READY OR NOT (2019) – Relentless Thrill Ride Lots of Fun

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If you like your horror bloody and full of dark humor, you’ll love READY OR NOT (2019), a comedic yet brutal thrill ride about a deadly game of hide and seek.

It’s also a pretty funny take-down of the super rich.

Grace (Samara Weaving) is about to marry Alex Le Domas (Mark O’Brien) and by doing so marry into the ridiculously wealthy Le Domas family and empire. The Le Domas clan made their money in games and sports. Alex warns Grace that his family is weird and that she still has a chance to back out of the wedding, but she says she’s all in as she is in love with him.

Shoulda heeded that warning, Grace!

It turns out that Alex’s family is as strange as advertised, and then some. After the wedding, Alex informs Grace that it’s a family tradition that at midnight they all play a game, and after this experience, then Grace officially becomes part of the family. She doesn’t have to win the game. She simply has to agree to play. Grace loves games and so she sees no problem with this arrangement.

Inside the enormous game room of the Le Domas mansion, the patriarch of the family Tony Le Domas (Henry Czerny) explains the history of their empire, how his great-grandfather took possession of a mysterious box which Tony now holds in his hands, and how he made an arrangement with the box’s previous owner, that if he and his progeny agreed to play a game named in the box, then the stranger would finance the Le Domas business. This arrangement continues to the present day, and is the source of the Le Domas’ money.

However, there is one particular game that the Le Domas family fears playing, and that game is hide and seek, which just happens to be the one that Grace pulls from the box. See, it’s not just a game of hide and seek. In this version, after Grace hides, the family not only has to find her, but they have to kill her. The thinking being that every few years or so to continue their supernatural source of money, they have to provide a sacrifice. Otherwise, they will all die by dawn. As much as they don’t want to play this game, they have no qualms doing so.

However, in this case, things turn out to be not so easy, because once Grace finds out what’s going on, she fights back, and fights back hard.

READY OR NOT may sound like a lurid, ugly thriller, but it’s not. This is not a variation of THE PURGE movies. From the very first murder, when the ultra nervous Emilie (Melanie Scrofano) kills the wrong victim, and one of the family members asks, “Does this count?” it’s clear that this tale is being played for laughs, and it’s a game this movie plays well. The laughs are loud and frequent.

The screenplay by Guy Busick and Ryan Murphy is as sharp as the axe which lops off a person’s head in this movie. The funniest parts are the reactions of the Le Domas family. They’re aloof and impervious to the violence.

And it’s a good thing the story is played for laughs because the reasons behind the hide and seek hunt are rather ridiculous. This one would have struggled to work as a serious thriller.

The cast is solid and is more than up to the task of pulling off the bloody shenanigans. Samara Weaving is perfect as Grace, the hunted wife who refuses to be a victim and fights back, giving the Le Domas clan all they can handle. Weaving was phenomenal in THE BABYSITTER (2017),  a movie in which she played a murderous babysitter. That film was also quite humorous, and in that one she played the hunter rather than the hunted. Her performance in THE BABYSITTER was more memorable than her role here as Grace, but not by much. I like Weaving a lot and hope she continues to land leading roles. She’s exceptional.

The rest of the cast do marvelous jobs as the bizarre Le Domas family, especially Henry Czerny as patriarch Tony Le Domas. Other standouts include Melanie Scrofano as the hyper Emilie, and Elyse Levesque as the cold and deadly Charity Le Domas, who doesn’t mind killing to stay in the family, as she says her past life before she married into the Le Domas clan was far worse.

Mark O’Brien is fine as Grace’s new husband Alex Le Domas. He insists that he’s different from his family and vows to help Grace escape, but family ties run deep. Adam Brody is also very good as Alex’s older brother Daniel, an alcoholic, who is also sympathetic to Grace’s plight. And Nicky Guadagni nearly steals the show with an over the top performance as the tight-lipped evil eyed Aunt Helene.

Also in the cast is Andie MacDowell who plays matriarch Becky Le Domas. Even though MacDowell has been working steadily over the years, it’s been a very long time since I’ve seen her in a movie. Here, she pretty much plays things straight, and her scenes are mostly about trying to reconnect with her son Alex, refuting his claims that Grace has shown him the light, stealing her son’s thunder with the cutting remark that there’s no way a girl he’s known for only a year knows him better than she does. Ouch!

