In Haunt, a group of college kids looking for some late night Halloween fun stumble across an extreme haunted house and decide to venture inside. Not long after they enter, they discover that this attraction might be more than it appears. The actors inside and those running the haunt might have sinister intentions, or it might all just be part of the experience. Either way, our gang will have to band together and find a way out.
Haunt is directed and written by Scott Beck and Bryan Woods, who previously wrote the screenplay for A Quiet Place.The script here is fine, though there are some bad lines within the first 10 minutes that had me worried. Luckily, once our protagonists enter the haunt, things start to get interesting and fun (We enter the haunt around 16 minutes into the film). Scott Beck and Bryan Woods do a surprisingly good job at directing Haunt. The film is tense and suspenseful when it needs to be, and it's always entertaining and a joy to watch.
Our leads include Katie Stevens as Harper (our main lead), Will Brittain as Nathan (The handsome jock with a heart of gold), Lauren McClaine as Bailey (Harper's roommate), Shazi Raja as Angela (a friend of Harper and Bailey), Schuyler Helford as Mallory (another friend who has a fear of spiders), and Andrew Caldwell as Evan (a douche-bro friend of Nathan). All of our leads are likable and well cast, with the best of the bunch being Harper and Nathan. Harper in particular gets some nice character development and backstory (she is dealing with childhood trauma as well as a toxic boyfriend).A film like this doesn't necessarily need good or likable characters, so the fact that we get any is a nice bonus.
As for supporting characters, Samuel Hunt plays Harper's abusive, alcoholic boyfriend. Haunt plays up his character a bit like he might be important later on, but ultimately his role is pretty minor. Justin Marxen and Damian Maffei play Clown and Devil, respectively. They are both intimidating and freaky. Chaney Morrow makes an impression as Mitch, one of the actors inside the haunt. He seems genuinely concerned when he sees things have gone south and offers to help our leads, but are his intentions sincere? He is easily the most memorable character/actor out of the supporting players.
Haunt was clearly shot on a low-ish budget, but the film makes that work to its advantage. The titular haunt is very well designed and feels like a real homemade haunted house. The traps and rooms inside are creative and fun, and the whole haunted house looks very cool. The violent/bloody scenes are very grody, fucked up, brutal, and entertaining. Haunt is a film that isn't afraid to to put our heroes through the wringer. No one escapes unscathed. The design of the actors inside the haunt are very impressive and creepy as well (Wait till the masks come off). It's also nice that Haunt keeps us guessing as to the truth of the haunted house until around the 50 minutes mark.
Our protagonists and antagonists all do fine acting jobs. Most of the characters are a bit one-dimensional, but the actors all effectively breathe life into them. The first 10 minutes and the final 2 minutes aren't great (despite a killer final line), but Haunt still has plenty of great maimings/injuries (and maybe much worse), some cool villain designs, and one memorable location that the film makes full advantage of. This is easily the best haunted house/haunted event flick I've seen. In the end, Haunt easily emerges as a new Halloween time classic.
4 STARS
Friday, May 29, 2020
Sunday, May 17, 2020
THIS IS WHAT YOU WANT, THIS IS WHAT YOU GET WITH HARDWARE
"No flesh shall be spared"- Mark 13
Richard Stanley writes and directs Hardware, and it was his first ever film. What a way to start your career...with a literal blast!
In Hardware, we follow a marine named Moe (Dylan McDermott) who is currently on leave. He meets up with his spaced out best friend Shades (John Lynch), and while wandering the wasteland he winds up purchasing a bunch of scrap from a scavenger (Nomad, played by Carl McCoy, who looks remarkably like Richard Stanley himself) as a gift for his girlfriend, Jill (Stacey Travis). She is an aspiring artist and he figures she can use the scrap in one of her upcoming sculptures/art pieces. What Moe has no way of knowing is that the seemingly harmless scrap is actually the damaged (but not dead) parts of a dangerous military android named the M.A.R.K 13. When Moe drops the scrap off at Jill's place, the M.A.R.K 13 awakens and pieces itself back together, going on a crazed, murderous rampage through her apartment. Moe, Jill, and Shades will have to team up if they want to survive the night.
