RESIDENT EVIL: WELCOME TO RACCOON CITY CONTINUES THE CURSE OF VIDEO GAME FILMS

 This review was originally posted to Letterboxd on December 6, 2021.

In RE: WTRC it's 1998 and Raccoon City, proud home of The Umbrella Corporation (and one of it's scientists, William Birkin, as played by Neal McDonough) , is a shell of its former self. Umbrella made a big boo-boo and is in the process of moving out. The only ones who remain in town are those too poor to leave and the few members of the police force paid to stay. The city is shortly quarantined off, and citizens are ordered (by a blaring Umbrella announcement) to remain indoors. For the doomed citizens of Raccoon City, "too late" already came and went. 

Chris Redfield (Robbie Amell), Albert Wesker (Tom Hopper), Jill Valentine (Hannah John-Kamen) and the rest of the STARS (Special Tactics And Recuse Service) Alpha team are sent up to the Spencer Mansion to check up on Bravo team. rookie F-Up Leon Kennedy (Avan Jogia) stays behind at the station with police chief Brian Irons (Donal Logue). Meanwhile, Claire Redfield (Kaya Scodelario) returns to Raccoon City to check up on her brother and investigate rumors about Umbrella.

This is a film that is clearly catered towards fans of the games. RE:WTRC doesn't take much time to explain what Umbrella has been up to, letting the results speak for themselves. The brief explanations we get shed little light and it doesn't help that the film isn't fully coherent. We constantly jump back and forth between Chris at the mansion , and Claire and Leon back at the station who are trying to retcon with Chris. This makes things feel muddied and confused.

RE:WTRC aims to be a revitalization of the Resident Evil franchise. The strategy this time is to hew closer to the game's roots, include some light action here and there, and focus a little bit more on the horror/creepiness/atmosphere. It's not a bad idea, but the piss-poor script (by Johannes Roberts. The exposition is clunky and forced, and the characters LOVE to use the word Fuck. There ARE other curse words out there, you know.) and adequate direction (also Johannes Roberts) undoes a lot of the good will.

This "reboot" moves at a slower pace, and there isn't a whole lot of action (It's not constant, and is more spread out). There are a few memorable action scenes (like Chris' terrified, desperate, and chaotic assault at the mansion, lit mostly by his gun blasts), but not nearly enough for a one hour forty-seven minute runtime. The CGI featured is not up-to-par either.

It would seem this outing would be more character-based, but not so as our leads and villains are one-dimensional at best and empty cyphers at worst, not to mention they all lack arcs. The actors all do decent jobs (and Avan Jogia as the fool archetype does show potential...which is wasted) and there are some nice twists to their characters (like Chris being an Umbrella fan boy), but it's not enough. A minor complaint would be I expected a few more choice needle-drops, as is we really only get three.

Despite all this, I will give this attempt credit for faithfully recreating some sets from the games, maintaining a decent atmosphere throughout (You could use the word "creepy" or "tense" to describe some locations and scenes), and managing to look impressive at points (cinematography by Maxime Alexandre). 

In the end, RE:WTRC is likely going to remain a one-off, as I don't see it being able to generate enough excitement from fans to warrant a sequel. It's fun and entertaining in a bad movie kind of way, but if that's what you're looking for may I suggest the first Resident Evil instead (Just to clarify, not really a fan of the first Resident Evil film either, but it's still better than this "reboot").

2.5 STARS

An unfortunate side effect of viewing this film is that 'Crush' by Jennifer Paige is running on a loop in my head for the time being. Not the worst thing, I suppose.

NINE DAYS IS THE FEEL-GOOD FILM OF 2021

 In Nine Days, Will (Winston Duke) isolates himself inside a secluded suburban home. He watches others lives through video tapes, seeing the world directly through their eyes. He has an intimate connection with each person he observes. After an unexpected event, Will reluctantly resumes his task of choosing a new soul/personality to be born into the world.

Kane (Bill Skarsgard), Emma (Zazie Beets), Mike (David Rysdahl), Maria (Arianna Ortiz), Alexander (Tony Hale), and Anne (Perry Smith) are the new souls/personalities that show up at Will's house. Over the course of nine days each are tested, and in the end only one will receive the gift of life.

 Nine Days takes place in a different realm that exists outside of "the real world". The realm it's set in is barren, desolate, yet ethereal. It's an off-putting and striking location. That said, we spend the majority of the run time confined with Will inside his house as he tests the applicants.

Nine Days is set up like it's going to be an ensemble piece, and the plot sounds fairly simple and straightforward. Part of the joy of watching Nine Days is discovering it's hidden depths and surprises for yourself.

All of the actors here do great jobs, but the standouts are Winston Duke as Will, Zazie Beetz as Emma, Benedict Wong as Kyo (a close friend of Will's who assists with the tests), and Kane (Bill Skarsgard). Skarsgard isn't given quite as much meat to chew as other roles he's been given, but Kane is absolutely essential to the themes Nine Days is trying to explore. Kane is a bit of a pessimist, and he showcases some concerning thoughts but he isn't a "bad guy". 

Zazie Beetz as Emma is absolute fire. Emma is a free spirit filled with curiosity. Throughout the film, Emma seems to be the one who most understands what a gift life would be. Beetz emanates a warmth, compassion,  and intensity of spirit any time she is on screen. Watching her is like watching a ball of joy. Needless to say, this might be her best performance.

Benedict Wong also shines as Kyo. It's nice to hear him get to act with his real British accent. He's another warm character who quickly grows to like Emma, and gives her some insights that Will would not approve of. The banter Will and Kyo share in some scenes is fantastic well. Kyo and Will are best friends, but that doesn't mean that Kyo won't point out when Will is acting irrationally. 

Speaking of Will, this is the Winston Duke show, and what a show it is. Duke previously appeared in Black Panther, Us, and Spencer Confidential, but this is his best performance BY FAR. Will is a very complex character. He was previously given the gift of life, but now he finds himself in the role of interviewer. He prefers not to discuss his time in "the real world", and openly admits he doesn't have a favorite memory from his years spent there.

Will has recently witnessed an unexpected event that has completely shattered him. It doesn't make sense, and he spends some of his spare time trying to make it make sense. This crisis affects Will's testing process and the decisions he makes throughout. Will has quite an incredible arc, and Duke fully embodies the character. Duke shines in small intimate moments (like a specific scene involving Will, Maria, and a bicycle, which had me in tears), intense moments (like an angry, rageful tantrum he has in the 2nd act), and even in grand moments (like his final, theatrical monologue). 

Edson Oda directs and writes, and despite have a multitude of shorts to his name, this is his first feature film. Even if this is the only film he makes (let's hope not), he can rest easy knowing he made a phenomenal, incredible one. He coaxes natural, nuanced performances from his cast and the script is consistently impressive and a joy. 

Nine Days presents itself as a film that will be life-affirming and about the joys of being alive. It is, to an extent. It's also about much more. Credit to Nine Days for not shying away from the darker, sadder, more grim aspects of life (There's even a brief discussion two characters have that reminded me of The Fable of The Two Wolves). Yes, Nine Days is filled with warmth, happiness, joy, positivity, and boundless optimism but it isn't afraid to go to some VERY dark, grim places. You might hear more than one of your own fears or worries articulated on screen. 

In the end, Nine Days is just about a perfect film. It acknowledges how flawed our world is, and how painful life can be...but it chooses to see the light at the end of the tunnel and walk towards it. It implores those watching to do the same.

5 STARS

FRIGHT FEST: ANTLERS

 The final film on tonight's double feature is Antlers.

The Native American myth of the Wendigo is a fascinating one. When a man eats the flesh of another man, he goes crazy and will soon only crave human flesh. Eventually, that man will morph into something inhuman. This new thing's hunger knows no bounds, it will never be full

In Antlers, we open with Frank (Scott Haze), a scummy drug dealer who has set up shop deep in the local mine. Not the best choice of locations as he is mauled by something, and returns home to his two sons not quite right. When his condition worsens, and young Aiden (Sawyer Jones) grows sick as well, it falls on older brother Lucas (Jeremy T. Thomas) to care for and feed his family.

School teacher Julia (Keri Russell), senses something is wrong at home  with Lucas. Fearing abuse, she enlists the help of her brother Paul (Jesse Plemons), the town sheriff. When she digs too deep, Julia unwittingly unleashes the Wendigo upon the entire town. With bodies dropping at an alarming rate, will Julia be able to save Lucas?

Jesse Plemons and Keri Russell do what is required of them plus a touch more as our heroes. They are given minimal development and little meat to chew on, but they do the best they can. Surprisingly, Jeremy T. Thomas as Lucas is given a lot to work with as a young boy who has been forced to mature much faster than usual and is dealing with a severe amount of trauma. He plays it all very well, and his reactions are convincing. Graham Greene appears in a supporting role as Warren Stokes, an ex-sheriff who is familiar with the myth of the Wendigo. He also isn't given much to do, but his presence does add something to the film.  

Antlers is adapted from a short story by Nick Antosca (Channel Zero), with a screenplay by Nick Antosca, Henry Chaisson, and Scott Cooper (who directs as well). The script itself isn't anything to scream about, but the cinematography by Florian Hoffmeister is impressive. The opening shot draws you right into the film. Hoffmeister uses greys and muted colors to match the dour themes Antler has to offer, and it works. Even when Antlers wanders (as it does often during the first two acts), it always looks nice. 