Directors Matt Bettinelli-Olpin and Tyler Gillett keep the action fast and furious. The killings are graphic, bloody, and brutal, the weapons of choice include axes, crossbows, and guns, yet you’re more likely to laugh than shield your eyes and groan, although there is one wince-inducing scene involving Grace’s already mangled hand from a bullet, and a very large nail. Well, in spite of the laughter, this is a horror movie after all.

And the laughs from the audience were loud and frequent. It was clear that everyone in the theater was having a good time.

There are also plenty of swipes at the ultra rich, thematic elements which include the notion that money gives people power to do whatever they want without consequences, and how this is just accepted. Of course, here, as Grace fights back, that’s not how things go down this time.

I really liked READY OR NOT.  While I prefer horror that is more serious than this tale, I can’t deny that I had a lot of fun watching this one.

So strap yourself in and get ready for one relentless thrill ride.

Ready or not!

—END—

 

 

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IN THE SPOOKLIGHT: FREDDY VS. JASON (2003)

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In the interest of full disclosure, I am not a fan of Jason. Nor am I a fan of Freddy.

So, if you absolutely love the NIGHTMARE ON ELM STREET series and/or the FRIDAY THE 13TH series, you’re probably not going to enjoy this review. I know, there’s a generation of fans who swear by these movies, who believe that the FRIDAY THE 13TH movies are the best thing since sliced bodies. Er, bread.

I’m not of that generation.

See, back in the day, when the slasher film was just getting started, I saw John Carpenter’s HALLOWEEN (1978) and loved it, so much so, that even though each successive film in the series was inferior, I enjoyed most of them and they pretty much were all guilty pleasures. So, when it comes to loving films that really aren’t that good, I get it.

Anyway, I also saw the original FRIDAY THE 13TH (1980) and immediately thought it was a pretty inferior rip-off of HALLOWEEN, but being a horror fan, I wasn’t ready to quit on the series. However, after suffering through a couple of more FRIDAY films, I said enough is enough.

Now, I enjoyed the original  A NIGHTMARE ON ELM STREET (1984) very much, and for a while watched and enjoyed the sequels, and I found Freddy Krueger to be a pretty cool character. However, over the years with subsequent viewing, I’ve found that the NIGHTMARE films really haven’t aged all that well.

Which brings us to the subject of today’s In The Spooklight column, FREDDY VS. JASON, that epic battle of titans, a bout to rival FRANKENSTEIN MEETS THE WOLFMAN (1943), KING KONG VS. GODZILLA (1962), and Ali vs. Frazier.

Well, not really.

How about ALIEN VS. PREDATOR (2004) or BATMAN V SUPERMAN (2016)?

Getting warmer.

Needless to say, I didn’t rush out to the theater in 2003 to see FREDDY VS. JASON. And in subsequent years I never had any interest in seeing it.

Until now.

I thought, heck, you’re a horror fan, let’s give these guys a chance.

So, I did.

Did the years of waiting erase my disdain for the FRIDAY THE 13TH series? Was all forgotten when after finishing this one, I found it refreshing and fun?

Nope.

Not even close.

The plot here, if you want to call it that, centers around Freddy (Robert Englund) realizing that in order to restore his power and escape from Hell, where he’s been imprisoned since the last NIGHTMARE movie, he needs dead bodies, and so he resurrects Jason Voorhees (Ken Kirzinger) to kill unsuspecting teenagers for him. For the life of me, I don’t understand why Freddy can’t do this on his own. I mean, he’s Freddy Krueger, for crying out loud!

The bulk of the film involves Jason killing teenagers, in between ridiculously boring conversations between these teenagers as they discuss their fear of Freddy Krueger, who attempts unsuccessfully to enter the world of dreams to murder teens himself. Since his return is a big fail, he retreats, once more allowing Jason to have all the fun. Eventually, Freddy makes it back just in time to realize that there’s not enough room for two leading supernatural maniacs in the same movie, and so they decide to battle each other.

Yawn.

Yeah, I know, there’s more specifics here, and other characters with names in the film, but the problem I have with this movie and others in both series, especially FRIDAY THE 13th, is they make little sense and worse, they’re not in the least realistic. In short, without any of the action seeming believable, it becomes an excuse to kill teens in creative and supposedly humorous ways. Which just bores the hell out of me. No pun intended.