Hardware takes place in a bleak, dark, post-apocalyptic world that seems to have been ravaged by nuclear war, among other things. There is a bill being passed around that, if approved, would force some of the population to be sterilized. The populace are so depressed that joints have been legalized (named Major Good Vibes) and are readily available via nifty cigarette-esque packages (Jill can be seen perpetually puffing on the legalized joints throughout the film). As if all this wasn't bad enough, there's a DJ named Angry Bob (voiced to perfection by a crazed, screaming Iggy Pop) who reports on the news of the day while reminding citizens just how much their lives suck (In one memorable instance, he screams "And for the good news-There is no fucking good news!" and in another he screams "kill, kill, kill!"). Yes, life for those stuck living in this nightmare is depressing, dreary, and hopeless and Hardware spends around the first 18 minutes of the film exploring this world before effectively trapping us in Jill's apartment.
Our heroes are all pretty likable. Dylan McDermott is a bad-ass as Moe, the religious, anti-drug marine with a heart-of-gold. He has a history of being fairly flaky when it comes to Jill, but he does genuinely care about her. His experiences during the film lead him to re-think his attitude, and maybe even finally decide to commit to Jill more. John Lynch as Shades is a pure joy as the faithful and loyal best friend to both Jill and Moe. He tries to be of use when stuff hits the fan, but his zonked-out mental state (he is a pretty big fan of LSD, or this world's equivalent of it) prevents him of being any real help except for in one memorable instance. Stacey Travis is sweet and strong as Jill, a woman who is well aware of the harsh realities of the world she is trapped in. She is never helpless or weak, has some string values, and can kick some major ass when she needs to. She's definitely a survivor at heart. Together, Moe, Jill, and Shades make for a compelling trio that are fun to follow around and are easy to root for.
As for the supporting characters, character actor William Hootkins (who had small roles in Star Wars: A New Hope, Flash Gordon, Raiders of The Lost Ark. Batman, Dust Devil, and The Island of Dr. Moreau) excels at playing Lincoln, the creepy, gross, pervert next door.Lincoln enjoys spending his spare time peeping on Jill, taking unsolicited pics of her from his apartment window, and sending her lecherous and disturbing messages. In his most memorable moment, he performs a short song for Jill when he stops by to assist. Mark Northover (likely most well known for his role as Burglekutt in Willow) also gets a small but memorable role as a dwarf mechanic, who is a friend to Moe and is the first to realize the danger the M.A.R.K 13 poses.
Hardware was shot for $1.5 million dollars. This is likely why the majority of the film takes place in one location (Jill's apartment), and also why we never really get a full look at The M.A.R.K 13. The M.A.R.K 13 functions much the same way as Jaws or The Terminator does. Like The Terminator, it's an unstoppable killing machine that is capable of taking many nasty hits but keeps on going. It has one purpose, and one purpose only: Spare no flesh. Kill any and every living thing that it comes across. It will not stop until it has succeeded in its goal.
Like Jaws, we only see portions of The M.A.R.K 13 at a time (once again, likely due to the low budget). This works to the films advantage as our imaginations are left to create the full image of this android for ourselves (and often, the audiences imaginations create something far more horrific than anything filmmakers could ever put on screen). The M.A.R.K 13 is indeed incredibly terrifying and brutal, and the numerous ways it can kill a person are impressive and scary: It has chainsaws, a rape-y phallic-esque drill, and syringes that resemble spider-fangs that inject it's victims with a powerful hallucinogen, so that they are tripping balls and enjoy the act of being torn to pieces. Truly horrific, nightmarish stuff.