It's true not much really happens in the first two acts of Antlers. Our leads wander aimlessly about, Lucas cowers in fright (among other things), and we watch Frank's condition worsen. Luckily, there are more than enough horrific scenes in Antlers and they aren't all crammed into the final minutes either (they are sprinkled throughout the entire film). When Antlers wants to frighten or disturb you, it does.

When all is said and done, despite being a good Wendigo flick (and featuring plenty of Wendigo action), Antlers isn't really special. It borders on being generic or predictable with some of its plot beats and structure . While it's on, Antlers is mostly entertaining. It works as a Wendigo flick and as a horror film...it even attempts to add in some deeper themes. It's certainly not as bad as some would have you believe. At the end of the day, Antlers is a fairly solid (and certainly enjoyable) addition to the horror genre. It would make for a good watch this time of year.

3 STARS

And so another edition of Fright Fest concludes. I hope your spooky season was full of chills and frights. Till next year, pleasant nightmares.

FRIGHT FEST: LAST NIGHT IN SOHO

 To conclude this year's edition of Fright Fest, I present a double feature. First up on the roster: Last Night in SoHo.

This is without a doubt Edgar Wright's most stylistic and surreal film. Eloise (Thomasin McKenzie), A young clairvoyant, attends fashion college in London. Her "gift" enables her (via her dreams) to track Sandy (Anya Taylor-Joy), a beautiful and talented aspiring singer in the 60s. As Eloise grows more obsessed with the past, Sandy's story turns dark and Eloise's dreams begin to bleed into her waking life. 

Anya Taylor-Joy steals the show. Most should know she is an incredibly talented actress, but here she proves she can sing and dance as well. Her story and arc are intriguing, and it's hard not to grow obsessed like Eloise. Thomasin McKenzie is great as our lead. Not only is she tormented by her dreams, but by the possibility they might just be dreams after all. McKenzie gets to do some physical work near the end, and she does a fantastic job of portraying terror throughout the film. 

The supporting cast all do pretty solid jobs as well. Michael Ajao is very likable as the friendly and dependable John, love interest for Eloise. Terence Stamp (Zod in Superman 2) plays a mysterious older man who might be involved in Sandy's story. Matt Smith Plays Jack, Sandy's "manager" (He's fantastic in a slimy role). Diana Rigg plays the old land lady of the apartment Eloise rents. This was Rigg's final role, and she impresses. 

Edgar Wright directs and co-writes along with Krysty Wilson-Cairns (who penned the screenplay for 1917). The script is fine but Wright's direction, the cinematography (by Chung-hoon Chung), and the editing (by Paul Machliss) are the stand-outs. Wright and production designer Marcus Rowland do an A+ job of recreating London in the 60's. The sets, the costumes, the dances...You will feel as immersed in that era as Eloise does. 

Last Night in SoHo is not without some substance to it. The story is pretty interesting and doesn't always go where you think it would. The characters are very well developed too. That said, this is an Edgar Wright film, so the style takes center stage most of the time.  

The first act teases at this being another semi-musical as there are several song-and-dance numbers, and while this aspect is eventually dropped, Wright still finds ways to use songs to inform or compliment what is happening on screen. It’s a skill that Wright has enjoyed flexing ever since Shaun of The Dead, and he’s only gotten better at it over time. 

SoHo is Wright’s return to horror after 17 years. Unlike Shaun before it, SoHo is less interested in humor. It takes itself fairly seriously, and the humor (when there is any) rarely takes center stage. It takes a while before SoHo goes full horror, but once it does the film doesn’t hold back. The horror sequences are intense and well-done (the climax in particular is striking and memorable).

Last Night in SoHo is clearly influenced by Giallos (Italian horror flicks like Demons, Profondo Rosso/Deep Red, and Tenebrae) and supernatural horror. The bright, vibrant colors that pulse throughout the film and the numerous stylish mirror tricks are highlights. 

There is much to love in SoHo, but unfortunately not everything is peachy. The third act finale starts off strong but ends in a way that isn't fully satisfying. Everything doesn't gel smoothly together or fully coheres by the end credits, either. Luckily, Last Night in SoHo is a lot of freaky fun while it's on. The style always mesmerizes, the story/mystery easily pulls you in, and the performances are great (with Joy stealing the show). 

SoHo isn't Wright's best. It sees the director trying something different for a change, and the results are mixed. That said, there is still a lot to enjoy here. Wright knows how to show audiences a good time, and should you choose to trek back into the 60s with him, that is exactly what you will have.o conclude this year's edition of Fright Fest, I present a double feature. First up: Last Night in SoHo.

3.5 STARS

FRIGHT FEST: HALLOWEEN KILLS SLAYS

 Back in 2018, David Gordon Green and Blumhouse/Universal released Halloween. They hoped it would revitalize the Halloween franchise. Their plan was to jump start Michael Meyers by going back to the series roots: eliminating all Halloween sequels as canon, and making Halloween a straight sequel to the original set 40 years later. I re-watched it recently before my viewing of Halloween Kills, and it was likely the best made sequel at that point. It had some issues that bothered me at the time of its release and still bother me today, but overall I found it a mostly worthy successor.

In Halloween Kills, Michael (James Jude Courtney, still one of the best Michaels) has survived the events from the previous film and is now on an unhinged killing spree through Haddonfield. The town's citizens rally around Haddonfield Memorial Hospital, where Laurie (Jamie Lee Curtis), Karen (Judy Greer), and Allyson (Andi Matichak) are recuperating. A vigilante mob forms, and a hunt for Michael ensues. "Evil ends tonight."

Back for this go-round are some characters from the original Halloween. We get the return of Tommy Doyle (Portrayed this time by Anthony Michael Hall), Lindsay Wallace (Played by original actress Kyle Richards), ex-Sheriff Leigh Brackett (Played by original actor Charles Cyphers), Marion Chambers (played by original actress Nancy Stephens), and Lonnie Elam (Played this time by Robert Longstreet). It's really cool to see all of these OG characters back again, and they spend a decent amount of time together. It's nice that Halloween kills includes scenes of them hanging out and being friends.  

Tommy Doyle gets the most meat out of the above listed characters, and the film goes to some surprising places with him. Anthony Michael Hall does a physical, intimidating performance and he fits the role well. Kyle Richards returns as Lindsay Wallace, and is lovely. She gets to kick some ass (as does Marion Chambers/Nancy Stephens). It's fun to watch characters from the original take on Michael instead of running away. 

Most of the cast from Halloween 2018 return as well. Jamie Leigh Curtis reprises her role of Laurie Strode and, although (much like Halloween 2) she spends 99% of her time in her hospital bed/hospital room, she is still Queen bad-ass and gets some great character moments. Judy Greer is back as Karen, Laurie's daughter. She joins with the mob to kick some Michael butt, hurt and angry over the death of her husband in the previous film. Andi Matichak returns as Allyson, daughter to Karen. She, too, joins with the mob to hunt down Michael. Matichek's performance was one of the strong points of Halloween 2018, and she continues to do a superb job here.

Dylan Arnold also returns as Cameron, boyfriend to Allyson and son to Lonnie. Last we saw, Allyson and him were on the fritz. We start the film with Cameron, and luckily he is a much more likable character this time. Will Patton also returns as Deputy Frank Hawkins, who is rushed to Haddonfield Memorial on account of his severe wounds from the previous film. He gets some stellar character development here.

A nice touch is that we get to see how Michael was captured after the ending of John Carpenter's Halloween. No de-aging is used, as we follow a young Deputy Hawkins (Thomas Mann) and his partner Pete (Jim Cummings) as they track down Michael (portrayed by Airon Armstrong for the 1978 portions, who does a great job. The mask used looks just like the one from the OG, although it's hard to tell if it's completely CGI or not). More time is spent here than expected (we get several scenes), but it's nice to return to the original and Halloween Kills captures the look, feel, atmosphere, and tone of John Carpenter's classic very well. It helps that everyone in this part feels and looks like they belong in that era too. Thomas Mann and Jim Cummings work well together, and their friendship is believable. Thomas Mann in particular really impresses as a young Hawkins, and the insights we get into Hawkins' character and backstory during the 1978 portions are satisfying and cool.

Loomis actually returns in this portion for brief moments. He's portrayed by Tom Jones Jr. (in mostly brief shots) and voiced by Colin Mahan. You know it's not Loomis when you see him and hear him in these portions, but the character still acts just like the Loomis we remember. It might have been a better choice to not include Loomis at all, but it makes sense to have him appear (after all, why WOULDN'T Loomis be there when Michael is apprehended).

Halloween Kills doesn't start the way you think it would (or even WHEN you really think it would), and it actually takes a bit of time before Halloween Kills gets to what happens directly after the events of the previous outing. This outing definitely suffers from some pacing issues. The film cuts away from the carnage at times to returning characters chilling at a bar, unaware that Michael is back. There's  plenty of  "meanwhile" scenes with Laurie, Karen, and Hawkins chatting in her hospital room. The character development we get in these scenes is great, but it's hard not to get a bit antsy waiting for the next kill (more on those later).  There is also a sub-plot involving another escaped mental patient which only exists to eat time and drive home (bluntly) the film's message about the dangers of mob mentality and vigilante justice. Lastly, it's a bit disappointing that most of our supporting cast (ie: those going up against Michael) are just plain terrible at fighting and shooting. I know we need Mikey boy to return for the third film, but would it kill you to make these guys at least semi-competent.? 

