ANNABELLE COMES HOME (2019) – Not Much of a Homecoming

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Look out behind you!  That’s Madison Iseman, Katie Sarifie, Annabelle, and McKenna Grace in a scene from ANNABELLE COMES HOME (2019).

Couldn’t she just stay away?

ANNABELLE COMES HOME (2019) is the third film in the ANNABELLE series, a series that is part of the CONJURING universe, and I have to say that the longer this series and films in this universe continue the less I like these movies.

Creepy dolls are a thing. I get that. And the Annabelle doll, which first showed up in the original THE CONJURING (2013), is a really frightening looking doll. It’s a shame that writers struggle so much to come up with good stories about it.

After that brief appearance in THE CONJURING, the film that spawned this cinematic universe and the one that remains the best in the entire series, the powers that be decided Annabelle needed a movie of her own. That film was ANNABELLE (2014) and it was pretty bad. Still, it was followed by a sequel— actually a prequel— entitled ANNABELLE: CREATION (2017), and this one was actually pretty good. In fact, I enjoyed ANNABELLE: CREATION quite a bit.

Now we have ANNABELLE COMES HOME, which takes place after ANNABELLE: CREATION and ANNABELLE but before THE CONJURING.

ANNABELLE COMES HOME begins when our friendly neighborhood demonologists Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) first confiscate the Annabelle doll from its frightened owners and agree to take it off their hands and keep it safe in the protective confines of the basement of their home, where they store all the other demonic stuff they’ve collected over the years. This is a line of thinking from these movies that I’ve never understood. I get the idea of keeping all these evil things in one place, to prevent them from harming the world, sort of a supernatural prison, if you will, but inside their own home? Wouldn’t it make more sense to amass this stuff as far away from one’s home as possible? Like maybe inside a place with concrete walls and lots of locks? But nope, they keep their evil collection locked behind a closed door in their house, which opens the door, eh hem, for the kind of devilry that happens in this movie.

Ed and Lorraine Warren were real people, by the way, not fictional characters, most famous for their investigation of the Amityville house. Ed passed away in 2006 and Lorraine just recently passed in April 2019. In fact, ANNABELLE COMES HOME is dedicated to Lorraine Warren.

Getting back to the movie, Ed and Lorraine leave their ten year-old daughter Judy (McKenna Grace) with her babysitter Mary Ellen (Madison Iseman) while they go out, ostensibly to investigate the house in the original THE CONJURING, since the action in this film takes place just before the events in that first movie.

Mary Ellen is quite responsible, but her friend Daniela (Katie Sarifie) is not, and since she blames herself for her father’s death, since he died in a car crash while she was at the wheel, she longs to make some sort of supernatural contact with her dad. So, she invites herself over to the Warren house and sneaks into the secret room and in the process of snooping around, accidentally lets the Annabelle doll out of its glass case.

Oops!

Annabelle, now free, decides to make life a living hell for the three girls and unleashes all sorts of nasty demons and spirits to wreak havoc inside and outside the home, all in the hope of stealing a soul so that the demon within Annabelle can possess a body rather than a doll.

That in a nutshell is the plot of ANNABELLE COMES HOME, and as stories go, it’s not bad. I was certainly into it. That being said, I wasn’t into it for long because the writing and directing just weren’t up to the task of delivering a satisfying horror tale about Annabelle.

ANNABELLE COMES HOME was written and directed by Gary Dauberman, and although this was his directorial debut, he has plenty of writing credits. Dauberman has written all three Annabelle movies as well as THE NUN (2018), another film in the CONJURING universe and another film I did not like. Dauberman is also one of the writers who’s been working on the IT movies, based on Stephen King’s novel.

Here, I had a couple of issues with the writing. The first is with dialogue. At times, the dialogue is flat-out awful, and most of these instances involve scenes with Ed and Lorraine Warren. When they speak of demons and spirits, I just want to break out laughing. Their lines come off as phony and formulaic. The dialogue with Judy and her babysitters is much better.

Also, the story itself has a weird construct. The film opens with Ed and Lorraine obtaining the Annabelle doll, and as they make provisions for its safe keeping, it seems as if they will be the main characters in this movie. But then they disappear for the rest of the film, only returning for a ridiculous happy ending where for some reason time is spent showing Judy’s birthday party, as if that’s a key plot point in this story. I’m sorry. Was this called ANNABELLE COMES HOME SO SHE CAN ATTEND JUDY’S BIRTHDAY PARTY?

Which brings me to next problem: pacing. This film is paced terribly. The story has multiple threats attacking simultaneously, but rather than run with it and build to an absolutely frenetic climax, the story seems to want no part of this. Every time something happens, and a character seems pinned by a demon or spirit, the story switches to another character, and we follow them, while the previous character simply disappears for a while. There is no sense of building suspense at all.

For me, during the film’s second half when things should have been frightening, I was bored. And then to make matters worse, at the end, we go to a birthday party for ten minutes. So don’t forget to wear your party hat!