As previously stated, Richard Stanley writes and directs Hardware. Him and cinematographer Steven Chivers bring a gorgeous, hallucinogenic vibe to the proceedings. There are multiple sequences that resemble a drug trip...some are beautiful and acid-like, and others are enjoyably nightmarish. In short, this film gives you good trips and bad trips...both enjoyable. Stanley and Chivers also make effective use of Jill's apartment. In their hands, it feels cramped, claustrophobic, and inescapable, which only adds to the horror of the film. While we spend the last two acts in Jill's apartment, the setting never feels stale. We also have a firm grasp on the way the post-apocalyptic world outside Jill's apartment functions despite spending little time there.
The soundtrack is quite killer as well (no pun intended), featuring songs from Iggy Pop, Ministry, and Motorhead (Lemmy even makes a brief cameo). By far, the most memorable tune is Hardware's theme song: Order of Death by Public Image Ltd. . I can guarantee that it will stay lodged in your noggin for months, if not years, afterwards.
Richard Stanley disappeared from the film world after being sabotaged by Val Kilmer and New Line Cinema during his work as director on The Island of Dr. Moreau (There's a whole documentary about the debacle entitled Lost Souls: The Doomed Journey of Richard Stanley's The Island of Dr. Moreau. I suggest you check it out, as the specifics are almost too crazy to believe). This was a shame as Stanley showed real potential. Luckily, he's since returned to film with The Color Out of Space, a Lovecraft adaptation . The film making world is lucky to have an auteur such as Richard Stanley back working in it. Let's hope his long gestating Hardware sequel is next!
Most novice filmmakers could only dream of having a first effort as impressive, visually dazzling, and uncompromising as Hardware is. It's a treat for the eyes, the ears, and the mind (What's more terrifying? The horror inside the apartment, or the horrors that wait outside?). In the end, Hardware is an incredibly memorable, fun, intense, and insane ride that is absolutely worth a view (or several). Say it with me! This is what you want, this is what you get!
5 STARS
Richard Stanley writes and directs Hardware, and it was his first ever film. What a way to start your career...with a literal blast!
In Hardware, we follow a marine named Moe (Dylan McDermott) who is currently on leave. He meets up with his spaced out best friend Shades (John Lynch), and while wandering the wasteland he winds up purchasing a bunch of scrap from a scavenger (Nomad, played by Carl McCoy, who looks remarkably like Richard Stanley himself) as a gift for his girlfriend, Jill (Stacey Travis). She is an aspiring artist and he figures she can use the scrap in one of her upcoming sculptures/art pieces. What Moe has no way of knowing is that the seemingly harmless scrap is actually the damaged (but not dead) parts of a dangerous military android named the M.A.R.K 13. When Moe drops the scrap off at Jill's place, the M.A.R.K 13 awakens and pieces itself back together, going on a crazed, murderous rampage through her apartment. Moe, Jill, and Shades will have to team up if they want to survive the night.
Hardware takes place in a bleak, dark, post-apocalyptic world that seems to have been ravaged by nuclear war, among other things. There is a bill being passed around that, if approved, would force some of the population to be sterilized. The populace are so depressed that joints have been legalized (named Major Good Vibes) and are readily available via nifty cigarette-esque packages (Jill can be seen perpetually puffing on the legalized joints throughout the film). As if all this wasn't bad enough, there's a DJ named Angry Bob (voiced to perfection by a crazed, screaming Iggy Pop) who reports on the news of the day while reminding citizens just how much their lives suck (In one memorable instance, he screams "And for the good news-There is no fucking good news!" and in another he screams "kill, kill, kill!"). Yes, life for those stuck living in this nightmare is depressing, dreary, and hopeless and Hardware spends around the first 18 minutes of the film exploring this world before effectively trapping us in Jill's apartment.