Luckily, we all came here for the kills and they DO NOT disappoint. There are many murders in Halloween Kills, and they are of a high quality. The kill scenes sampled here are brutal, savage, and satisfying. There is lots of blood, lots of gore, and a good deal of variety. Michael is not afraid to put down his knife and use other near by items to wreck a dude's day. Some of the kills/fights in Halloween Kills are the best in the entire franchise, so get hyped. 

John Carpenter, Cody Carpenter (John's son), and Daniel Davies return to score Halloween Kills. The score for Halloween 2018 was an all-timer, the score for Halloween Kills is still pretty killer for the most part. David Gordon Green returns to the director's chair, and does a more than competent job once again. Green wrote the screenplay with Danny McBride (just like Halloween 2018), but this time Scott Teems teams up with them to assist. The script is mostly pretty good, although there are some humor moments that fall flat hard (I'm looking at you Silver Shamrock Trio in the park). Michael Simmonds returns as Cinematographer, and does a bang-up job again (the film is consistently pretty).

It should come as no surprise that Halloween Kills comes with an incomplete ending (Halloween Ends has already been confirmed for 2022 after all).  Halloween Kills indeed serves much of the same role as Back To The Future 2 did in it's trilogy, acting as mostly a stepping stone for the final installment. What a stepping stone it is, though. It was hard to watch this sequel without feeling spoiled. The action/kills were superb, there was great character development, and it was faithful to the original source material and that film's mythology. It's still flawed, but I found the flaws here bothered me far less than the flaws in 2018's flick did (Plus, Halloween Kills actually resolves an issue regarding Michael's motivation that really bothered me in the 2018 outing). Halloween Kills is a brutal, aggressive, ultra-dark,  bloody, fun throwback/update to classic slashers. In the end, it should leave audiences hyped for whatever comes next.

4 STARS

FRIGHT FEST: V/H/S 94

 The V/H/S franchise returns seven years after the devastatingly disappointing V/H/S Viral. Can this latest outing restore V/H/S to what it once was?

HOLY HELL

The wrap-around segment this time is entitled 'Holy Hell', and it's directed by Jennifer Reeder (Knives and Skin). In it, a S.W.A.T. team go on a drug raid after receiving a disturbing video. As they explore the location, they find a different video or V/H/S being played in each room. This one was pretty meh for me up until the fan service-y final reveal (which I dug). The acting by the S.W.A.T team members quickly grew on my nerves, and the first shot looked super cheap (though the short does look better as it goes on). Overall, I'd qualify this one as just good.

3/5

STORM DRAIN

The first V/H/S we are treated to is entitled 'Storm Drain', and it's directed by Chloe Okuno. A tv news journalist is given an assignment to investigate claims of a "Rat-Man" who has been living in the sewers and terrorizing the townsfolk. As the journalist and her cameraman (unwisely) travel deeper into the sewers, they might just come to regret their search for answers. The first thing that really threw me out of it was the jornalist's complete and sudden 180 character change. She goes from being hesitant about trekking into the sewers, to suddenly all gung-ho about going deeper in once they find a homeless man's sleeping bag (The reasoning is that the journalist believes she can turn this into a story about the conditions the homeless are living in, but I'm not buying it). Luckily, Rat-Man is an impressive and freaky practical effect, the truth behind Rat-Man is kind of bonkers (in a good way), and the final effect gag is delicious. Storm Drain is ultimately flawed, but super-entertaining.

3.5/5

THE EMPTY WAKE

Directed by Simon Barret (The Guest, You're Next), we follow a young woman who is in charge of an empty overnight wake for a young jumper. As the night goes on, strange events convince her that the man in the coffin is still alive, but the truth is much darker and stranger. A good deal of this short felt very similar to watching an episode of 'Scare Tactics'. There is very minimal plot, the events until the finale aren't that terrifying, and I'm not sure what happened at the end. Luckily, this short is built around one practical effect, and what a practical effect it is (It more than makes up for what is otherwise quite a lackluster entry). 

3/5

THE SUBJECT

Directed by Timo Tjahjanto (an alum of V/H/S, having directed 'Safe Haven' in V/H/S 2. He also directed May The Devil Take You, Headshot, and Portals). A mad scientist is kidnapping people and experimenting on them in an attempt to create the perfect human/robot hybrid. When a police force run by a brutal commander busts the doc, no one might make make it out alive. The action and practical effects are insane and commendable, and the story has potential...unfortunately there is A LOT of bad CGI, and the short changes perspective/cameras far too many times (How exactly was all this footage compiled into one movie?). You would expect better from a V/H/S alum. 

2.5/5

TERROR

Directed by Ryan Prows , A crazed right-wing/religious extremist group has kidnapped a vampire, and plan on using it's blood as an explosive weapon to be used to blow up a federal building. Naturally, these are a bunch of gun-happy idiots so....things don't go exactly as planned. Yeah, this is the best short out of the bunch. The footage feels old and authentic, and it looks grainy enough (not to the point where it's hard to make out, thank God). The proceedings are also a ton of fun, and the ending gets appropriately bonkers. Terror ends V/H/S on the right note.

3.5/5

In the end, V/H/S 94 isn't quite as scary as the first two V/H/S installments. Luckily, the practical effects featured within are all super impressive and the proceedings are always bonkers and fun. V/H/S 94 makes for a fun, bloody viewing during Halloween season and it's likely to please most V/H/S fans.

3.5 STARS

SMALLS' FRIGHT FEST: MASKS ON (MOSTLY) FOR HALLOWEEN HORROR NIGHTS 2021

 Welcome back, foolish mortals, to Fright Fest. This year, we start things off with a bang with a visit to Halloween Horror Night 2021.

2020 marked the 30th anniversary of Halloween Horror Nights. Unfortunately, COVID-19 led to a last minute cancellation of the event (the first time HHN had been cancelled). This year, the event makes it's triumphant return to celebrate it's belated 30th. COVID-19 is still very much a threat in the U.S. at the moment, so naturally this meant HHN had to adapt accordingly. The streets pretty much remain the same, but inside the houses the boo holes and actor areas are cordoned off by plexiglass (meaning you pretty much know where every scare is coming from in advance, and the actor's can't get anywhere as close to you as before). Most of the scareactors wore masks as well. This wasn't a deal breaker of any kind. True, I don't think I was genuinely scared once at the event (and I know that if the plexiglass wasn't there I would have definitely been scared by the scareactors) but I kind of dug the new vibe this year. I don't think I would like this approach to continue, but for one year it was nice. 

In case it hasn't been obvious, HHN doesn't really do over-arching themes or Icons anymore (You could argue the event's last Icon was either Lady Luck in 2011 or Chance in 2016). The event has changed and is still changing. That said, this year's 30th celebration brings back a lot of the great stuff from the past for a satisfying and epic curtain call.

SCAREZONES

30 YEARS, 30 FEARS

"Characters from 30 years of Halloween Horror Nights scare zones have returned to fill the streets with screams."

Man, was this zone disappointing. Some VERY COOL stuff in here (the OG Horror Nights truss with flames, a light-up blue Pumpkin guy stilt walker, a skeleton/Grim Reaper stilt walker, a genuinely impressive fog/light effect where they were able to project silhouettes/images onto or into the fog), unfortunately it's a pretty small area (think Asylum in Wonderland from 2008, but maybe smaller) it didn't really come together to make a cohesive zone. Still, definitely worth at least one or two walk-thrus.

5/10 STARS

SEEK AND DESTROY

"A ruthless alien cyber regime led by The Controller has taken over New York, turning humans into fuel. Succumb or be destroyed."

A zone I was actually looking forward to, unfortunately it just didn't do much for me. The costumes for the aliens wasn't impressive or imposing (Imagine futuristic hazmat-esque suits. I did dig the bloodied humans running around, though). There is definitely a neat back story to the zone, and the zone is fairly lengthy...I just have seen better and more immersive zones in the NYC area. 

5/10

CRYPT TV

"Step inside Cyrpt TV, a dark universe of monsters that reside in the same reality-on your screen, in your pockets and now San Francisco."

I have very little knowledge of Crypt TV and it's creations, but this zone was pretty fine. Some cool character designs and neat mini-shows. Not the best zone I've seen in the San Fran area, but considering I walked in expecting very little, I'd say I was pleased by what I encountered.

7/10

LIGHTS CAMERA HACKTION: EDDIE'S REVENGE

"Get ready for the feel-bad movie of the year. Eddie Schmidt, Jack the Clown's brother, is filming a horror film and the monsters are real."

Ok, I'll take the L on this one. Don't believe I got to walk through this one even once. I'll go to my corner now.

GOREWOOD FOREST

"Sixteen Years after the gory sacrifices of Terra Cruentes, the heartless Terra Queen is back. Evil is in her nature."