In spite of all this, some of the acting is pretty darned good.  Young McKenna Grace turns in the best performance as ten year-old Judy. It’s her first time playing Judy, as the character was played by Sterling Jerins in the first two CONJURING movies. Grace is very good at being the kid who’s wise to the ways of the demons and who, like her mother, has the ability to sense things about people. And if she looks familiar doing this sort of thing, that’s because she played a very similar role on the superior Netflix TV show THE HAUNTING OF HILL HOUSE (2018) where she played young Theo. McKenna Grace is only 13, but she has already amassed 51 screen credits, including roles in I,TONYA (2017), READY PLAYER ONE (2018), and CAPTAIN MARVEL (2019).

Madison Iseman is also very good as babysitter Mary Ellen, and I liked Katie Sarife even more as the often annoying but never cliché Daniela, as the character was given some background and depth, making her a bit more fleshed out than the usual characters of this type.  Michael Cimino was also enjoyable in the lighthearted role of Bob, Mary Ellen’s love interest and generally nice guy.

As for Patrick Wilson and Vera Farmiga, they don’t fare as well. Their early scenes are the most cliché in the entire movie, then they disappear for the rest of the movie, only to return for the anticlimactic birthday party.

Another pet peeve: this movie takes place in the early 1970s, and one key sequence involves the remote control of a television set. While remote controls certainly existed in the early 1970s, they were not prevalent at all the way they are today. Most TVs were controlled by knobs or buttons on the console. Small point, but it stood out for me as not being terribly realistic.

The scariest part of ANNABELLE COMES HOME is the way Annabelle looks. Annabelle has always been one creepy doll.

And the film itself looks good. There are lots of cool looking demons and creatures, and they show up and disappear on cue, but their effect isn’t much different than the sort of thrills one gets inside an amusement park haunted house. They pop out at you and they’re scary, but that’s it.

It’s not enough because ANNABELLE COMES HOME is a movie, and as such, it is supposed to tell a story.

Writer/director Gary Dauberman seems to have forgotten this concept.

As a result, ANNABELLE COMES HOME isn’t much of a homecoming.

—END—

Books by Michael Arruda:

New in 2019! DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.

Dark Corners cover (1)

Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.

Ebook: $3.99. Available at http://www.crossroadspress.com and at Amazon.com.  Print on demand version available at https://www.amazon.com/dp/1949914437.

TIME FRAME,  science fiction novel by Michael Arruda.  

How far would you go to save your family? Would you change the course of time? That’s the decision facing Adam Cabral in this mind-bending science fiction adventure by Michael Arruda.

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

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Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, first short story collection by Michael Arruda.  

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Print cover

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Ebook cover

 

Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

 

 

 

 

 

 

 

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HORROR MOVIES 2018 – Worst to First

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Jamie Lee Curtis as long suffering Laurie Strode striking back against Michael Myers in HALLOWEEN (2018)

2018 wasn’t really the best year for horror movies, at least not at the theater. Netflix actually had some of the better horror movies I saw this year. But at the theater it was slim pickings. Of the nearly 100 movies I saw at the move theater this year, only 12 were horror films, and a few of those weren’t really “horror” per se. Granted, there were a few clinkers I avoided all together, and so by design I saw fewer horror flicks in 2018.

Here we go, my list of HORROR MOVIES 2018, from worst to first:

12.THE NUN  – by far, the worst horror film I saw this year. I know, a lot of people liked this one, but the script with both its lame story and ridiculous dialogue was horrible. Shot on location in Romania, the film looks terrific, but that’s all it has going for it. Part of the CONJURING universe.

11.INSIDIOUS: THE LAST KEY – yet another INSIDIOUS prequel. I really wish they’d put this series to rest already. I do like Lin Shaye as demon hunter Elise Rainier, but since this character was killed off in the very first INSIDIOUS movie, the continuing back stories told in the prequels don’t really resonate.

10. JURASSIC WORLD: FALLEN KINGDOM – not really a horror movie, but you do have those dinosaurs. Pretty bad entry in the JURASSIC series. Silly and oftentimes dull.

9. HALLOWEEN – after all the hype, this latest entry in the HALLOWEEN series was ultimately a disappointment. Ignoring every other movie in the series except for the original John Carpenter classic HALLOWEEN (1978) the film joins Laurie Strode 50 years later as she’s still dealing with the traumatic events of being stalked by Michael Myers on Halloween back in 1978. Jamie Lee Curtis returns to the series to play Laurie once again, and her scenes are by far the best in the movie- the best written and the best acted. The rest of the movie is surprisingly awful. Tells nearly the same story as HALLOWEEN H20: 20 YEARS LATER (1998).

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8. RAMPAGE – Again, not really a horror movie, but the film does feature giant animals battling each other. This ultra silly Dwayne Johnson vehicle has its moments, and it’s more fun than you might think.

7. HEREDITARY – I know, for a lot of horror fans, this was the best horror flick from 2018. I was lukewarm to it. I enjoyed it for nearly 2/3 of the way through, but its ending pretty much ruined it for me. There’s a lot to like about this horror movie, which for me, ultimately did not deliver.

6. OVERLORD – this horror move/World War II action adventure combo wasn’t half bad. On the eve of D-Day, a small group of American soldiers on a secret mission discover a horrific Nazi secret. Works better as an action film than a horror movie, as the horror elements don’t really show up till the end, and they’re not as horrifying as expected.