Our heroes are all pretty likable. Dylan McDermott is a bad-ass as Moe, the religious, anti-drug marine with a heart-of-gold. He has a history of being fairly flaky when it comes to Jill, but he does genuinely care about her. His experiences during the film lead him to re-think his attitude, and maybe even finally decide to commit to Jill more. John Lynch as Shades is a pure joy as the faithful and loyal best friend to both Jill and Moe. He tries to be of use when stuff hits the fan, but his zonked-out mental state (he is a pretty big fan of LSD, or this world's equivalent of it) prevents him of being any real help except for in one memorable instance. Stacey Travis is sweet and strong as Jill, a woman who is well aware of the harsh realities of the world she is trapped in. She is never helpless or weak, has some string values, and can kick some major ass when she needs to. She's definitely a survivor at heart. Together, Moe, Jill, and Shades make for a compelling trio that are fun to follow around and are easy to root for.
As for the supporting characters, character actor William Hootkins (who had small roles in Star Wars: A New Hope, Flash Gordon, Raiders of The Lost Ark. Batman, Dust Devil, and The Island of Dr. Moreau) excels at playing Lincoln, the creepy, gross, pervert next door.Lincoln enjoys spending his spare time peeping on Jill, taking unsolicited pics of her from his apartment window, and sending her lecherous and disturbing messages. In his most memorable moment, he performs a short song for Jill when he stops by to assist. Mark Northover (likely most well known for his role as Burglekutt in Willow) also gets a small but memorable role as a dwarf mechanic, who is a friend to Moe and is the first to realize the danger the M.A.R.K 13 poses.
Hardware was shot for $1.5 million dollars. This is likely why the majority of the film takes place in one location (Jill's apartment), and also why we never really get a full look at The M.A.R.K 13. The M.A.R.K 13 functions much the same way as Jaws or The Terminator does. Like The Terminator, it's an unstoppable killing machine that is capable of taking many nasty hits but keeps on going. It has one purpose, and one purpose only: Spare no flesh. Kill any and every living thing that it comes across. It will not stop until it has succeeded in its goal.
Like Jaws, we only see portions of The M.A.R.K 13 at a time (once again, likely due to the low budget). This works to the films advantage as our imaginations are left to create the full image of this android for ourselves (and often, the audiences imaginations create something far more horrific than anything filmmakers could ever put on screen). The M.A.R.K 13 is indeed incredibly terrifying and brutal, and the numerous ways it can kill a person are impressive and scary: It has chainsaws, a rape-y phallic-esque drill, and syringes that resemble spider-fangs that inject it's victims with a powerful hallucinogen, so that they are tripping balls and enjoy the act of being torn to pieces. Truly horrific, nightmarish stuff.
As previously stated, Richard Stanley writes and directs Hardware. Him and cinematographer Steven Chivers bring a gorgeous, hallucinogenic vibe to the proceedings. There are multiple sequences that resemble a drug trip...some are beautiful and acid-like, and others are enjoyably nightmarish. In short, this film gives you good trips and bad trips...both enjoyable. Stanley and Chivers also make effective use of Jill's apartment. In their hands, it feels cramped, claustrophobic, and inescapable, which only adds to the horror of the film. While we spend the last two acts in Jill's apartment, the setting never feels stale. We also have a firm grasp on the way the post-apocalyptic world outside Jill's apartment functions despite spending little time there.
The soundtrack is quite killer as well (no pun intended), featuring songs from Iggy Pop, Ministry, and Motorhead (Lemmy even makes a brief cameo). By far, the most memorable tune is Hardware's theme song: Order of Death by Public Image Ltd. . I can guarantee that it will stay lodged in your noggin for months, if not years, afterwards.
Richard Stanley disappeared from the film world after being sabotaged by Val Kilmer and New Line Cinema during his work as director on The Island of Dr. Moreau (There's a whole documentary about the debacle entitled Lost Souls: The Doomed Journey of Richard Stanley's The Island of Dr. Moreau. I suggest you check it out, as the specifics are almost too crazy to believe). This was a shame as Stanley showed real potential. Luckily, he's since returned to film with The Color Out of Space, a Lovecraft adaptation . The film making world is lucky to have an auteur such as Richard Stanley back working in it. Let's hope his long gestating Hardware sequel is next!