I know there are some folks who like this sort of thing.

I’m not one of them.

All I can say is I’m grateful horror movies have taken another direction in recent years, with compelling believable scripts and talented directors at the helm. People like to bash horror movies, but really, since the mid 2000s, there have been a lot— a lot!— of quality horror movies released both to theaters and to streaming services.

But FREDDY VS. JASON is not one of them.

Was there anything at all that I liked about this film?

Yeah. I liked it when it ended.

With that said, let’s end this column as well.

I know FRIDAY THE 13TH movies have their fans, and I’ve listened to some of these fans in person explain to me why these films are so good, and I respect the opinion of these folks, but for me, well, I respectfully disagree.

—END—

 

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.

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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.  

 

 

 

 

 

 

 

 

 

 

 

 

 

CHILD’S PLAY (2019) – Smart, Funny, and Gory Remake Updates Chucky Story for 2019

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Do we really need a remake of CHILD’S PLAY?

Sure! Why not?

See, I’m not of the mindset that remakes are a bad thing. Did we really need remakes of the Universal monster movies? Yet Hammer Films made some of the best horror movies ever made doing just that. Did we need a remake of THE THING (1951)? Yet John Carpenter made arguably one of the finest horror movies of all time with his remake.

Sure, there are plenty of faulty remakes/reimaginings out there, but I like to keep an open mind and refuse to knock them on principle since a lot of amazingly good films have been remakes.

The original CHILD’S PLAY (1988) was a decent horror flick from the 1980s about a toy doll named Chucky possessed by the soul of a serial killer, and it starred Chris Sarandon as a police detective, following upon the heels of his success as vampire Jerry Dandrige in FRIGHT NIGHT (1985). It spawned a whole series of Chucky films.

So, how does the current reimagining hold up?

Very well.

In fact, the new CHILD’S PLAY (2019) gets off to a strong start within its first few minutes thanks to some sharp writing and spot-on storytelling.

This CHILD’S PLAY opens with a video of the president of Kaslan Industires Henry Kaslan (Tim Matheson) speaking to the camera about how their company cares for children, and he showcases their new Buddi doll, a doll that is more than just a toy. With its interactive technology, it connects to computers, phones, drones, and with its advanced robotics, it pretty much is the next best thing to a human companion/babysitter. And Kaslan stresses its safety factors, as it has safeguards that make it nearly impossible to do anyone harm.

And so you realize right off the bat that this is not going to be a story about a doll possessed by a serial killer, but about a doll with very real technology which today most likely could do all the things it does in the movie. Suddenly, Chucky’s story is based less on fantasy and more on reality. Very cool.

And when a disgruntled employee on his last day on the job removes all the safety protocols from one doll, that plot point makes sense as well.

Thirteen year-old Andy Barclay (Gabriel Bateman) lives with his young mom Karen (Aubrey Plaza) in a modest apartment. Since Andy has been having a hard time with their recent move, Karen decides to get her son an early birthday present. She works at a department store and when a customer returns a defective Buddi doll, she decides to rewrap it and give it to her son, believing it’s not all that defective since the main reason the customer cited for returning it was that it wasn’t the latest model which is due out in days.

When Andy comments that he’s kind of old for Buddi, Karen tells him that it could be a joke gift and that they could just have some fun with it. But the Buddi doll’s friendship program proves to be irresistible, and Andy, a loner, finds himself enjoying the company. When the doll asks Andy what he should name him, Andy says “Han Solo,” which is an in-joke since the doll is being voiced here by Mark Hamill, but the doll ignores Andy and says, “Chucky. My name will be Chucky.” Andy laughs off this unexpected moment of independence and fully embraces his new Chucky companion.

Of course, this is the doll without the safety protocols, and as a result it takes its job as Andy’s friend and protector very seriously. Too seriously. Anyone Chucky views as a threat to Andy ends up dead, and in the most unpleasant of ways.