5. THE POSSESSION OF HANNAH GRACE – this demonic possession movie was better than I expected. The gimmick here is that the possessed being is a corpse rather than a living person. I know. That doesn’t sound like much of a gimmick. But it works here thanks to a compelling lead performance by Shay Mitchell as the woman in the morgue who encounters the angry demon.

4. HELL FEST – another one that was better than expected. This one got off to an awful start with some sloppy direction and bad dialogue, but its standard tale of a crazed killer causing havoc at a Halloween amusement park gets better as it goes along, much, much better. Amy Forshyth is excellent as main character Natalie, the one girl in the group who’s not interested in horror or the supernatural but finds herself smack dab in the center of all it.

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3. THE MEG – this giant shark tale starring Jason Statham should have been stupid, but surprise! It’s actually pretty good. So much so that it was one of my favorite movies from last summer. No, it’s not JAWS (1975), but it’s the best of the recent shark movies, in spite of run-of-the-mill special effects.The strength of THE MEG is its surprisingly snappy script and exceptional performances by everyone involved, and seriously, you can’t really go wrong with a Jason Statham action movie, even if he’s battling a gigantic prehistoric shark.

2. ANNIHILATION – this film is way superior to the previous ten films on this list. This horror/science fiction flick about a group of women led by Natalie Portman on an expedition to investigate a bizarre phenomenon where the normal laws of nature don’t apply has three things going for it: the science fiction aspects will blow your mind, the horror scenes deliver, and its female cast is second to none. Exceptional science fiction horror.

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1. A QUIET PLACE – my pick for the best horror movie of 2018. Sure, its ending doesn’t make a lot of sense, but what comes before it works so well I let the weak conclusion slide. This tale of vicious alien creatures with exceptional hearing which hunt down humans whenever they hear them follows one family’s efforts to survive in this apocalyptic tale directed by John Krasinski, who also stars as the father in the family. Co-star Emily Blunt has one of the best scenes in the movie, a birthing scene. Yup, try giving birth silently as a hungry alien creature closes in for the kill. Scary stuff. Well done throughout. Also a lot of fun to see a movie that for nearly 45 minutes offers no sound on the soundtrack as the family has to survive silently. It was amazing how fast the silence caused people in the theater to stop munching on their popcorn.

There you have it. A look at the horror films from 2018.

Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LEADING LADIES: JAMIE LEE CURTIS

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Jamie Lee Curtis as Laurie Strode in HALLOWEEN (1978)

Welcome back to LEADING LADIES, that column where we look at the careers of leading ladies in the movies, especially horror movies.

Up today it’s Jamie Lee Curtis.

Curtis of course burst onto the horror movie scene with her signature role of terrorized babysitter Laurie Strode in John Carpenter’s groundbreaking classic, HALLOWEEN (1978). And with some perfect symmetry, Curtis’ most recent role is once again Laurie Strode in the latest entry in the HALLOWEEN universe, once more titled, curiously enough, HALLOWEEN (2018). Curtis’ career has come full circle. Of course, she still has a whole lot more acting to do.

In HALLOWEEN (1978), Curtis was so memorable as Laurie Strode not because she screamed a lot.  She did not scream her way to fame a la Fay Wray fifty-five years earlier in KING KONG (1933). No, Curtis’ performance was noteworthy because she created in Laurie a vulnerable yet resilient character who faced doubts about dating and boys but was more than up to the task of protecting the children she babysat from masked killer Michael Myers.

The original HALLOWEEN is famous because of John Carpenter’s outstanding direction, along with his now iconic music score. I was 14 when HALLOWEEN came out, and I still remember all the hype and excitement surrounding it.  Sold out showings, and long lines of people waiting to see it, often spilling outside the theater into the parking lot. I also remember Siskel and Ebert’s initial review of the movie, a review in which they both praised Carpenter’s phenomenal direction. I don’t remember how at 14 my friends and I were able to buy tickets to this R rated feature, but somehow we did, as we saw this one at the theater.

I remember the theater erupting in screams during the movie. I also remember Jamie Lee Curtis.  When the movie was done, and I had returned home, I couldn’t get Carpenter’s music out of my head, and I recalled all the scares, and the image of Michael Myers with his now iconic mask, and this actress named Jamie Lee Curtis.  There was something about her that really resonated with me.  The best way I can describe it is I felt as if Laurie Strode was someone I knew in real life. As I’ve watched and re-watched HALLOWEEN over the years, I’ve attributed this feeling I had back in 1978 to a very authentic performance by Curtis.  I felt like I knew her because she acted like a real person.

Here’s a partial look at Curtis’ career, as we examine some of her 74 screen credits:

HALLOWEEN (1978) – Laurie Strode – Curtis’ signature film role was also her film debut.  She had appeared in numerous TV shows before this, including COLUMBO (1977) and CHARLIE’S ANGELS (1978) but this was the first time she appeared on the big screen. And she has never looked back.  Quite the film debut. In addition to the top-notch direction and music score by John Carpenter, and the presence of Donald Pleasence, Jamie Lee Curtis is easily one of the best parts of HALLOWEEN (1978).