Most novice filmmakers could only dream of having a first effort as impressive, visually dazzling, and uncompromising as Hardware is. It's a treat for the eyes, the ears, and the mind (What's more terrifying? The horror inside the apartment, or the horrors that wait outside?). In the end, Hardware is an incredibly memorable, fun, intense, and insane ride that is absolutely worth a view (or several). Say it with me! This is what you want, this is what you get!
5 STARS
SMALLS GETS BRAIN DAMAGE...AND ENJOYS IT!
In Brain Damage, everyday normal guy Brian (Rick Herbst) wakes up to find a brain eating parasite named Aylmer (voiced by famed late night horror host John Zacherle) attached to his body. In return for hosting him, Aylmer doses Brian with a powerful, orgasmic hallucinogen whenever Brian needs it. Brian quickly becomes addicted to the powerful drug, and soon finds himself complicit in Aylmer's carnivorous exploits.
I have to give Brain Damage credit, it's not just schlock. There is more to it than that. The whole film acts as a metaphor for drug addiction (Brian goes from blissful ignorance, to horror when he realizes what Aylmer has been up to, to eventual bargaining when he realizes he isn't strong enough to resist Aylmer's "drug juice"). It's nice to see schlock that is attempting to be something more.
Rick Herbst as Brian is basically a blank-slate, but is still pretty likable despite doing some horrendous things throughout the film. We don't really learn a whole lot about Brian, the film starting out with Aylmer just having attached himself to him. It would have been nice to get some character development, but it's not exactly needed for a film like this.
The effects throughout range from decent to just plain bad (I'm looking at you train scene). The kills for the most part are fine (with the best being the blowjob kill), but the multiple hallucinogenic scenes aren't impressive, creative, or all that well done (The only half-way decent one is the very first "trip" Brian goes on). Brain Damage also isn't super well made. Frank Henenlotter doesn't seem to know how to effectively transition between scenes as the film is filled with fades and cuts to black (I would suggest taking a shot whenever one of these occur, but I don't want anyone to die of alcohol poisoning). There is also a lack of any real resolution for Brian (though his final scene is cool).
When all is said and done, Brain Damage is a highly entertaining schlocky film that gives you plenty of blood, gore, and fun while also telling a (not too subtle) message about drug addiction. It's a definite recommendation.
3.5 STARS
I have to give Brain Damage credit, it's not just schlock. There is more to it than that. The whole film acts as a metaphor for drug addiction (Brian goes from blissful ignorance, to horror when he realizes what Aylmer has been up to, to eventual bargaining when he realizes he isn't strong enough to resist Aylmer's "drug juice"). It's nice to see schlock that is attempting to be something more.
Rick Herbst as Brian is basically a blank-slate, but is still pretty likable despite doing some horrendous things throughout the film. We don't really learn a whole lot about Brian, the film starting out with Aylmer just having attached himself to him. It would have been nice to get some character development, but it's not exactly needed for a film like this.
The effects throughout range from decent to just plain bad (I'm looking at you train scene). The kills for the most part are fine (with the best being the blowjob kill), but the multiple hallucinogenic scenes aren't impressive, creative, or all that well done (The only half-way decent one is the very first "trip" Brian goes on). Brain Damage also isn't super well made. Frank Henenlotter doesn't seem to know how to effectively transition between scenes as the film is filled with fades and cuts to black (I would suggest taking a shot whenever one of these occur, but I don't want anyone to die of alcohol poisoning). There is also a lack of any real resolution for Brian (though his final scene is cool).
When all is said and done, Brain Damage is a highly entertaining schlocky film that gives you plenty of blood, gore, and fun while also telling a (not too subtle) message about drug addiction. It's a definite recommendation.
3.5 STARS
Sunday, May 10, 2020
THE LODGE
I first saw this film way back in February. With the film officially now available to buy and rent, I figured it's high time I sung it's praises!
Don't you love it when a film commits?