I really enjoyed this new CHILD’S PLAY for a lot of reasons. For starters, Mark Hamill’s voice work for Chucky is outstanding. He’s creepy, he’s funny, and for a talking doll he’s very real. There’s a reason Hamill in spite of his STAR WARS superstardom is more known for his voice work than his onscreen acting performances. His voice work is very good. No knock against Brad Dourif who voiced the original Chucky, but Hamill made it so I wasn’t pining for the Chucky of yesteryear.

The rest of the cast is strong as well. Gabriel Bateman does a nice job as thirteen year-old Andy, and when he and his friends are on the case trying to stop Chucky, the film channels a STRANGER THINGS vibe.

I really liked Aubrey Plaza as Andy’s young mom Karen. Plaza has a comedic background. She played April on PARKS AND RECREATION (2009-2015). Her comedic timing is on full display here, and she takes things to the next level as she’s more than just a comedian in this movie. She makes for a convincing single mom.

I also enjoyed Brian Tyree Henry as Detective Mike Norris. He also has the light touch, as his Mike Norris is much more humorous than the character Chris Sarandon played in the original. Henry has been in a lot of stuff lately, appearing in HOTEL ARTEMIS (2018), WHITE BOY RICK (2018), WIDOWS (2018), and he provided voice work for the critically acclaimed animated superhero movie SPIDER-MAN: INTO THE SPIDER-VERSE (2018).  His roles in these films have all been different, and his work here in CHILD’S PLAY was much more playful than his roles in the aforementioned films.

CHILD’S PLAY has a smart and funny screenplay by Tyler Burton Smith. It carves out—heh, heh–likable characters, creates a surprisingly realistic threat in the Chucky doll, and tells a believable and often riveting story, even as it keeps things light throughout.

Director Lars Klevberg keeps the pace quick and the movie’s 90 minutes fly by easily. This one is rated R so be prepared for some grotesque horror movie violence in the spirit of the horror films from the 70s and 80s.

Speaking of which, how does this new CHILD’S PLAY stack up as a horror movie? Surprisingly well. First off, I thought it did a good job bringing Chucky into 2019, where our present day technology makes the notion of a murderous doll not that far-fetched since the science for making it happen exists in the real world. So, you have a realistic threat.

The gory murders hearken back to older films of this type and serve as an homage to these movies.

I didn’t really find CHILD’S PLAY scary, but that didn’t take away from my enjoying it. I cared for the characters and didn’t want to see them fall victim to Chucky. I also liked the look of this new Chucky, which had just enough differences to make it stand out from the original doll.

The film’s climactic third act, when Chucky exacts his revenge inside the department store at the unveiling and first sale of the new Buddi dolls, amid the rush of stampeding crazed customers, serves as a nice metaphor for the insanity of current day Black Friday shopping.

So, I’m not sure if we really needed a remake of CHILD’S PLAY, but this 2019 reimagining is a good one. So good in fact that you won’t even have to save your receipt. No refunds or returns are necessary.

—END—

 

 

 

IN THE SPOOKLIGHT: GREEN ROOM (2015)

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When this year’s Oscar winner for Best Picture, GREEN BOOK (2018) was first released, I remember thinking, gee, that title is awfully close to GREEN ROOMI wouldn’t want to be that person who mistakenly chose to watch GREEN ROOM when they meant to watch GREEN BOOK. They’re two very different movies. The person making that mistake would be in for quite a shock.

GREEN ROOM is a violent, visceral thriller that got under my skin and provided me with 95 minutes of horrifically intense entertainment.

GREEN ROOM is the story of a punk rock band whose members agree to accept a gig at a neo-Nazi skinhead bar. Their performance doesn’t go all that well— no, they’re not attacked because they played bad music, but they do run afoul of murder when they walk into the green room and find two people standing over the body of a dead woman, a knife jammed into her head. Before they can react, they are locked in the room and held hostage by bouncers at the bar.

The bar’s owner Darcy (Patrick Stewart) arrives with a plan to make the crime go away, a plan that includes pinning the murder on the visiting band. This doesn’t sit well with the band, who decide to fight back, which is no easy task since they’re surrounded by people with weapons and vicious dogs who enjoy ripping people’s throats out.

What follows is a brutal and  suspenseful tale of the band’s fight for survival against a horde of murderous neo-Nazis led by the level-headed Mr. Darcy.