THE FOG (1980) – Elizabeth Solley – Curtis stars in John Carpenter’s next horror movie following HALLOWEEN. At the time, Carpenter was a victim of his own success. THE FOG was not well-received by critics in 1980. Siskel and Ebert expressed their disappointment, citing that the film lacked a definitive threat, a la Michael Meyers. However, the movie’s reputation has strengthened over the decades. It’s now considered one of Carpenter’s best films. Not only that, but it’s high on a lot of people’s lists for best horror movies period.  I definitely like this one a lot.  I still prefer HALLOWEEN though. Curtis, for her part, is fine here, but her role is not the lead, and she makes much less of an impact than she did in HALLOWEEN.

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Jamie Lee Curtis in THE FOG (1980)

PROM NIGHT (1980) – Kim – John Carpenter’s HALLOWEEN gave birth to the slasher movie, and suddenly everyone and their grandmother was making horror movies with masked knife-wielding killers terrorizing teenagers. This one’s not directed by Carpenter, but does star Jamie Lee Curtis. It did well on its initial release and has established a reputation as a decent slasher flick, but this one never did anything for me.  For me, not even the presence of Jamie Lee Curtis could save this HALLOWEEN rip-off.

TERROR TRAIN (1980) – Alana – another crazed killer attacking teenagers, this time on a train.

ESCAPE FROM NEW YORK (1981) – Narrator/Computer Voice (uncredited) – An uncredited Curtis provides the voice of the narrator and computer in this exciting futuristic crime thriller by John Carpenter, notable also for Kurt Russell’s memorable performance as Snake Plissken.

HALLOWEEN II (1981) – Laurie Strode – Inferior sequel to HALLOWEEN. Rick Rosenthal takes over the directing duties from John Carpenter, and his vision here is far less impressive.  Curtis is okay, but sadly, spends most of the movie confined to a hospital bed and in and out of a medicated stupor.  While this really is not a good movie, it is actually better than most of the later HALLOWEEN films, some of which are really, really bad.

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With Donald Pleasence in HALLOWEEN II (1981)

HALLOWEEN III: SEASON OF THE WITCH (1983) – Curfew Announcer/Telephone Operator (uncredited) – A disaster upon its initial release, this was part of John Carpenter’s vision to create a HALLOWEEN series featuring different horror stories each year and not necessarily be about Michael Myers, but film audiences wanted Myers and didn’t really accept this movie. That being said, this one has enjoyed a growing reputation over the decades, and there are some (not me) who consider this to be the best of all the HALLOWEEN movies.

TRADING PLACES (1983) – Ophelia – This funny comedy by director John Landis stars Dan Aykroyd and Eddie Murphy. Murphy, who was insanely popular at the time due to his stint on Saturday Night Live, is the main reason to see this one, but Jamie Lee Curtis is also hilarious in her role as prostitute Ophelia. She makes the jump into a non-horror movie quite nicely.

GRANDVIEW U.S.A. (1984) – Michelle “Mike” Cody – Drama in which Curtis co-stars with C. Thomas Howell and Patrick Swayze that asks the question, can the young folks from Grandview U.S.A. pursue their dreams and shed their small town roots? Nothing special.

A FISH CALLED WANDA (1988) – Wanda Gershwitz – co-stars with John Cleese, Kevin Kline, and Michael Palin in this uproarious comedy written by Cleese. Kline won an Oscar for Best Supporting Actor.

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Michael Palin, Jamie Lee Curtis, and Kevin Kline in A FISH CALLED WANDA (1988)

FOREVER YOUNG (1992) – Claire Cooper – co-stars with Mel Gibson who plays a 1939 pilot awoken from a cryogenic sleep in 1992. Written by J.J. Abrams.

TRUE LIES (1994) – Helen Tasker – plays the wife of a spy, played by Arnold Schwarzenegger, in this entertaining action comedy by director James Cameron.

FIERCE CREATURES (1997) – Willa Weston – Reunited with her co-stars from A FISH CALLED WANDA, John Cleese, Kevin Kline, and Michael Palin, this time with lesser results.

HALLOWEEN H20 – TWENTY YEARS LATER (1998) -Laurie Strode- Curtis returns to the HALLOWEEN series after a three film hiatus, and the emphasis returns to Laurie Strode, still dealing with the trauma caused by Michael Myers twenty years earlier. The masked killer of course once more sets his sights on terrorizing Laurie. Some girls have all the fun. This film was well-received when it first came out, but it hasn’t aged all that well. That being said, I still like this one a lot.

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Facing fear in HALLOWEEN H20 (1998)

HALLOWEEN: RESURRECTION (2002)- Laurie Strode – Curtis returns as Laurie Strode for about two seconds before her character is abruptly killed by Michael Myers in the most undramatic and anticlimactic of ways. By far, the absolute worst of all the HALLOWEEN movies.

FREAKY FRIDAY (2003) – Tess Coleman – co-stars with Lindsay Lohan in this remake of the Disney classic.

SCREAM QUEENS (TV Series) (2015-2016) – Dean Cathy Munsch- TV horror/comedy series about a— you got it— a crazed serial killer terrorizing, among other places, a college campus.