In The Lodge, we follow Aiden (Jaeden Martell), Mia (Lia McHugh), and Grace (Riley Keough). Aiden and Mia are upset over their father (Richard Armitage) dumping their mother (Alicia Silverstone) for the subject of his new book on cults, Grace (who herself is the sole survivor of a doomsday suicide cult her father was the leader of). A few months after a family tragedy, Aiden and Mia are holed up with Grace in their families vacation lodge (in the dead of winter) by their father. He does so in the hope that the three might finally be able to bond, though his timing is terrible. When he leaves on business, Aiden, Mia and Grace find themselves snowed in and it isn't long before tensions rise.
The Lodge is fully committed to being an ultra-dark psychological horror film. It enjoys screwing with audience's minds and succeeds in getting viewers to question the reality of what they are seeing. The film switches perspectives throughout, and this helps to keep movie-goers on their toes. Our three leads are fantastic. Jaeden Martell and Lia McHugh are great at playing somewhat sympathetic brats (with Martell being the brattier of the two). McHugh completely owns a heart-breaking scene where she breaks down in sobs. Armitage is also great as the ethically-challenged father who has good intentions at his heart, but is still heavily flawed.
It's Riley Keough as Grace who steals the show though. She convincingly portrays a woman who is doing her best to deal with severe psychological trauma while also trying to befriend her potential step-children who have made it abundantly clear they hate her guts. Grace has a lot on her plate, and when she misplaces her meds and things at the lodge turn dark, she starts a terrifying downward spiral. You can't help but feel for Grace as she only ever wants to do good, but finds herself placed in increasingly challenging situations.
The Lodge is an expertly directed and written by Severin Fiala and Veronika Franz (with Sergio Casci assisting with the script). Fiala and Franz are no stranger to dark films surrounding kids, as they previously directed Goodnight Mommy. The Lodge is definitely a step up for the two. The score by Danny Bensi and Saunder Jurriaans is haunting and gorgeous, relying at times on transcendent yet terrifying church organ music. The cinematography by Thimios Bakatakis is stark and impressive.
The Lodge is a film that effectively tackles themes of grief, familial tensions, and mental illness. It's dark, bleak, unforgiving, and mean as hell. The Lodge is not only one of the best (if not THE best) horror film of 2020, it's also easily one of the best modern day horror films PERIOD! It's a must-see!
5 STARS
Don't you love it when a film commits?
In The Lodge, we follow Aiden (Jaeden Martell), Mia (Lia McHugh), and Grace (Riley Keough). Aiden and Mia are upset over their father (Richard Armitage) dumping their mother (Alicia Silverstone) for the subject of his new book on cults, Grace (who herself is the sole survivor of a doomsday suicide cult her father was the leader of). A few months after a family tragedy, Aiden and Mia are holed up with Grace in their families vacation lodge (in the dead of winter) by their father. He does so in the hope that the three might finally be able to bond, though his timing is terrible. When he leaves on business, Aiden, Mia and Grace find themselves snowed in and it isn't long before tensions rise.
The Lodge is fully committed to being an ultra-dark psychological horror film. It enjoys screwing with audience's minds and succeeds in getting viewers to question the reality of what they are seeing. The film switches perspectives throughout, and this helps to keep movie-goers on their toes. Our three leads are fantastic. Jaeden Martell and Lia McHugh are great at playing somewhat sympathetic brats (with Martell being the brattier of the two). McHugh completely owns a heart-breaking scene where she breaks down in sobs. Armitage is also great as the ethically-challenged father who has good intentions at his heart, but is still heavily flawed.
It's Riley Keough as Grace who steals the show though. She convincingly portrays a woman who is doing her best to deal with severe psychological trauma while also trying to befriend her potential step-children who have made it abundantly clear they hate her guts. Grace has a lot on her plate, and when she misplaces her meds and things at the lodge turn dark, she starts a terrifying downward spiral. You can't help but feel for Grace as she only ever wants to do good, but finds herself placed in increasingly challenging situations.
The Lodge is an expertly directed and written by Severin Fiala and Veronika Franz (with Sergio Casci assisting with the script). Fiala and Franz are no stranger to dark films surrounding kids, as they previously directed Goodnight Mommy. The Lodge is definitely a step up for the two. The score by Danny Bensi and Saunder Jurriaans is haunting and gorgeous, relying at times on transcendent yet terrifying church organ music. The cinematography by Thimios Bakatakis is stark and impressive.