YES!!!! ALL HAIL THE TERRA QUEEN!!! FINALLY, I get to see a deep cut character from Horror Nights history. Damn, was this zone cool and definitely NOT your typical Central Park zone. This time, the trees are adorned with thick streams of pulsing red light that wind from the ground up, almost like the land of the zone itself is alive with some power. The Terra Queen is only at the front of the zone (with a prop sacrificial victim) while the rest of the zone is her minions that emerge from grass/hay huts. I LOVED getting to spend a bit of time with The Terra Queen, and the zone felt pretty fully realized. Can't believe I'm saying this, but Gorewood Forest is the best zone I've seen in the Central Park area.

8/10 

HOUSES

UNIVERSAL MONSTERS: THE BRIDE OF FRANKENSTEIN LIVES

" 'We belong dead.' The last words of Frankenstein's monster when his Bride rejected him. Now she'll stop at nothing to bring him back."

What a freakin' cool idea for a house: Make a direct sequel to a classic Universal monster movie. Right from the moment you enter the building, you are greeted with a score that sounds right out of one of the Classic Universal Monster films (Honestly, the most I was impressed with the house). The first room was pretty cool, with the ruined castle facade, the Monster crushed, and the screaming and hysterical Bride trying to lift the column off of her mate (Wasn't expecting to be touched emotionally by this scene). The rest of the house follows The Bride, who has taken to capturing Dracula's numerous Brides and using them to bring her mate back to life. A nice story, some good sets. Overall, a pretty decent house but it didn't come close to living up to the hype that had been surrounding it. 

7/10

HHN ICONS: CAPTURED

"Jack The Clown, The Storyteller, The Caretaker. For the first time ever, 30 years of nightmares come together in a terrifying Hell of Fame."

Now THIS is how you do a fucking anniversary house. Holy shit. The facade is you entering into the realm of The Lantern from HHN 20. The entrance is adorned with each Icon's totem from 2010 (so freaking awesome, finally getting to see those in person). Naturally, there is a thrumming rock score that ushers you in. The first room, you find yourself inside the lantern, with each Icon trapped in their own cell/cage (Adaru gets a small moment too). The rest of the house, you get to explore the realm of each Icon. Yes that means there are rooms themed to the worlds of Lady Luck (Basically walking through the commercial from 2011), The Usher (a small theater auditorium and the lobby for The Universal Palace/Silver Screams), Jack and Chance (Don't think I saw Eddie, could be wrong), The Caretaker and Cindy, The Storyteller (who is revealed to be some kind of shape-shifting monster/demon), and Bloody Mary ( You don't see her. Instead, it's a room full of mirrors that shatter. It's pretty cool.). At the end, one Icon sits on the throne, a different one depending when you walk through (Did the Icon kill Adaru/Fear to get the throne? Did they kill all the other Icons to do so? Both?)  So yes, one of the best (if not THE best) anniversary houses of all time. 

10/10

PUPPET THEATER: CAPTIVE AUDIENCE

"A puppeteer and a ballet troupe trapped in a deserted theater for years are about to turn you into a human puppet. That's your cue to scream."

Ok, so the full story is that this theater (I believe it's called The Grandeur) was around in the early 20th century (1910s, 1920s, or 1930s?). It experienced a devastating collapse, trapping all the performers within. Years later, they've all gone mad and have turned on each other and you. The facade is incredibly cool stuff,  the crumbling Grandeur with smoke emanating out of it. The first half or so of the house really makes it feel like you are walking through a theater that is incredibly unstable and is still collapsing as you walk through (in fact, it ends with you exiting through a burst of smoke. Seems like our trek was too much for the Grandeur, and it finally completely collapses right as we escape.). I really dug the  wide open, fully realized room in the middle of the house (Here, the room is themed to a ruined auditorium complete with stage, destroyed seats, and an opera box). There's also a hallway (themed to a dressing room) that reeks of baby powder (not an entirely unpleasant smell). Overall Puppet Theater was classic Horror Nights all the way, and it's tied for top house.

10/10

THE TEXAS CHAINSAW MASSACRE

"Step into the dilapidated Texas home of the depraved Sawyer family who welcome you with razo-sharp blades and a roaring chainsaw."

YEAH, BUDDY! This was my first house of the night, and I was not expecting to love it anywhere near as much as I did. There isn't much plot to the house, we are basically visiting The Gas Station and Sawyer House four years after the events from the first film. The facade is very cool, as we get to wind our way around the front of the gas station (oh yes, it's fully realized). The minute you step foot into the gas station (pretty much you enter in the way Sally did, where the kitchen is) you are bombarded with the scent of BBQ and cooking human flesh. If you are a fan of the first two Texas Chainsaw films, then this is the house for you. It really does feel like you have stepped into the world of those films. For my money, the best parts were the gas station facade, the out back/back yard/area in between the gas station and Sawyer house, the front stairs and "death" hallway (where that one guy gets brained by Leatherface early on in the first film. You get to walk into that hallway, without Leatherface coming for you.), the living room (with all the skeletons and feathers and stuff), and Chop Top's room (Yes, you get plenty of Chop Top here). I'd qualify this as maybe the sleeper house of the year. I bet many will sleep on this, but they would be wise not to. 

9/10

WELCOME TO SCAREY: HORROR IN THE HEARTLAND

"In Carey, bad things just happen. No one escapes from this small Ohio town beset by an endless parade of bloodthirsty creatures and maniacs."

A house that acts as a deep cut for long time Horror Nights fans (to the point where the town population sign places Carey in Wyandot County. Years previous Legendary Truth investigated The Wyandot Estate, which i assume must also be in Wyandot County). There is no real through-line, story, or over-arching theming (Doesn't really feel like you are traveling through Carey, either), and it resembles your classic "best of" house. Explore The Spawning, The Orfanage, Havoc: Dogs of War, Legendary Truth: The Wyandot Estate, Leave It To Cleaver, H.R. Bloodengutz: Holidays of Horror, Dead End, and The Hive. A very short house, but I was low-key delighted walking through it as, for the first time, I got to go through an anniversary house where I knew what house each room was from (Seemed like Dead End got the most love). Only downside is the house is very much so on the short side, but die-hard Horror Nights fans should be pleased.

6/10

THE HAUNTING OF HILL HOUSE

"Explore a decaying mansion that wants to trap you forever, forcing you to spend eternity listening to the sound of your own screams."

The Haunting of Hill House series on Netflix was superb, sublime, phenomenal, and scary. This house had A LOT to live up to, but it's undone by it's choice of location (inside the second parade warehouse). Hill House is a LARGE house, in order to effectively convey the sensation of walking through Hill House you need a large area to work with. The facade is pretty nice (A boarded up Hill House), but the inside is nothing but claustrophobic hallways that twist and turn (nice to see the pitch black hallway from Graveyard Games make a return though). It feels like you are traveling through the show, but it doesn't feel like you are ever in the actual Hill House. A nice attempt.

5/10

BEETLEJUICE

"Got trouble with the living? You know what to say: Beetlejuice. Beetlejuice. Beetlejuice. It's showtime."

This year's "fun" house. Here you get to explore some areas of the afterlife while also traveling through some moments from the film. The first room is with Beetlejuice acting as a carnival barker, ushering us into his house (pretty cool). After this, you walk into what is arguably the best room in the house, and something that I have sorely missed in recent years: The return of the revolving/spinning hallway. It's still dizzying, it's still tons of fun. Let's hope they keep bringing it back. The actual house is not bad, but also not as great as previous film-house adaptations. It's fun, imaginative, and faithful (Plus, you get to see the model)...I can't help but wish the ending wasn't so abrupt though. It's definitely worth a walk-through for fans of the ghost with the most and for the return of the revolving/spinning hallway. 

6/10

REVENGE OF THE TOOTH FAIRY

"The innocent traditions of the tooth fairy hide a darker ritual. It's an eye for an eye. A tooth for a tooth."

Set in Victorian London, the house follows the story of James Westhorne, the youngest member of the Westhorne family. When he refuses to give up his tooth to the tooth fairy, this enrages the fae folk. They swarm the house, murdering everyone inside and turning James into one of them. Here, we are walking through a beautifully realized pop-up book with voice-over narration. Some of the rooms feel and look realistic, yet the pop-up book aesthetic continues throughout the house. It's a very cool idea and an incredibly cool story. Naturally, the carnage inside is satisfying and icky as well. All in all, Revenge of The Tooth Fairy easily emerges as a new Horror Nights classic.

9/10

WICKED GROWTH: REALM OF THE PUMPKIN

"There is no breaking free from the vines of the Pumpkin Lord, here to entrap you in his ever-growing evil."

This is the other house tied for top spot. DAMN, was this awesome. After a short hallway full of glowing pumpkins, you find yourself in the realm of the Pumpkin Lord, another dimension or alternate reality he rules over with fear, terror, and brute force. Explore many locales (including a dilapidated house, a cabin/shack, a Witch's lair, and more. It's all very outdoors-y, backwoods, country town-esque). The settings, theming, and minion designs are all great, gorgeous stuff and the final reveal of The Pumpkin Lord and how he looks is kind of bonkers (in the best way). It helps that the whole house is strongly influenced by the Halloween holiday.  Best parts for me was the covered, wooden bridge you get to trek across about halfway through (the most impressive thing I've seen at Horror Nights in a long time) and the witch, who had some funny lines ("I'm the pretty one!", or when a victim starts to escape from a cauldron she bops his head and says "Get back in there."). Wicked Growth creates a compelling and fully realized dimension/reality that is always a joy to explore.