HALLOWEEN (2018) – Laurie Strode – Curtis comes full circle, playing Laurie Strode once again, this time in a movie that ignores every other HALLOWEEN movie in the series except the original. Lots of hype and box office success, but ultimately this one was a letdown. Curtis’ scenes and storyline are the best parts, as she is once again still dealing with the trauma from Michael Myer’s original attack, now forty years earlier. Everything else in this film is pretty bad. A major disappointment.

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Taking on Michael Myers yet again in HALLOWEEN (2018)

And that wraps things up for this edition of LEADING LADIES.

Join me again next time when we check out the career of another Leading Lady.

Thanks for reading!

—Michael

 

 

 

ANNABELLE: CREATION (2017) – Prequel to a Prequel Better Than Expected

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ANNABELLE: CREATION (2017) is a prequel to a prequel.  It’s a prequel to a bad movie which was itself a prequel to a good movie.  Huh?  Let’s try that again.

ANNABELLE: CREATION (2017) is a prequel to ANNABELLE (2014), a pretty bad movie, which was itself a prequel to THE CONJURING (2013), which was a pretty good movie. And where does that leave ANNABELLE: CREATION?  Somewhere in between.  It’s better than the awful ANNABELLE but not quite as good as THE CONJURING.

In terms of quality, it reminded me a lot of another prequel to a bad movie, OUIJA: ORIGIN OF EVIL (2016) which was a surprisingly very good prequel to the lowly OUIJA (2014).  Heck, the two movies even share the same star, child actor Lulu Wilson.

ANNABELLE:  CREATION takes place in the 1950s, as a group of girls from a Catholic orphanage and their sponsor Sister Charlotte (Stephanie Sigman) move into a new home, a farmhouse run by a retired doll maker Samuel Mullins (Anthony LaPaglia) and his ailing bedridden wife Esther (Miranda Otto). The Mullins lost their own daughter twelve years earlier and see opening their home as an orphanage for young girls as a way to instill some life back into their world.

The girls are ecstatic to be living in a new and very large home, but Samuel tells them that there is one room in the house that is always locked and that room is off-limits (of course.)  One of the girls, Janice (Talitha Bateman) enters the room anyway (of course, again) and immediately feels a strange presence there. She realizes it is the ghost of the Mullins’ deceased daughter Bee (Samara Lee). Janice also discovers the doll Annabelle hidden away in a closet, and she experiences a sense of dread. When Janice’s best friend Linda (Lulu Wilson) joins her in the room, she too senses evil, and that’s because there’s a demon inside the Annabelle doll that wants people’s souls.  Yikes!

The girls try to warn everyone in the house that there is something evil residing there with them, but by the time they do, it’s too late.

ANNABELLE: CREATION has a lot of good things going for it. The best part about it is that it delivers some pretty good scares and crafts some memorable horror scenes.  Credit director David F. Sandberg for a job well done when it comes to the scare department. Of course, the Annabelle doll is creepy to begin with, but interestingly enough some of the better scare sequences don’t even involve her. There’s a creepy bit involving a scarecrow, a suspenseful scene on a staircase chairlift, and yet another one in a creaky old-fashioned dumb-waiter.

Then there’s the demon. One of the more interesting parts of ANNABELLE: CREATION is that it sheds more light on the background of the Annabelle doll.  It seems that the instigator of all this evil surrounding Annabelle is a demon possessing the doll that wants people’s souls.  We catch glimpses of this demon, and he’s pretty cool looking, which is no surprise since he’s played by Joseph Bishara who’s becoming quite the expert at this sort of thing. Bishara played a demon in both the INSIDIOUS and THE CONJURING movies. He was most memorable in INSIDIOUS (2010) as the Lipstick-Face Demon.

There are lots of cool scares here, and that’s a good thing.  What’s not so good is the pacing.  There are a lot of slow parts in ANNABELLE: CREATION, lots of scenes where characters slowly move about in dark hallways, the kinds of scenes that drive me nuts in horror movies.  These types of scenes don’t build suspense. They put audiences to sleep.

And the film is just begging for a more frenetic pace during its third act.  While the movie’s conclusion isn’t bad at all, it never becomes that go-for-the-throat ending that makes audiences squirm and scream.

Director Sandberg does make full use of the creepy farmhouse interiors.  Most of the film takes place in dark rooms and hallways, and the atmosphere is sufficiently spooky and haunting.  The camera also gets in close, so much so you can almost smell the wood of the old hardwood floors.

Sandberg also directed LIGHTS OUT (2016), an okay horror movie that I wasn’t all that crazy about. I enjoyed ANNABELLE: CREATION more.

The screenplay by Gary Dauberman isn’t bad.  It tells a decent story and does a good job with its characters, who come across as real and likable.  I liked some of the reveals about Annabelle, and I enjoyed the characters, from the girls to Sister Charlotte to Samuel and Esther Mullins.  The dialogue isn’t always fresh, and the story Esther Mullins tells about what happened to her daughter is full of dumb lines and clichés.

Dauberman also wrote ANNABELLE (2014), and the second time seems to have been the charm, as his screenplay here for ANNABELLE: CREATION is much better and tells a far more interesting story than the previous film.  Dauberman also wrote the screenplay to the upcoming adaptation of Stephen King’s IT (2017), due out in September.