The Lodge is a film that effectively tackles themes of grief, familial tensions, and mental illness. It's dark, bleak, unforgiving, and mean as hell. The Lodge is not only one of the best (if not THE best) horror film of 2020, it's also easily one of the best modern day horror films PERIOD! It's a must-see!
5 STARS
Tuesday, May 5, 2020
DEVS
A fantastic follow-up to Ex Machina. In Devs, genius encryption expert Lily (Sonoya Mizuno) spends her days working for Amaya, a tech start-up that specializes in quantum computing. Her AI Programmer bf Sergei (Karl Glusman) is recruited into the mysterious and secretive Devs department at Amaya, and mysteriously vanishes after his first day there. Lily, sensing that all is not as it seems, decides to investigate with the help of her ex-lover Jamie (Jin Ha).
Devs deals heavily with themes of loss, grief, messianic complexes, predetermination vs. free will, love, the dehumanizing effect of technology, the nature of reality, and quantum mechanics (as well as throwing in some commentary on powerful Silicon Valley tech companies). The cinematography (by Rob Hardy) and score (by Ben Salisbury, Geoff Barrow, and The Insects) are superb. The show is perfectly cast and acted, and has some nice twists and turns throughout. Nick Offerman, Sonoya Mizuno, Jin Ha, Stephen McKinley Henderson, Cailee Spaeny, and Allison Pill are all superb in their respective roles.
Nick Offerman in particular is super-impressive as the head of Amaya, Forest. He's on a level we have never quite seen him at before. He manages to be scary at times but painfully human and sympathetic as well. It's also nice to see character actor Stephen McKinley Henderson get a nice meaty role to play with.
Devs is certainly not perfect. It can feel a bit full of itself and borders on being a bit preachy at times, but its numerous themes and it's rich and nuanced story and characters are fascinating. Devs isn't a feel-good romp, in fact, it's downright sobering. That said, it's still great and a definite must-watch for fans of smart, intellectual sci-fi that has some heart. Seek it out!
4.5 STARS
Devs deals heavily with themes of loss, grief, messianic complexes, predetermination vs. free will, love, the dehumanizing effect of technology, the nature of reality, and quantum mechanics (as well as throwing in some commentary on powerful Silicon Valley tech companies). The cinematography (by Rob Hardy) and score (by Ben Salisbury, Geoff Barrow, and The Insects) are superb. The show is perfectly cast and acted, and has some nice twists and turns throughout. Nick Offerman, Sonoya Mizuno, Jin Ha, Stephen McKinley Henderson, Cailee Spaeny, and Allison Pill are all superb in their respective roles.
Nick Offerman in particular is super-impressive as the head of Amaya, Forest. He's on a level we have never quite seen him at before. He manages to be scary at times but painfully human and sympathetic as well. It's also nice to see character actor Stephen McKinley Henderson get a nice meaty role to play with.
Devs is certainly not perfect. It can feel a bit full of itself and borders on being a bit preachy at times, but its numerous themes and it's rich and nuanced story and characters are fascinating. Devs isn't a feel-good romp, in fact, it's downright sobering. That said, it's still great and a definite must-watch for fans of smart, intellectual sci-fi that has some heart. Seek it out!
4.5 STARS
GRETAL AND HANSEL IS A TRIPPY FAIRY TALE BROUGHT TO VIVID LIFE
A twist on a familiar fairy tale that invites you to dig deeper.
In this re-telling of the classic fairy tale, Gretal (Sophia Lillis) is a girl slowly growing into a woman. Chased out of their house by their mother, Gretal takes it upon herself to care for her younger brother, Hansel (Sam Leakey). While wondering the woods, they are taken in by a seemingly kind old witch (Alice Krige). While being tutored by the witch, Gretal begins to discover the power within herself. Will she use this power for good or evil?
