their all in their performances and are committed to that script. If anything, “Old” will further launch these two talented actors.
I wouldn’t be so harsh if I didn’t know Shyamalan’s skills. “Old” is a great idea that deserved a better screenplay, and maybe a better secondary cast. The premise pulls you in, but ultimately, the film leaves you out to dry.
Rating: C-
A criminal mastermind entraps those who have done wrong in the justice system and unleashes a twisted, cruel form of righteousness. “Spiral” is the terrifying new chapter from the book of “Saw” starring Chris Rock and Samuel L. Jackson. Susan Stephens sat down with Director Darren Bousman and Co-Writer Josh Stolberg to discuss the mystery horror.
“Spiral” is open in theaters now!
“Every Breath You Take is a searing psychological thriller about a psychiatrist (Casey Affleck), whose career is thrown into jeopardy when his patient takes her own life. When he invites his patient’s surviving brother (Sam Claflin) into his home to meet his wife (Michelle Monaghan) and daughter, his family life is suddenly torn apart. “
I sat down with director Vaughn Stein to discuss the importance of conveying grief, how he himself handles tragedies, the appeal of psychological thrillers and more. Listen to the full interview below!
“Every Breath You Take” opens in select theaters & premium VOD April 2, 2021.