I really enjoyed GREEN ROOM. I was hooked within the film’s first few minutes. Writer/director Jeremy Saulnier immediately captures the personality and mood of the punk rock band, known as The Ain’t Rights. The opening plays like a rock documentary, and once the band gets to the skinhead bar, things become sketchy first and then downright deadly.

And once that happens, once they discover the body of the murdered girl and get trapped inside the green room, all bets are off. What follows is an intense thrill ride that will give you sweaty palms for the remainder of the film.

GREEN ROOM features the late Anton Yelchin in the lead role as Pat, the band member who takes the lead in their fight for survival. In real life, Yelchin tragically died in a bizarre accident in which his Jeep Grand Cherokee rolled down his steep driveway and pinned him against a wall, killing him, on June 19, 2016. Yelchin was a tremendous talent and had already enjoyed enormous success in his young career, playing Chekov in the rebooted STAR TREK movies starring Chris Pine,  and he played Charley Brewster in the remake of FRIGHT NIGHT (2011) and Kyle Reese in TERMINATOR SALVATION (2009).

Yelchin is excellent here as Pat. At first, he’s not the character you expect to become the leader, especially since early on he almost dies, but his resilient spirit grows as the story goes along.

Imogen Poots is also memorable as Amber, the young woman who’s found standing over the dead girl with the knife in her head. I like Poots a lot. Interestingly enough, she also starred in the remake of FRIGHT NIGHT as Amy.

Also in the cast is Joe Cole, who plays John Shelby on the TV show PEAKY BLINDERS (2013-17). I also enjoyed Macon Blair as Gabe, one of the bouncers who actually develops a conscious as the plot unfolds.

But for my money the best performance in GREEN ROOM belong to Captain Jean-Luc Picard himself, Patrick Stewart as club owner Darcy. Stewart, of course, played the Enterprise captain on STAR TREK: THE NEXT GENERATION (1987-1994) and in the four NEXT GENERATION STAR TREK movies. And, he’s set to reprise the role of Captain Picard in an upcoming Star Trek TV series which is as of yet untitled. Not to mention his portrayal of Professor Charles Xavier in the X-MEN movies, a role he played most recently in LOGAN (2017) with Hugh Jackman.

As Darcy in GREEN ROOM, Stewart is calm and cool, the complete opposite of everyone else in the movie. As such, Stewart makes Darcy a chilling adversary, someone who doesn’t think twice about the deadly decisions he makes. He’s cold, calculating, and ultimately a bad ass.

For me, watching Stewart was the best part of GREEN ROOM.

There are also some truly frightening scenes in this one, from hands being grotesquely mutilated to deathly choke holds, to murder with box cutters, to man-eating dogs. Gulp!

This is one movie you don’t want to watch on a full stomach. Yet, it is much more than just a gore fest. In fact, it’s not very gory at all. Most of the violence occurs in quick fashion in swiftly edited scenes, which only adds to the frenetic pace of the film.

Writer/director Jeremy Saulnier also creates sympathetic characters who you care about and want to see survive, feelings that are heightened by the fact that the chances of their survival are so slim.

GREEN ROOM is a first-rate thriller and horror movie. No, it’s not the one that won Best Picture—that’s GREEN BOOK— but it is the one that will leave you green with revulsion.

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THE PRODIGY (2019) – Passable Horror Movie Not Overly Smart

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the prodigy

THE PRODIGY (2019) is a horror movie that has its moments, times when it delivers some decent thrills and chills, but sadly for horror fans it’s ultimately done in by a script that suffers from a serious case of the stupids.

THE PRODIGY opens in chilling enough fashion as a young girl escapes from a serial killer named Edward Scarka (Paul Fauteux). As the police gun Scarka down, the action switches to proud parents Sarah (Taylor Schilling) and John (Peter Mooney) welcoming their new son into the world, born at the exact moment of Scarka’s death.

It doesn’t take long for Sarah and John to realize that their son is special, a genius, a prodigy, and they enroll him into a special school at a young age. Time passes and the story settles on young Miles (Jackson Robert Scott) at the age of eight. It’s at this time that Sarah and John begin to notice troubling changes in Miles. It starts one night when he’s with his babysitter, and in a creepy game of hide and seek, he leads her barefoot down a set of dark basement stairs, and if you’ve seen A QUIET PLACE (2018) you know you shouldn’t walk barefoot down a set of sketchy stairs. Yup, a similar fate awaits the babysitter here, in a scene that is blatantly derivative from A QUIET PLACE. Of course, Miles blacks out and says he remembers none of what happened.