Gretal and Hansel is clearly indebted to The Witch, Midsommar, Hereditary and the horror films of A24. It feels like Osgood Perkins (the director of the film), watched the above-mentioned films and decided he wanted to make a film like those. He had previously worked with A24 on The Blackcoat's Daughter, and he brings what he learned on that film here.
First off: despite a less than stellar script by Rob Hayes (the script consistently feels like it's trying too hard, and the dialogue is often muddled), Osgood Perkins directs Gretal and Hansel like a pro. The production design is exquisite, and the visuals and cinematography (by Galo Olivares) are gorgeous, stunning, and appropriately haunting. This is easily one of the most beautiful horror films I've ever seen. It's hard not to want to take a trek through the woods seen here. The score (by Robin Coudert) is very synthy and quite memorable as well.
The film itself is a slow-burn. It's atmospheric, moody, and creepy as hell. There's also a nice message involving female empowerment that is handled quite well (It's certainly better than Black Christmas' attempt at a female-centric message). Sophia Lillis and Alice Krige are great in their roles, with Krige in particular really leaving an impression (she's creepy, foreboding, but also welcoming and sympathetic).Hansel here is purely a tertiary character and doesn't add much to the proceedings. Sam Leakey works best when he has to emote/act without using words, but when he's given any dialogue he fails to impress.
Gretal and Hansel does border on being a little dull at times, as much of the run time consists of conversations between the witch and Gretal. The film is definitely driven by it's visuals, cinematography, and the mood created. However, that's not a bad thing (ever hear of "show don't tell"?). Gretal and Hansel is a dream-like, surreal, haunting take on a familiar tale that successfully injects some feminist themes into the proceedings without having said themes hijack the film in any way. For my money, it just might be Osgood Perkins' best work to date.
3 STARS
In this re-telling of the classic fairy tale, Gretal (Sophia Lillis) is a girl slowly growing into a woman. Chased out of their house by their mother, Gretal takes it upon herself to care for her younger brother, Hansel (Sam Leakey). While wondering the woods, they are taken in by a seemingly kind old witch (Alice Krige). While being tutored by the witch, Gretal begins to discover the power within herself. Will she use this power for good or evil?
Gretal and Hansel is clearly indebted to The Witch, Midsommar, Hereditary and the horror films of A24. It feels like Osgood Perkins (the director of the film), watched the above-mentioned films and decided he wanted to make a film like those. He had previously worked with A24 on The Blackcoat's Daughter, and he brings what he learned on that film here.
First off: despite a less than stellar script by Rob Hayes (the script consistently feels like it's trying too hard, and the dialogue is often muddled), Osgood Perkins directs Gretal and Hansel like a pro. The production design is exquisite, and the visuals and cinematography (by Galo Olivares) are gorgeous, stunning, and appropriately haunting. This is easily one of the most beautiful horror films I've ever seen. It's hard not to want to take a trek through the woods seen here. The score (by Robin Coudert) is very synthy and quite memorable as well.
The film itself is a slow-burn. It's atmospheric, moody, and creepy as hell. There's also a nice message involving female empowerment that is handled quite well (It's certainly better than Black Christmas' attempt at a female-centric message). Sophia Lillis and Alice Krige are great in their roles, with Krige in particular really leaving an impression (she's creepy, foreboding, but also welcoming and sympathetic).Hansel here is purely a tertiary character and doesn't add much to the proceedings. Sam Leakey works best when he has to emote/act without using words, but when he's given any dialogue he fails to impress.
Gretal and Hansel does border on being a little dull at times, as much of the run time consists of conversations between the witch and Gretal. The film is definitely driven by it's visuals, cinematography, and the mood created. However, that's not a bad thing (ever hear of "show don't tell"?). Gretal and Hansel is a dream-like, surreal, haunting take on a familiar tale that successfully injects some feminist themes into the proceedings without having said themes hijack the film in any way. For my money, it just might be Osgood Perkins' best work to date.
3 STARS
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