10/10

CASE FILES: UNEARTHED

"Follow the trail of a private eye as an investigation into the supernatural leads you into a dark world of ghouls and terrifying creatures."

Another deep cut for long time Horror Nights fans. This house centers around a fan favorite character first introduced in 2008. His name is Boris Shuster and he is a certified bad-ass. He almost put a stop to Mary Agana's madness, but arrived too late (She had already been murdered and thus turned into Bloody Mary by the time he got there). He would later go on to create Legendary Truth, a collective dedicated to investigating and fighting supernatural threats and events. In this house, we follow Boris after Mary Agana/Bloody Mary, but before he had created Legendary Truth. He walks the streets of New York, solving supernatural cases, fighting monsters, and collecting totems along the way (Totems apparently act as some sort of negative/bad/evil charging force). The first room is pretty neat, as we meet a Legendary Truth investigator who is doing research on Boris. What comes next is even cooler: We meet Boris, in his office overlooking NYC. Why is this cool? If you walk the NYC streets in Universal, you'll see he has an office window. This is how the room inside of that office window is supposed to look. Another cool moment is we get to walk into The Kitty Kat Club, which is also an actual facade on the New York streets of Universal. The house itself is very hard-boiled, pulpy, and film noir-ish but with a distinctive HHN/Supernatural feel. The story isn't the easiest to follow, and I believe all of the monsters are new. It's not the best house at the event, but it should delight die-hard fans of  HHN or Universal Studios Florida.

7/10 STARS

SHOWS

There were two shows this year: Halloween Nightmare Fuel and Marathon of Mayhem: Carnage Factory. I slept on both. 2 more Ls. Oh well.

RIDES

HOLLYWOOD RIP RIDE ROCKIT

A ride most don't care for, but I love.  I got to ride in the front row late at night to the track of Stronger by Kanye West (This is my preferred way to ride). The wind in your face/hair, the PERFECT views of Horror Nights, and the thrill of those coaster maneuvers make Rip Ride Rockit always a MUST at HHN. 

TRANSFORMERS: THE RIDE 3-D

First off, I LOVE the new lighting package on Optimus at night. He's illuminated in blue (his eyes still glow blue as well), and his sword glows orange/yellow. As for the ride itself...well, I finally got to cross a long-standing item off on my bucket list: I got to ride this sucker while high (Delta-8 THC. Legal weed). It definitely lived up to my expectations. 

REVENGE OF THE MUMMY

This is the best the ride has looked since opening day. The 180 Imhotep face launch scene looks great (not as good as opening day, but still much better than before). The ride looks darker, the LED mummy screens look brighter, and I noticed what might be a new mummy victim prop near the beginning of the ride (before Reggie). Mummy always makes for a very fun ride. It's a classic.

SUMMARY

2021 brought some changes to Halloween Horror Nights (another change I have yet to mention is that it seems the event has stopped titling years as ex: HHN 30, but instead ex: HHN 2021), luckily none of them served to dampen my enjoyment of the event in any way, shape, and or form. The story of how I got to this event is itself an interesting one. I bought my tickets for Sept.30 (with Express Passes), and asked one of my friends from work if he wanted to go with. He said his friends were going to go in October. I figured oh well, fuck this year's tag line (Never Go Alone), I guess I'm flying solo. The week of the event, my friend informs me that his friends decided they want to go on the 30th...they had no idea I was going the same date. Despite the night being a fairly average one for Horror Nights (ie: not bad/not super crowded), we kept having trouble meeting up until (around midnight) I found myself walking behind him in the Crypt TV zone. Crazy stuff. So, getting back on track: Halloween Horror Nights 2021 was definitely one for the fans, and a step up from 2019's event. The scares would have been there if not for the Plexiglass (I admit plenty of others in line were freaking out and screaming at the BOO moments, so maybe I'm just desensitized in general. Your mileage may vary, I guess), but the theming, storytelling, and design was on par with some classic Horror Night years. That's right folks, this is one you should not miss. So, mask up and wander into the fog. The nightmares are waiting.

10/10

CANDYMAN (2021) DARES YOU TO SAY HER NAME

 In Candyman, Anthony (Yahya Abdul-Mateen II) is an artist looking for inspiration. He moves into an upscale apartment in the now gentrified Cabrini Green (Yes, this is a REAL place with a sad history) with his girlfriend, Brianna (Teyonah Parris). Once he hears the legend of 'The Candyman', Anthony is hooked and decides to design his next project around the urban legend.

Anthony's display sparks interest, re-awakening and spreading the myth, inevitably leading to a new string of grisly murders. As he delves deeper into the roots of 'Candyman', Anthony finds his sanity unraveling. It begins to look like he might have a strange connection to 'Candyman', a connection that could directly alter his future.

Yahya Abdul-Mateen II plays the lead character of Anthony and is incredible. He nails the role. Anthony is very likable, but also kind of dumb (he is DIRECTLY responsible for the urban legend spreading like wildfire. That said, Helen was kind of dumb too). Y.A.M II really sells Anthony's descent into madness (although it's a bit hard to pinpoint what started it). Anthony is given a rich and satisfying backstory that makes his arc here all the more tragic and sad. It also raises questions on fate and free will (think Hereditary).

Teyonah Parris (who could previously be seen as Monica Rambeau in Wandavision) is fantastic as Brianna, girlfriend to Anthony. She witnesses first hand Anthony's battle with sanity, and it deeply affects her. Parris sells the hell out of her role, and her relationship with Anthony is believable. Both her and Y.A.M II work off each other very well, and they share a great deal of chemistry. You root for them as a couple.

As for supporting players, Colman Domingo appears in less than a handful of scenes as William Burke, a laundromat owner who first tells the story of Sherman's Candyman to Anthony. Burke is a friendly, affable guy and Domingo manages to make an impression. Vanessa Williams reprises her role of Anne-Marie McCoy, and is very memorable in her one scene.

In Candyman 2021, 'Candyman' is a figure with many faces, each one that of an innocent black man killed. The face he wears this time is that of Sherman Fields (Michael Hargrove), a weird hook-handed man who would give sweets to kids. When a candy is found with a razor blade in it, Sherman is blamed and beaten to death by a squad of cops. It is Sherman who continually haunts Anthony throughout the film, and it is Sherman who wreaks bloody vengeance on those unwise enough to utter "Candyman" five times.

The expanded lore is pretty cool, and appreciated. There are only two issues. One is that Michael Hargrove is ok as our 'Candyman' for this go-round, but he can't match up to the magnificence or strong presence that Tony Todd provided. The second issue is it's heavily implied that there are many 'Candymen' (or many faces 'the Candyman' can wear), yet we only get to see two in the film. It's hard not to wonder what other 'Candymen' exist out there, and the choice not to show a few more iterations is disappointing ( We get some brief glimpses, but that's it. Maybe that's where future sequels will come in?).

Candyman 2021 is a horror film with a few things to say about gentrification, ghettos, police brutality, coping through mythologizing/story-telling, and much more (It's incredibly "woke", and most of what it has to say you might have heard before). The messages are great, but they are delivered with blunt force. It's not quite as bad as Black Christmas 2019 was with it's aggressive messaging, but it's close. Regardless of your views on the messages and their execution, one thing no one can argue is how well made the final product is.

While Candyman 2021 was written by three people (Jordan Peele, Win Rosenfeld, and Nia DaCosta. The script falls flat in some moments), Nia DaCosta directs and this is clearly HER vision and HER film. This is only DaCosta’s 2nd feature film, but her directing is sharp and efficient. The biggest twist is that it will be Nia DaCosta's name on everyone's lips after the credits roll.

John Gulserian is in charge of cinematography, and in his hands Candyman is always a gorgeous thing to watch (one example: the extended inverted city-scape opening credits). Catrin Hedstrom edits and impresses (Some of the edits cut like a knife). Robert Aiki and Aubrey Lowe craft the score for Candyman, and it's equal parts haunting and beautiful (for example: The update to Helen’s Theme, called “Music Box”, is beautiful). Manuel Cinema (a Chicago-based performance collective) crafts the shadow puppetry used throughout to tell crucial bits of history. Every sequence featuring the puppetry is masterful, jaw-dropping, and exquisite.

The slaughters in Candyman 2021 are brutal, bloody, and gory. They manage to be some of the more memorable kills in recent memory thanks to superb staging, editing, and camerawork (the choice to leave some of the bloodshed off screen is an effective one). Despite how competently Candyman tackles most of it's elements, it doesn't nail everything. Some of the CGI work isn't the best (one particular effect near the end comes to mind), the storytelling can be a bit muddied at times, some of the supporting characters don't add much, and the third act/ ending isn’t as strong as what came before.

Candyman 2021 is a Legacy-quel (pronounced Lega-sequel). It's incredibly respectful and reverent to the first film while building upon and expanding it's lore. You don't have to have seen the original Candyman to appreciate and enjoy this continuation/reboot, but doing so will make this viewing experience all the more impactful and meaningful.

Candyman 2021 is a thoughtful, smart, and scary horror film that dares to deconstruct the Candyman urban legend, delving deep to the roots of why people continue to re-tell it and maybe why they continue to re-tell any urban legend. It continues the story of the first film, building upon it and daring to be it's own thing at the same time. Not only are the film's technical aspects impressive, the story it tells is satisfying and fun, the scares and kills are noteworthy, and it's messages are worth hearing. Candyman 2021 easily emerges as another strong, memorable, socially-conscious horror offering that is well worth your time and money. There is a very good chance it could end up becoming a new classic.