More weird things ensue, including a grisly end to the family dog. Miles’ doctor recommends that Sarah bring him to see a specialist in reincarnation. Jeesh! A guy who specializes in reincarnation? Who knew!

Anyway, this specialist, Arthur Jacobson (Colm Feore) is convinced that Miles’ body is being invaded by another human soul. He tells Sarah that he intends to hypnotize Miles, speak to this soul, find out what it wants, and then help it, because in past cases, as soon as the human soul got what it came back for, the human host became free. Blah, blah, blah.

Of course, there are some complications here. One, the soul inside Miles belongs to a serial killer. You can bet that whatever it is he wants is not very pleasant. And two, he’s a pretty smart serial killer, and he turns the tables on Mr. Jacobson, making him flee with his tail between his legs, a better fate than he gave the family dog.

Eventually, things get so bad that Sarah and John decide Miles should live in an institution, but John stupidly tells Miles about this decision before they do it, and faster than you can say THE OMEN John is fighting for his life. Finally, Sarah decides to take an extreme measure to help her son, which proves to be the most ridiculous plot point of the entire movie.

In terms of scares, THE PRODIGY isn’t bad. Director Nicholas McCarthy sets up his share of creepy scenes which for the most part work. There were a couple of times where I actually jumped, which doesn’t happen very often, and some scenes score very high on the creep-out meter, like when Miles asks to sleep in the same bed with his mom, and we see his tiny hand clasp her shoulder, and she squirms. You can almost see her skin crawl at his touch. Another plus is we’re not subjected to long drawn out scenes of people walking through dark corridors where nothing happens. The pace is tight throughout.

On the other hand, some of the scenes are derivative of other horror movies, like the aforementioned A QUIET PLACE. The ending also borrows heavily— too heavily— from THE OMEN (1976).

The best thing I can say about the screenplay by Jeff Buhler is that I liked the fact that this wasn’t a demonic possession story but a human possession story, which was a fresh take. It wasn’t any more believable, but it was different. I can’t say I bought into the whole reincarnation angle, though, and the script didn’t really offer any answers other than to say that’s what happened. We never learn how Scarka’s soul enters Miles’ body. It just does.

The worst thing about the screenplay is that sadly for a movie that has some good scares it’s not all that smart. Let’s start with the parents. Now, there’s a scene midway through where John and Sarah are on their date night, drinking beer in their car, which is a stupid thing to do, but that’s not what I’m talking about. In this scene, they reminisce about the days before they were parents when they were young and had fun.  They seem like real people here. I can’t say the same holds true later on.

Their reactions to their son Miles seem a bit off throughout. Sarah’s behavior is oftentimes inconsistent. At times, she’s worried about her son, even afraid of him, but at others she’s fiercely protective of him, almost in denial of his issues. You expect her at some point to just up and realize her son is dangerous. It takes her far too long to make this realization.

John could have been a really interesting character. He had an abusive father, and once Miles learns this, he uses the information to get inside John’s head, trying to goad John into hurting him in order to use his actions against him. The few times this issue comes up are very interesting, but the screenplay doesn’t take full advantage.

This story would have been so much better had it worked harder at being realistic. I wanted to see John and Sarah take Miles to see as many experts as possible. I wanted to see the school’s reaction to Miles attacking another student. I wanted somebody to call the police!

The ending also didn’t really work for me. First, Sarah makes an extreme decision to save her son, which just didn’t ring true, and then the film goes right into OMEN territory for its finale, which was far too predictable.

Jeff Buhler also wrote the screenplay to THE MIDNIGHT MEAT TRAIN (2008), in which he adapted a Clive Barker short story. That movie, which starred Bradley Cooper, was a much more ambitious one than THE PRODIGY.

Taylor Schilling, from Netflix’ ORANGE IS THE NEW BLACK (2013-2019) is decent enough as Sarah, although she’s playing a character who I ultimately didn’t like all that much. Likewise, Peter Mooney is fine as daddy John.