Talitha Bateman as Janice and Lulu Wilson as Linda are both excellent.  It was especially fun to watch them go through different levels of emotion.  At first, they’re joyful about their new home, then there’s quiet unease and building fear, and then flat-out visceral horror as the threat becomes real. And once the demon becomes involved, there’s also some icy cold evil, which Bateman does well.

This is already the third horror movie for young Lulu Wilson, as she previously starred in OUIJA: ORIGIN OF EVIL (2014) and DELIVER US FROM EVIL (2014).

The rest of the girls in the film are also very good.

I also enjoyed Stephanie Sigman as Sister Charlotte.  She makes the nun a real person and prevents her from becoming a cliché.  Likewise, Anthony LaPaglia does the same for Samuel Mullins.  At times, LaPaglia plays things a bit too mournful, as he just sort of stares gloomily at the camera, but for the most part he does a nice job bringing Samuel Mullins to life.

Miranda Otto as Esther Mullins is in the film less than LaPaglia, and as a result has less of an impact, and unfortunately towards the end of the film she does get some of the worst dialogue in the movie.

In a small role, Mark Bramhall has some fine moments as Father Massey, the priest who drives them to the Mullins’ farmhouse and who returns later in the movie. He also gets one of the more humorous lines in the film.

The story ends with a solid tie-in to ANNABELLE.  The way screenwriter Gary Dauberman and director David F. Sandberg tie the two movies together is creative and satisfying.

I liked ANNABELLE: CREATION much better than I expected I would.  It’s a decent horror movie that rises above the muck of inferior sequels and prequels, yet it’s not quite as good or at the level of an INSIDIOUS or THE CONJURING, those horror movies that are destined to be remembered for years to come, the ones you want to watch over and over again.

I guess that would be asking too much from a prequel to a prequel.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

THE DISAPPOINTMENTS ROOM (2016) – Quiet Ghost Story Drama Doesn’t Stand Out

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What if you made a stylish horror movie but forgot to make it scary?

You’d have THE DISAPPOINTMENTS ROOM (2016),  a horror movie now available on Netflix Streaming.

Dana Barrow (Kate Beckinsale), her husband David (Mel Raido), and their young son Lucas (Duncan Joiner) move into their new home, an elegant manor in the countryside.  They are looking for a fresh start in life as they recently suffered a devastating tragedy.

Dana is an architect and plans to work on the house, while David, when he’s not off on business trips, spends his days with their son Lucas.  Dana discovers a mysterious room on the top floor of the house, a room that is not in the home’s original plans.  When she starts hearing strange noises in the middle of the night, as well as catching glimpses of people inside the house, she begins to suspect the house is haunted.

She learns that the room on the upper floor of their home is most likely a “disappointments” room, a place where a century before families would hide children they deemed as “disappointments,” children suffering from either physical deformities or mental disorders.

When the spiritual and physical worlds collide, and young Lucas’ life is threatened, Dana takes matters into her own hands to save him.  But her efforts are hindered by her own psychological issues, as she struggles to distinguish between what is real and what is imagined.  Is Lucas really in danger?  Or is it all just in her head?

The biggest knock against THE DISAPPOINTMENTS ROOM is that it is yet another haunted house/ghost story movie.  There have been so many of these movies of late, unless it’s the best I’ve ever seen, a film with this plot has a lot going against it because it’s extremely difficult to keep fresh at this point.  And THE DISAPPOINTMENTS ROOM is not fresh.  What it has to offer in terms of ghost story plot is nothing new, and this definitely works against the movie.

Early on, there were parts of this film that reminded me of the classic chiller THE CHANGELING (1980) starring George C. Scott, but that film benefitted from some genuine scares and a shocking reveal.  THE DISAPPOINTMENTS ROOM has neither.

What it does have are solid acting performances and a steady directorial hand by director D.J. Caruso.

Caruso, who also directed the teen adventure I AM NUMBER FOUR (2011) and the thriller DISTURBIA (2007), sets the mood early on with some creepy scenes, like the strange black dog that keeps showing up outside the home, and the eerie spectral figures which Dana sees.  And the film looks good throughout, even as the story ultimately fails to build to a satisfying climax.

The screenplay by director Caruso and Wentworth Miller [an actor known mostly for his starring role on the TV series PRISON BREAK (2005-2009) and the current mini-series PRISON BREAK: RESURRECTION (2017)] adds the disappointments room to the haunted house plot, and early on this was enough to hold my attention, but as the story evolves, and we learn more about the events which led to the haunting of this house, things become less interesting.

The potential for a nifty psychological thriller is certainly there but it doesn’t quite happen because the film only hints at the darkness inside Dana’s head.  It could be ghosts.  It could be imagined.  It could be a little bit of both.  The film never really makes up its mind, and it’s a weaker vehicle for it.

The film definitely plays like a dark drama rather than a horror movie.  As such, it’s a pretty good example of quiet horror.

But what it fails to do is reach the next level.  The climax of the film is certainly disturbing, but then what follows is a standard “I’ve got to save my son” sequence  which is ultimately a let down, and this is followed by a tepid ending which doesn’t do the movie any favors.

But as I said the acting is solid.  I really enjoyed Kate Beckinsale in the lead as Dana.It was so much more fun to watch her here than in those awful UNDERWORLD movies.  She makes Dana believable, and she seems like a woman with a tortured past who is now thrust into a ghost story conundrum.  That being said, considering what Dana believes she did in the past, her character should have been even more fragile and unhinged than she is here.