4.5 STARS

THE GREEN KNIGHT IS COMING FOR THE OSCARS

 The Green Knight is part of Arthurian legend. It doesn't follow King Arthur (Sean Harris), but instead Arthur's nephew, Gawain (Dev Patel);  a brash, headstrong, and foolish young man who dreams of achieving knighthood. On Christmas Day, an imposing Green Knight (Ralph Ineson) strides into Arthur's court and challenges anyone to land a strike on him, should they succeed then in a year's time it will be their turn to visit the Green Knight so he can return the blow in kind. 

Gawain, in his foolishness and pride, lops off the Green Knight's head. Undeterred, the Green Knight picks up his head and rides off, cackling as he leaves. That next Christmas, Gawain reluctantly sets out to complete his part of the bargain. Along the way, he will have great adventures and learn many things.

The Green Knight is the latest from writer/director David Lowery (Pete's Dragon, A Ghost Story, The Old Man and The Gun, Ain't Them Bodies Saints). It's with The Green Knight that he finally earns the status of visionary. This film is set in another world, a long time ago. It's a world of giants, beasts, knights, ladies, and sorcery. A world where honor and chivalry are the guiding forces of the day. The cinematography by Andrew Droz Palerma (A Teacher, The Long Dumb Road, You're Next, VHS: Tape 56, A Ghost Story) is simply sublime, perfectly capturing this fantasy world and effectively immersing audiences within it. There are large, wide open spaces and vast vistas throughout as well as forests, fields, caverns, and more.  It's hard not to feel completely transported as you watch.

I would be completely remiss if I failed to mention the other-worldly and transcendent score by Daniel Hart (Ain't Them Bodies Saints, A Ghost Story, Pete's Dragon). The score mostly consists of chants, whispers, and humming. It's often over-powering and always haunting. It really helps to transport you to this other world. 

Another reason The Green Knight works so well (besides the deft directing, strong script, and stunning cinematography) is the cast chosen for the film. Dev Patel stars as Sir Gawain and is fantastic, completely embodying the role. He is believable, empathetic, and all-too-human  as a young man whose brashness and dreams of knighthood  might just lead to his ruin...or lift him up to greater heights. It's thrilling to watch him go to face his potential death. With this role, Dev Patel firmly establishes himself as a true star. 

Alicia Vikander plays the dual roles of Essel/The Lady, and is great (as always). She acts as a love interest for our lead, and has a thought-provoking discussion with Gawain near the end of the film.  Kate Dickie (aka the mom from 'The Witch') appears as Guinevere, and is impressive. She is very kind and quite likable, and is host to one of the creepier moments in the film. Joel Edgerton plays The Lord, a friendly man who invites Gawain to shack up at his castle before his appointment with The Green Knight. Edgerton is memorable as a person that we don't quite trust (and indeed, he does have a nice surprise before he leaves the pic).

Emmet O'Brien is mostly in the background as Merlin (it's just nice to see the character here). Barry Keoghan makes a brief but memorable appearance as a Scavenger whom Gawain runs into during his quest. Keoghan really plays up his role, stealing the scene and chewing some scenery along the way.  Sean Harris also stars as the aging King Arthur, and completely nails the role. He brings a majesty, as well as a humbleness and a humanity to the role. He IS King Arthur.

Ralph Ineson (aka The dad in 'The Witch') plays the titular Green Knight, and is quite a sight to behold. WETA created the Green Knight, and they hit a real home run. The Green Knight is a majestic and imposing figure. He looks scary, but carries himself with an air of wisdom and sadness. His eyes in particular really suck you in. The Green Knight is an antagonist, but he isn't exactly a "bad guy".

David Lowery's The Green Knight is a re-imagining of a classic Arthurian text (some might also call it a "mythic morality tale") . The OG story was written sometime in the 14th century by an unknown author. Only one copy of the tale remains, surviving a fire in 1731. David Lowery's revision of Sir Gawain and The Green knight deals heavily with themes of honor, brashness, youth, mortality, the search for meaning, self-discovery, man vs. nature, man vs. self,  and much more. The film is ultimately pretty long and slow (If you found Midsommar too long or too slow, then The Green Knight likely won't be for you). It's methodically paced, and some might say it's self-indulgent and pretentious, though this reviewer disagrees. 

It's hard to imagine a world where The Green Knight doesn't have some sort of presence at The Oscars. It's score, acting, cinematography, visual effects, directing, and the film as a whole are worthy of nominations. The Green Knight provides audiences a thrilling, immersive escape from our world while still finding time to present numerous rich, culturally relevant messages and themes for us to chew on. It's easily the best film of 2021 (thus far). 

5 STARS

WHO IN THE WORLD THOUGHT CLIFFORD WAS A GOOD IDEA?

 In Clifford, Martin Short plays the titular 10 year old holy terror who manages to finagle his way into a stay with his uncle Martin (Charles Grodin) in the hopes the man will take him to Dinosaur World. When uncle Martin promises to do so, only to renege after Clifford embarrasses him at work, the 10 year old sets about methodically destroying Martin's life. There's also a creepy romantic subplot surrounding Sara Davis (Mary Steenburgen), Martin's girlfriend whom Clifford also has an intense crush on.

Yeah, this film is weird. It's centered around the idea of Martin Short playing a psychopathic self-centered 10 year old, and Short is unhinged here (Whether or not that's a good thing is up to you). His Clifford is never remotely likable. I will say the oddness of having Martin Short portray a 10 year old definitely had me laughing at times, though.

Charles Grodin is actually kind of great as the slowly unraveling and much tortured Martin. Short and him work off of each other fairly well, and it's a kind of schadenfreude watching things progressively get worse for Martin. It's not hard to share Martin's hatred of Clifford well before the end credits roll. Mary Steenburgen is given very little to do except be the dumb but kind girlfriend. Richard Kind also makes a fantastic cameo as Clifford's long suffering father. His reactions to Clifford's antics are hysterical.

Clifford was billed as a kids/family film, but in reality it's very dark, mean, sexual, and odd. I'm not sure who thought this was a good idea, but I'm glad they put it on screen. A film this weird, bonkers, and wrong doesn't come around too often, making Clifford a true treat for any lover of bad film. Complete with a book-end sequence that doesn't quite gel with the rest of the film, a surprisingly fantastic message (That doesn't exactly feel like it belongs here), and a very game cast, Clifford stands out as a memorably bad movie (One that I would love to read a tell-all book about).

1.5 STARS

IN THE HEIGHTS MOSTLY DOES ITS SOURCE MATERIAL JUSTICE

 note: this review was originally written June 14

Mostly faithful to the stage version (Some songs are switched around in terms of where they come in, some minor moments are changed, and a very minor sub-plot involving Dreamers plays a part as well), this long-awaited film adaptation is joyful, bright, energetic, and full of meaning.

Melissa Barrera (starring in the upcoming Scream reboot) plays aspiring fashion designer Vanessa and is fairly memorable, Leslie Grace portrays struggling college student Nina and is fine. Corey Hawkins is Benny, an underappreciated radio dispatch operator, and he fits very comfortably into the character. He definitely impresses with his energy and enthusiasm. Lin Manuel-Miranda plays a supporting role as the Piragua guy and is fun as always. Christopher Jackson (Benny in the Broadway production, George Washington in Hamilton) makes two brief appearances as The Mr. Softee guy, competitor to the Piragua guy.

The real star here is Anthony Ramos as Usnavi, a bodega owner and our narrator/central character. Usnavi is increasingly bothered by the gentrification of his neighborhood and dreams of escaping back to his home in Puerto Rico. Ramos first started out on Broadway in In The Heights as Sonny (My favorite character in the show. Sonny is portrayed here by Gregory Diaz IV , who is great and memorable. He nails the role). Ramos would go on to play the dual roles of Phillip Hamilton and John Jaurens in Hamilton. Now, he comes full circle as Usnavi (It's hard not to be proud of his journey). He is absolute perfection as Usnavi, bringing a charisma, likability, and youthful energy to the role. He totally nails it and is a burst of sunshine anytime he appears on screen.

The songs and dance numbers found within In The Heights are bright and energetic (with In The Heights and 96,000 stealing the show). The choreography (by Christopher Scott) is fun and infectious. Jon M. Chu previously directed Step Up 3D and he brings the same sensibility and visual style here (it works).

In The Heights is not a perfect film, it's also not going to be what those who loved Hamilton might expect. This is a smaller scale, intimate musical about a dying neighborhoods' hopes and dreams, and it's inhabitants every day lives. Expect to be moved, to feel joy, and to maybe even shed a few tears. It's a film about the importance of home, family, and friends. It likely won't win any Oscars, but In The Heights provides a good time and then some. After 2020, we could all use a good pick-me-up. In The Heights fits that bill.

4 STARS

TIP: Make sure you stay after the credits for Piragua reprise.

SPIRAL: FROM THE BOOK OF SAW WANTS TO EVOLVE THE SAW FRANCHISE

 note: this review was written May 16

Spiral is a Saw film that doesn’t want to be a Saw film, isn’t marketed like a Saw film, and doesn’t feel like a Saw film. Despite this, it still wants to retain some classic Saw elements and at the end of the day is still a Saw film. Spiral is an attempt to evolve the franchise, but the ideas and plot needed more development. I loved that corrupt cops are being targeted this time, and the plot of Chris Rock bring the sole good cop in a department of crooked officers. That said, there needed to be more depth. 