Jackson Robert Scott gives his fellow cast plenty of evil eye stares as the possessed Miles, but compared to other evil children in the movies he’s rather tame. Colm Feore is adequate as the ineffective reincarnation specialist Arthur Jacobson, and while Paul Fauteux looks plenty scary as serial killer Edward Scarka, he doesn’t really do much of anything.

THE PRODIGY is a passable horror movie. It provides a few scares here and there, tells a somewhat interesting story, but presents characters who don’t always seem that real and who make decisions that really can’t be described as anything other than stupid.

Not exactly prodigy material.

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HALLOWEEN (2018) – Jamie Lee Curtis Returns With a Vengeance, But Rest of Horror Flick Pretty Bad

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HALLOWEEN (2018)

The Jamie Lee Curtis story arc in HALLOWEEN (2018) is so good it almost saves the rest of the movie which sadly is rather— well, there’s no other way to say it, awful.

HALLOWEEN (2018) is the latest chapter in the Michael Myers saga, and before this film was released, I found myself shaking my head at the title. This is the eleventh film in the series and the third to be called HALLOWEEN. Granted, the second film entitled HALLOWEEN (2007) was Rob Zombie’s flawed reimagining of the original, but still, to call this movie HALLOWEEN seemed rather lazy.

However, when I saw the film’s trailer, which I really enjoyed, I decided to reserve judgement on the title because what I saw in the trailer looked so good.

HALLOWEEN (2018) completely ignores events in any of the sequels and re-imaginings and exists in a universe where only events from the original HALLOWEEN (1978) have occurred.

And so it has been forty years since Laurie Strode (Jamie Lee Curtis) survived the brutal attack by masked killer Michael Myers on Halloween night, a night that saw three of her high school friends murdered. She has spent her remaining years dealing with the trauma, preparing for Myers’ eventual escape from the mental hospital, as she says here in the movie, so she can kill him.

And of course, Myers does escape and does return to Haddonfield, Illinois, to kill more teenagers on Halloween night, and to go after Laurie Strode once more, who after forty years of preparation, is more than up to the task of taking on the masked madman.

The best part of HALLOWEEN is the Laurie Strode story arc, and in fact it’s the only part of this sequel that’s worth watching. Her story is first-rate, as is Jamie Lee Curtis’ performance. It’s a shame the writers couldn’t come up with equally impressive stories for both Michael Myers and any of the other new characters.

But back to Laurie Strode. She’s agorophobic and lives in a secluded fortified compound. She’s estranged from her adult daughter Karen (Judy Greer), but she has a better relationship with her granddaughter Allyson (Andi Matichak), who’s now in high school and along with her friends are the new natural targets for Michael Myers. But even Allyson implores her grandmother to “get over it” and get on with her life.

But Laurie is wise not to, as Michael Myers returns to start another murder spree. The story told from Laurie’s perspective is completely believable, and her scenes where she takes on Myers are the best in the movie.

Jamie Lee Curtis is excellent here, and she pretty much alone saves this movie from being horrible.  She does this because the rest of the movie is pretty bad, and with Curtis’ effective performance and watchable storyline, things balance out.

So, why is the rest of the film so awful?

Let’s start with the Michael Myers character. If only the writers had spent as much care crafting Myers’ story as they did Laurie’s. His story here makes little sense. One of the biggest problems is the constant need by several characters in this movie to know more about Michael, in effect teasing the audience with their questions, and then the film gives us absolutely nothing for answers.

In John Carpenter’s original classic, we knew nothing about Michael Myers other than he was, as Donald Pleasence’s Dr. Sam Loomis constantly reminded us, “pure evil.” Myers was somehow for whatever reason the embodiment of evil. Not knowing more about him worked here because frankly it didn’t matter.

In the sequels, we learned all sorts of laughable reasons for his existence, from he was Laurie Strode’s brother to he was controlled by an evil cult going back to the time of the Druids. None of these plot points did the series or the character any favors. In short, there has never been a decent explanation for who Michael Myers was or what he did other than he was “death on two legs.”  And in Carpenter’s original movie this worked just fine.

Actually, the best explanation may have come in Rob Zombie’s 2007 reimagining, which revealed Michael’s traumatic childhood. What that flawed film failed to do however was connect the dots from bullied child to supernatural killer.