There’s a parallel between Beckinsale’s Dana and the father of the child in the disappointments room, Judge Blacker (Gerald McRaney).  But just how alike they are is never satisfactorily explored.  Like so many other things in this movie, it’s only hinted at.

Mel Raido does a nice job as Dana’s level-headed husband, David.  He’s the voice of reason who continually works to keep his wife grounded in reality.

Gerald McRaney doesn’t do much more than look menacing as the ghostly Judge Blacker, but he does it so well.

THE DISAPPOINTMENTS ROOM looks better than a lot of the other recent haunted house/ghost story movies of late, and it doesn’t suffer from the atrocious plot twists that some of those other flicks have, but ultimately it doesn’t really add anything of note to make it stand out.

And while it does provide a rather nasty revelation towards the end, what follows is a by-the-numbers conclusion.

All in all, THE DISAPPOINTMENTS ROOM is a ghost story drama that will hold your interest for a while before it ultimately fizzles, settling gently into its quiet world of stylized mediocrity.

—END—

 

 

 

 

 

 

 

 

RINGS (2017) – A Complete Waste of Time

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Here’s a look at RINGS (2017), another theatrical horror movie release from early 2017. Again, for a year that so far has had some pretty cool horror movies, it didn’t start out that way.

In RINGS, the main character is a young woman Julia (Matilda Lutz) whose boyfriend Holt (Alex Roe) goes off to college where he becomes a participant in an experiment run by his professor Gabriel (Johnny Galecki).  Gabriel has in his possession the infamous videotape from THE RING (2002) and he’s having his students watch the tape to learn more about it. The way Gabriel sees it, as long as his students copy the tape and have someone else watch it, they will be saved.  And so on, and so on. Of course, that’s a lot of “so ons.”

When Julia receives a strange message from Holt’s phone, she decides to investigate.  Soon, she and Holt are searching for clues to learn more about Samara, the mysterious woman in the video, and their search takes them to a small town where they meet an equally mysterioius blind man Burke (Vincent D’Onofrio) who may have the answers they are looking for.

And that’s the story folks.  Sound interesting?  Not  to me either!

I found RINGS incredibly dull and boring, so much so, that it was really difficult to sit through this one.  The biggest offender was the storytelling.  The screenplay by three writers, David Loucka, Jacob Estes, and Akiva Goldsman really struggles to tell a story.  The movie gets off to such a disjointed start it’s laughable.  We’re on a plane at first, there’s an incident, then we’re at some sort of yard sale we meet professor Gabriel, and then we jump to a bedroom with Julia and Holt, and then Holt  goes off to college, and blah blah blah, and eventually after all this meandering we realize that the main character in this one is Julia, but you wouldn’t know it by the way it starts off.

The story itself about the videotape and Samara was a complete snooze.  The most interesting part of the entire story happens in the final few minutes of the movie, and it deals with technology, and what would happen with today’s social media and just how fast videos can be shared today.  Had this been what this movie was about, they may have had something interesting here.

Director F.  Javier Gutierrez goes through the motions here.  No memorable images or scares are to be found.

I did enjoy the peformance by lead actress Matilda Lutz as Julia. She was good here and I was actually interested in her character, even if she was stuck in a dull and predictable storyline.  Lutz is an Italian actress and hopefully we’ll see more of her in future films.

Alex Roe was pretty standard as hunky hero Holt.  He was rather plain and boring.

And while it’s always fun to watch Vincent D’Onofrio, his role here really doesn’t amount to all that much.  I mean, it’s ultimately an important role in terms of plot, but he could play it in his sleep.

Sadly, I’ve reached the point where I dread seeing horror movies at the movies these days.  The majority of these flicks are flat out awful.  RINGS is no exception.  Don’t bother with this one.  It’s a complete waste of time.

—-

Of course, when I wrote this review in February 2017, I hadn’t yet seen GET OUT (2017), A CURE FOR WELLNESS (2017), or THE BELKO EXPERIMENT (2017), three excellent horror movies, so the year definitely got better in terms of horror movie releases.

—END—

 

 

 

 

 

 

THE HORROR JAR: Music By Jerry Goldsmith, PART 2

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Welcome back to THE HORROR JAR, the column where we look at lists pertaining to movies, particularly horror movies.  Today it’s Part 2 of our look at the career of composer Jerry Goldsmith.

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Jerry Goldsmith

In Part 1, we looked at films Goldsmith scored between the years of 1957 and 1983.

On to Part 2!

And again, this is just a partial list of Goldsmith’s 258 movie credits, concentrating mostly on his genre films.  We continue the list now, picking up where we left off, in 1984.

GREMLINS (1984) – No water, no food after midnight, and no bright lights, but plenty of Jerry Goldsmith music in this horror comedy by director Joe Dante.

SUPERGIRL (1984) – Before the TV show, there was this movie, starring the lovely Helen Slater as Supergirl.  Slater actually appears on the new SUPERGIRL television series as Eliza Danvers.  Pretty bad movie, in spite of the presence of Faye Dunaway, Peter O’Toole, and Mia Farrow.