The message at the end of the day is that corrupt cops needed to be rooted out of the force. More would have been nice. I also didn’t love the reveal of who the Jigsaw copycat is ( it’s kind of obvious). Chris Rock is great as our lead, and his backstory is great too. Sam Jackson is slumming it here and isn’t given much to do, his screen time amounting to 20 mins or less. 

Spiral is significantly more graphic than Jigsaw was ( There are some stand-out traps, but none rank among the series’ best), but it’s likely the simplest Saw film we’ve gotten thus far. Here, we are only following one single storyline: that of Chris Rock’s Detective Banks, and how the investigation is starting to deeply affect him. This is refreshing. Spiral is likely the most colorful and visually appealing entry in the Saw franchise thus far as well. 

In the end, Spiral has more of a reason to exist than Jigsaw did. It’s actually trying to do something new and evolve the franchise, but it doesn’t do enough different to really stand out. It’s worth a watch for Saw fans, but if you are tired of this franchise this film likely won’t re-spark your interest.

3.5 STARS

CRUELLA IS A STEP IN THE RIGHT DIRECTION

 note: this review was written June 13

Cruella is certainly...different. It's definitely not what I was expecting from a Disney villain origin film. Emma Stone is great, though her Cruella doesn't really feel like the Cruella from either 101 Dalmatians film (The scene after her coming out as Cruella where she is driving her car is perfection though). Emma Stone definitely steals scenes throughout the entire film and her performance was top notch, so I don't necessarily blame her for the issues I have with the character, but more so on the script and what it gave Ms. Stone to work with.

Emma Thompson plays Baroness Hellman, a popular London fashion designer who takes Estella/Cruella under her wing. Hellman is without a doubt the best modern day Disney villain I've seen. She fits into the classic Disney Rogues gallery quite well. Joel Fry brought a surprising amount of heart and empathy to the role of Jasper, and Paul Walter Hauser was also great fun as Horace (He definitely resembled the classic Horace from the cartoon).

Cruella is not a great Disney film, but it is certainly pretty memorable thanks to superb cinematography by Nicolas Karakatsanis, editing by Tatiana S. Riegal, set design by Alice Felton, and costume design by Jenny Beavan. Cruella is set mostly in the 70s, and some striking clothing styles are featured throughout the movie. The sets can be incredibly visually appealing as well. Craig Gillespie (of I, Tonya fame) directs, and he brings an Indie sensibility, a punk-rock vibe, and an intense energy to the proceedings. Cruella is also bursting at the seams with great song choices (It uses music in a similar way to Suicide Squad), although it can get tiring after a while and some of the selections are a little too on the nose (Sympathy For The Devil as the closing song, for example). The film isn't afraid to get dark, mean, and "out-there" at times as well.

My biggest complaints with the film are it gets more than a little silly at times, it's not very faithful to the classic character or source material, and that Cruella isn't especially evil here (she also hasn't yet acquired her propensity for fur). At the end of the day, Cruella is the story of how a poor working class girl became the biggest fashion designer in London, and how she adopts the Cruella moniker and persona because it is more true to who she really is. There are also some very odd similarities to events seen in 101 Dalmatians, although this is indeed a prequel (There's an end credits scene too that only further convolutes things). There are enough visually striking, stand-out, WOW scenes that Cruella makes for an easy recommendation, although in the end it doesn't fully work as an origin story for the classic villain.

3 STARS

THREE O' CLOCK HIGH SHOULD HAVE BEEN AN 80S MASTERPIECE

 Not your typical 80's high school comedy.

Casey Siezmasko stars as Jerry Mitchell, a meek dork( He does the whole Matthew Broderick thing, but better than Matthew Broderick). Richard Tyson co-stars as Buddy Revell, an angry new student whom Jerry inadvertently pisses off. This leads to Buddy challenging Jerry to a fight after school, which Jerry desperately tries to find new ways out of before the clock strikes three.

The plot sounds pretty basic, but it's all in the execution. The direction (by Phil Joanou), cinematography (by Barry Sonnenfeld. Yes, THAT Barry Sonnenfeld), and editing (by Joe Ann Fogle) are all superb. The score by Tangerine Dream (always great) helps to accentuate the dream-like quality this flick has throughout.

The film has a surprisingly "elevated" look and style to it. The whole thing feels increasingly surreal, nightmarish, huge, edgy, and epic (in other words, it doesn't feel like a high school comedy). It helps that Three O'Clock High isn't afraid to get bonkers at times. Right from the opening shot of Three O'Clock High, you should know you are in for something special.

I was surprisingly motivated and inspired by this flick. To take what should be a dime-a-dozen, predictable high school comedy and find a way to make the proceedings fascinating, interesting, and new....it's impressive. Most of the film takes place in and around a high school, but it's easy to get forget that. The way the shots look and the shot composition throughout is jaw-dropping at times. I never thought high school interiors could look so cinematic and so different.

Three O' Clock High sets itself up as an average 80's high school comedy, and while it does fall prey to some tropes of the genre, average this is not. The film takes great joy in constantly surprising viewers. It's a damn shame that Three O' Clock High didn't become an instant classic. If you're looking for something visually inventive, stylish, and different...give Three O' Clock High a look.

4.5 STARS

THE FOREVER PURGE: THE BEST PURGE YET?

note: this review was written on July 2, 2021.

 In ‘The Forever Purge’, America has entered the darkest timeline. In the year 2048 (eight years after 'Election Year'), The NFFA have been voted back into power ( with a scary new logo to boot). The first thing they do is reinstate The Purge. What the NFFA doesn’t realize is that their creation and their base have spiraled dangerously out of control. After the most recent Purge, some rise up and attempt a violent overthrow of the Govt, wanting The Purge to never end. 

We follow Adela (Ana de la Reguera) and Juan ( Tenoch Huerta), a kind couple living in Texas who also happen to be illegal immigrants. They work on a ranch owned by Caleb Tucker (Will Patton), a sympathetic and wise old man. Caleb’s son,  Dylan (Josh Lucas), doesn’t approve of Juan and this causes some tension between families. When The Forever Purgers strike, Juan, Dylan, Adela, Caleb, and Emma Kate (Dylan’s heavily pregnant wife played by Cassidy) will have to band together and make a run for the temporarily opened Mexico border (Canada has also temporarily opened their border). 

The Forever Purge is the ballsiest installment in the franchise yet. It opens on Adela and Juan’s dangerous illegal trek across the border. There’s also a terrifying and creative animated opening credits sequence that fills in what happened in between ‘Election Year’ and now. 

The film is brutal, violent, aggressive, intense, and mean (all of these certainly more-so than previous installments). It also has quite a few thoughts about America today and the dangers of where we may be headed. Some of it’s dialogue is sharp, blunt, and direct ( you could also say too on-the-nose) and some of it’s effects aren’t great. That said, this is the best a Purge film has ever looked (and sounded. The score is the best of the series). 

The Forever Purge is stylistic as hell, and feels very different from your normal Purge outing. This fifth go-round benefits from a more southern/country aesthetic. It’s close to looking and feeling like a neo-western. Also, in The Forever Purge we don’t get a central antagonist. The villain this time around is all of The Forever Purgers ( and there are many of them). It’s a nice, subtle change. 

Most of our characters are likable ( even Josh Lucas’ racist, who softens by the end), with the stand-outs being Ana de la Reguera and Tenoch Huerta as Adela and Juan. Juan is a gentle, empathetic ranch hand who is struggling to improve his English. Adela used to fight the cartels, and now works in a factory. She believes greatly in America and is an optimist. Both actors work off of each other well, and they share a good deal of chemistry. You buy them as a couple and they are sweet together. Gregory Zaragoza pops in sporadically as Xavier, head of a Native American tribe horrified by what has become of America. He makes for a memorable character and Zaragoza’s performance is very good.

This outing does a lot right while still falling into the same old tropes of The Purge franchise. The characters aren’t fully fleshed out, the script isn’t the greatest, it still veers into camp occasionally (not a bad thing imo), there’s a good deal of bad jump scares, some of the proceedings border on feeling exploitative, and the film still takes time to revel in some of the chaos. 

James DeMonaco ( director of the first 3 films, writer of every one) wrote this outing, and it shows. He’s never been the strongest writer, but his ideas tend to be very interesting ( He definitely seems to have his finger on the pulse of what’s going on in America right now). Everardo Gout directs and he brings an intense energy to most of the proceedings. 

In the end, despite a lot of cynicism about the road America may be headed down, The Forever Purge still ends on an oddly hopeful note (which is nice). When all is said and done, The Forever Purge is far from a bad film. It’s actually the best of the franchise. The action is thrilling and intense, it’s messages are incredibly pertinent, and the whole thing feels very of-the-now. This franchise continues to remain a shamelessly, aggressively political one and this installment is the most divisive yet (this one is unafraid of pissing off alt-righters). That said, it’s flawed in the way the other Purge films are flawed. Luckily, the great parts outweigh the not-so-great ones. 