The problem with Myers in this new HALLOWEEN is that everyone and his grandmother keeps asking “what’s Michael Myers’ secret?” “What’s it like to be Michael Myers?” “Why won’t he talk?” And for answers, the film gives us nothing. If you’re going to give the audience nothing, don’t ask the questions!

That being said, I did enjoy how Michael Myers walked in this one, as he had a little more skip in his step—even at his advanced age!— than he did in the older films, where he would have lost a race to Kharis the Mummy!

The other huge problem with HALLOWEEN is the supporting characters are all for the most part, dreadful. It’s as if the writers spent all their time writing Laurie Strode and had nothing left in the tank for anyone else.

Judy Greer, a fine actress, who I’ve enjoyed in such films as CARRIE (2013), the recent PLANET OF THE APES movies and the ANT-MAN films, is wasted here in a whiny role as Laurie’s adult daughter Karen who criticizes her mom for obsessing over Michael Myers but herself can’t stop obsessing about her own childhood or lack thereof.

Newcomer Andi Matichak is okay as Laurie’s granddaughter Allyson, but it’s not really her story, and even though at times it seems as if she’s going to become a central character, she never really does.

I like Will Patton a lot and pretty much enjoy everything he does, and his performance here as Officer Hawkins is no exception.  Patton is very good as an officer facing his own demons, as we learn that he was one of the officers at the scene of the original 1978 Michael Myers murders.

But the writers botch this character as well, as he simply is not in this story enough to make an impact.

All of the teen characters are negligible and forgettable.

But the absolute worst character is Dr. Sartain (Haluk Bilginer) who is Myers’ current doctor and who calls himself a protegé of the deceased Dr. Loomis. Sartain’s motivations make no sense at all, and the plot twist involving his character is one of the most ridiculous plot points in the entire series. It’s awful.

The only other character who fares well is young Jibrail Nantambu who plays 10 year-old Julian who’s being babysat by Allyson’s friend Vicky (Virginia Gardner). Nantambu is only in a couple of scenes, but he steals them all, and is the only other lively part of this film other than Jamie Lee Curtis.  That being said, Virginia Gardner’s best scenes are the ones she shares with Nantambu.

Director David Gordon Green and Danny McBride wrote the deeply flawed screenplay. They get Jamie Lee Curtis’ Laurie Strode right, but that’s all they get right. The other characters and the rest of the story is a mess.

The same can be said for Green’s direction.  Truth be told, I did enjoy all the scenes where he pays homage to the original HALLOWEEN. For example, the scene where Allyson sits in her high school class listening to a teacher— played by P.J. Soles, who played Laurie’s friend Lynda in the original—  drone on about fate is exactly like a similar scene in the original where Laurie sits in class listening to a similar lecture. Laurie looks out the window and see Michael Myers. Here, Allyson looks out the window and sees her grandmother.

Laurie falls from a balcony the same way Myers does at the end of the original, and likewise, just as Donald Pleasence’ Dr. Loomis looks down to see that Myers has disappeared, here, Myers looks down to see that Laurie has disappeared.

These scenes work well, However, the gas station scene which is supposed to pay homage to a similar scene from HALLOWEEN 4 – THE RETURN OF MICHAEL MYERS (1988) simply comes off as too derivative.

And what’s with Myer’s obsession with wearing a garage mechanic’s uniform? He wore similar garb in the original because he happened to kill a random man for his clothes, but in the sequels he seemingly has to find a way to wear the same kind of clothes all the time. Rather silly when you think about it.

The film tries to make a big deal about Myer’s mask. Everyone in the movie wants to know: What is it about this particular mask that sets off Michael Myers? Again, the film offer no answers.

Green also doesn’t give the film any decent pacing or true scares. It simply plays like your standard— and oftentimes bad— slasher horror film, complete with characters making bone-headed decisions.

John Carpenter’s original HALLOWEEN was ripe with suspense, including a final twenty minutes which was sweat-inducing. There’s no such suspense here.

Speaking of John Carpenter, he’s credited once more with scoring the music, and that is certainly a plus. His HALLOWEEN theme has never sounded better.

HALLOWEEN (2018) is a mixed bag of trick or treats. I loved the Laurie Strode storyline and Jamie Lee Curtis’ performance, but the rest of the film isn’t any better than HALLOWEEN’s worst sequels.

Somewhere druids are celebrating.

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