RAMBO:  FIRST BLOOD PART II (1985)- Following up on his work on Sylvester Stallone’s FIRST BLOOD (1982), Goldsmith provides the music again in this bigger and badder sequel.

LEGEND (Director’s Cut) (1985) – Ridley Scott’s fantasy fairy tale about a youth (Tom Cruise) battling a demon (Tim Curry).  Goldsmith’s music appears only in the re-issued director’s cut.  Tangerine Dream provided the electronic music in the theatrical release.

INNERSPACE (1987) – Dennis Quaid gets miniaturized and injected into the body of Martin Short in this action comedy by director Joe Dante, a variation of FANTASTIC VOYAGE (1966).

RAMBO III (1988) – completes the original  Sylvester Stallone Rambo trilogy.

LEVIATHAN (1989) –  Underwater monster adventure starring Peter Weller and Richard Crenna.

WARLOCK (1989) – Horror fantasy starring Julian Sands as a— warlock.

STAR TREK V:  THE FINAL FRONTIER (1989) – Goldsmith’s second trip to the STAR TREK universe, after scoring the first movie in the series, STAR TREK – THE MOTION PICTURE (1979).  This is the one directed by William Shatner and it’s usually on fan’s “worst of” lists when talking about the movie series, but other than some silliness early on, this one isn’t half bad and actually gets better as it goes along.  1989 was another busy year for Goldsmith as he wrote the music scores for four movies this year.

TOTAL RECALL (1990) – Provides the music for this Arnold Schwarnegger vehicle about a man with a virtual identity crisis on Mars.  Directed by Paul Verhoeven.  Based on a short story by Philip K. Dick.

THE VANISHING (1993)- Abduction thriller starring Kiefer Sutherland and Jeff Bridges.  Not as good as the original Dutch/French version of THE VANISHING (1988), the film on which this was based.

THE SHADOW (1994)-  Alec Baldwin is The Shadow.  Meh.

THE RIVER WILD (1994) – Thriller with Meryl Streep protecting her famly from a pair of baddies on a raging river.  Kinda exciting back in the day.

THE GHOST AND THE DARKNESS (1996) – Adventure tale starring Michael Douglas and Val Kilmer about the hunt for two maneating lions.

STAR TREK:  FIRST CONTACT (1996)- Second and best of the STAR TREK NEXT GENERATION movies has Captain Picard (Patrick Stewart) and the rest of his Enterprise crew taking on their arch enemies, The Borg.

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L.A. CONFIDENTIAL (1997) – Classic thriller about police corruption in 1950s Los Angeles.  Starring Kevin Spacey, Russell Crowe, Guy Pearce, and Kim Basinger.

STAR TREK:  INSURRECTION (1998) – Third Next Generation STAR TREK film and by far the quietest of the series.  Picard and company discover a Federation plot against a peaceful planetary people, and that’s not okay with them!  Like watching a mediocre episode of the series. No sense of cinematic urgency at all.

THE MUMMY (1999)- Big budget re-imagining of Universal’s THE MUMMY by writer/director Stephen Sommers.  Starring Brendan Fraser, this one plays like an Indiana Jones flick rather than a horror movie.  Fun, but as a horror film, it’s ultimately disappointing.

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THE HAUNTING (1999)- Dreadful remake of the 1963 film THE HAUNTING, itself based on the Shirley Jackson novel The Haunting of Hill House.  With Liam Neeson, Catherine Zeta-Jones, Owen Wilson, and Bruce Dern.  Pretty awful.

HOLLOW MAN (2000)- Speaking of pretty awful, this re-imagining of THE INVISIBLE MAN starring Kevin Bacon and Elisabeth Shue is as awful as a horror movie can get.  Directed by Paul Verhoeven.

STAR TREK:  NEMESIS (2002) – Final Next Generation STAR TREK film and one of its best, although that’s not saying much since the STAR TREK: THE NEXT GENERATION movies were never as good as the STAR TREK:  THE NEXT GENERATION TV show.  This one features Tom Hardy and Ron Perlman in the cast.

LOONEY TUNES:  BACK IN ACTION (2003) – Goldsmith’s final feature film music score, this goofy movie features Bugs Bunny, Daffy Duck, and friends intermingling with live action actors, including Brendan Fraser, Jenna Elfman, Steve Martin, and Timothy Dalton.

The movies listed here and in Part 1 of this blog post are only a partial listing and do not include all of Goldsmith’s remarkable 258 music score credits.  In addition to these movies, Jerry Goldsmith also wrote the music for many TV shows including THE TWILIGHT ZONE (1959-61), THRILLER (1960-62), THE MAN FROM U.N.C.L.E. (1964-68), POLICE STORY (1973-79), THE WALTONS (1972-81), STAR TREK:  THE NEXT GENERATION (1987-94), and STAR TREK:  VOYAGER (1995-2001), to name just a few.

His was a long and varied career, and if you watch lots of movies, you can’t help but be familiar with his music, as his career spanned five decades.

Jerry Goldsmith passed away on July 21, 2004 at the age of 75 after a battle with cancer.

Jerry Goldsmith, February 10, 1929- July 21, 2004.

Thanks for reading everybody!

—Michael