The Forever Purge is another (maybe the last? Wouldn’t be the worst thing) successful installment in the controversial  and divisive Purge franchise. Purge fans should be pleased.  It’s the 4th of July weekend, so I say why not go Purge? It’s an American tradition, after all.

4 STARS

THE WOLF OF SNOW HOLLOW ISN'T WHAT YOU EXPECT

 John Marshall (Jim Cummings) is a small town cop with big problems. He's a recovering alcoholic, a struggling father/divorcee, and he has anger management issues. When a rash of grisly murders seemingly committed by a werewolf terrorizes his small town, the pressure to catch the monster responsible sends John down a dark spiral that threatens to destroy him.

Jim Cummings doesn't just star in this dark horror comedy, he also directed it and wrote the screenplay. He has an expert grasp of the material he created and the character he plays, and is the shining star of the movie. He is simply phenomenal here (as is the script). John is kind of a dickhead, but a sympathetic one that is understandable, immensely likable, and easy to root for. That said, he continually gets into arguments with his fellow officers, doesn't treat any of them all that well, and even slaps some of them around at points.

John is a guy who's trying his best to do what needs to be done, yet continually comes up short. His co-workers are also trying their best but some are quite incompetent, so it's understandable why John would become frustrated (doesn't excuse his behavior, though). It's tough to watch John go through a negative transformation of sorts as his inner demons slowly begin to swallow him whole (Yes, the whole werewolf thing also acts as a metaphor for the monsters inside of us). Yet, even in his darkest moments, Cummings keeps John sympathetic, relatable, and likable. It's not an easy task that Cummings pulls off with surprising ease.

Luckily for us, Cummings isn't the only great actor here. Rikki Lindhome co-stars as fellow officer and friend to John, Julia Robson. She is one of the only people who's able to somewhat tolerate John's behavior throughout the film and is also very likable. Robert Forster plays Hadley, John's aging, unwell father and current Sheriff. John and him share a strained relationship. John clearly looks up to and admires his father, yet is continually very frustrated with him. Hadley refuses to admit that he has health problems, and is determined to see this case through to the end.

The Wolf of Snow Hollow deals with some very heavy, dark subject material (violent assault of women, alcohol abuse, the monsters lurking inside each of us) and the murder scenes are harsh, gruesome, and grisly. Despite all this, it's also a painfully funny film a good deal of the time. It's not often we get a film that is trying to tell us something, yet it does so while getting us to laugh along the way. It's honestly impressive.

The Wolf of Snow Hollow sets itself up to be a murder-mystery with a supernatural horror twist yet, it's biggest trick is that the film is more-so about one good man's descent into the darkest pits within himself. It's funny, it's tragic, it's dark, it's deep, and it's cathartic. With a phenomenal leading man, great supporting actors, a compelling mystery/story, and plenty on it's mind, The Wolf of Snow Hollow is one of the best surprises to come out in recent years. I don't know what I was expecting, but it certainly wasn't this.

5 STARS

WONDER WOMAN 1984 IS MINDLESS FUN

 In Wonder Woman 1984, Diana Prince (Gal Gadot) finds herself in the year 1984 and has adjusted nicely to the "modern" world. A mystical stone that has the power to grant wishes (for a price) is about to throw everything on it's ear. When broke business man/con man Maxwell Lord (Pedro Pascal) comes into possession of the gem, the future of civilization is threatened. Diana, along with a newly resurrected Steve Trevor (Chris Pine), will have to set things right. 

Gal Gadot continues to fit the role of Diana Prince incredibly well. She excels in a few emotional scenes and is always incredible in her action scenes. Pedro Pascal makes for an incredibly charismatic, likable, and sympathetic/empathetic villain. He starts the film as a man on the edge, about to lose everything, and he only grows more unhinged and desperate as Wonder Woman 1984 progresses. His quest for success, power, and MORE might lead to his self-destruction. Maxwell Lord's villain arc is a satisfactory one, and he makes for a memorable character.

Chris Pine, once again, might be the strongest part of this latest outing for Wonder Woman. His awe and wonder at how far flight technology has advanced is adorable as hell. Here, he plays a fish out of water, constantly awed (and sometimes thrown off balance) by just how much the world has changed and progressed since his passing. He is still the beating heart of the Wonder Woman franchise (though it's best if they lay his character to rest for good after this one) and acts as a bit of a moral compass for Diana this time around. 

Kristin Wiig plays Barbara Minerva/Cheetah, a mild-mannered, milquetoast, warm-hearted worker at The Smithsonian Institute and close friend of Diana's. Wiig sells her role pretty well, and it's interesting to watch her character slowly turn into a villain. Her interactions with Diana are also very entertaining, and there's a nice poetry to the changes undergoing her character and Diana's. That said, she doesn't feel like she belongs here, and let's be honest, she's only here so that Wonder Woman will have a super-villain to fight in the last act. Barbara Minerva/Cheetah is definitely a good character, she just would have been better served if they had saved her for a later film (or maybe just have her be Barbara, and save her transformation into Cheetah for another outing). 

Wonder Woman 1984 is set in 1984 (duh), and the visual palette and score are very appealing. This is a colorful film that pops off the screen, and the score has some synth vibes to it (always appreciated). There are also some nice set pieces (like a shopping mall) that are utilized to good effect. That said, the aesthetics of the 80s was not the only reason they chose to set this sequel in that decade.

Wonder Woman 1984 is a film that condemns the virtues of excess (the theme of excess and material culture play a role here, hence the 80's setting. The choice to set this film in the 80's was, in retrospect,  an obvious one) , yet one of it's biggest problem is that there's too much here (ironic, no?). The film's first two acts work very well, and are very entertaining, though you can't help but feel it's more often than not bogged down in sub-plots, like it has too much on it's plate or that it's trying to do too much. There are also some scenes that feel like they could have been easily excised with little to no negative impact on the proceedings. 

The third act is what ends  up bringing an otherwise very good film down to the level of just good. The last 30 minutes just flat-out sucks. The final battle with Cheetah is murky, dark, and unsatisfying. The big showdown with Maxwell Lord quickly turns into a schmaltzy, preachy, unfulfilling message-fest. The final holiday segment was clearly done  in a self-aware attempt to market towards the Christmas time demographic (it feels like execs knew this flick would be released around the holiday time). It's a shame that Wonder Woman ends up falling flat on it's face on the pavement, breaking it's nose, and cracking it's skull wide open as it nears the home stretch (I'm serious, the last act really is that bad. It makes all of Wonder Woman 1984 feel like a message movie....ugh).

Wonder Woman 1984 is a mixed bag. If you reach inside you'll find some Skittles and Blow Pops along with some lemons and TaB soda. In the end, Wonder Woman 1984 is not  a strong film. That said, it's not really bad. I would qualify it as "good". Go in expecting some popcorn munching, soda slurping fun and you should be fine. It should have been better, but it could have been worse.

3 STARS

PROMISING YOUNG WOMAN'S GOT CLAWS

 Cassie is an unhinged barista at a coffee shop who, along with her best friend Nina, was headed for great things. After Nina is sexual assaulted, her allegations fall on deaf ears. Cassie and her drop out of college, and a traumatized Nina eventually chooses suicide. Cassie, unable to cope, winds up living with her parents. In her free time she frequents clubs and bars where, a master at acting completely shitfaced, she preys on any male unwise enough to take her home. Things change when Cassie discovers that Nina's assaulter is soon to be married and will be hosting a private bachelor party soon. This proves too much for Cassie, and she enacts an elaborate revenge scheme that encompasses everyone involved in Nina's assault.

Promising Young Woman is a fierce evisceration of date rape culture, "the nice guy", violence against women, and college ethics when it comes to sexual assault allegations. Carey Mulligan is great as our lead, Cassie. The film plays with just exactly what she is doing to her victims, but ultimately only hints at the truth, allowing audiences to come to their own conclusions. 

Bo Burnham shines as what is essentially the second lead of the film. He plays Ryan, a fun-loving children surgeon who knew Cassie back in college and manages to break down her defenses. He's the first guy Cassie has had any feelings for since Nina's assault, He nails his role as a guy who genuinely seems like he might be the only real nice guy in the flick. He is in the film a lot, but ultimately isn't given a whole lot to do. That said, it's nice to see him here.

The rest of the supporting cast is strong as well: Clancy Brown plays Cassie's father, Jennifer Coolidge (aka Stifler's mom) plays Cassie's mom, Molly Shannon play's Nina's mother, Connie Britton plays the dean of Cassie's old college, Alison Brie plays an old schoolmate of Cassie's, Alfred Molina as an attorney for Nina's assaulter, Adam Brody and Christopher Mintz-Plasse play "nice guys" whom Cassie meets at bars, and Laverne Cox as Cassie's boss at the coffee shop. 

When Promising Young Woman isn't ripping into it's subject material with zeal, the film is covered in bright, bubblegum pastels and it's soundtrack consists of poppy, catchy tunes. It's enough to make you forget you are watching something tragic and dark.

Promising Young Woman has quite a bit on it's mind, and it isn't shy about the messages it has to share. This is a film that doesn't pull any punches and doesn't care about your feelings. It's a splash of ice-cold water to the face and is guaranteed to make any guy think twice about picking up drunk women at bars. Thought-provoking, mean, darkly comic, and "fun", Promising Young Woman achieves what it sets out to do.

4 STARS