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Reviews
Brothers (2024)
Inoffensively unfunny
Brothers is barely a comedy. There's a handful of laughs interspersed throughout but that's nowhere enough to sustain it even at a mercifully brief 90 minutes. More than anything else it's just frustrating to see so many talented people waste their talents on something so utterly disposable and lifeless. It's at least inoffensively low quality and has a memorably gross scene worthy of the Farrelly brothers.
This cast is massively over qualified for what this is. Josh Brolin & Peter Dinklage can keep this going for as long as needed (just about) even if their rapport lacks the spark to make it truly memorable. Glenn Close proves she's willing to do anything however it's not a good thing in this case and Brendan Fraser is by far the best thing about this with a manic energy which briefly brings the film to life whenever he appears.
Max Barbakow's direction is thoroughly low energy to the extent it's hard to believe this is the same director who made the brilliant Palm Springs. It just goes through the motions without anything of merit apart from the one scene involving a fairly uncanny CGI Orangutan. The most noticeable set piece that misses the mark is the chase across a golf course which is deliberately slow and still lacks any spark.
Friday (1995)
So deservedly iconic
Friday is so iconic that it's likely you've seen some of the biggest moments many times before they appear here and it doesn't even remotely hinder their effectiveness. It's a great comedy where the biggest laughs are interspersed throughout and even though it has an aimless easy going nature, there's a clear narrative as well as some satisfying character arcs. It's very specific in everything it's doing and yet it's still got some universality.
Ice Cube gives a very natural lead performance thanks to his general likeability in the role, making it a pleasure to spend 90 minutes with him and it only gets better when he shares most of his scenes with Chris Tucker, who's boundless mischievous energy is in full effect. He gets a lot of good laughs but surprisingly it's John Witherspoon who gets the three biggest laughs pretty much back to back whilst also delivering a standout dramatic beat.
F. Gary Gray's direction brings a lot of style which merges naturally with all the comedy. Contrary to what the critic consensus on Rotten Tomatoes may say, there's actually a nice amount of unobtrusive directorial flair present from beginning to end. There's also a suitably breezy score from composers Simon Franglen, Chuck Wild, and Frank Fitzpatrick and an equally on point soundtrack that manage to strike a good balance.
Anora (2024)
Pretty Woman meets Uncut Gems
Anora is an early career magnum opus for Sean Baker that continues to destigmatize sex workers and offer some thoughtful class commentary as the uber rich mess around with the lives of others for a good time with no thought about the consequences for them. It's great when it acts like Pretty Woman and only gets better when it shifts gears into Uncut Gems territory with a highly tense second half that's also really funny throughout.
Mikey Madison is everything in a film that's built around her star making performance which confirms she only deserves more leading roles. She's so confident and refuses to back down whilst being endlessly likeable. It makes everything incredibly investing because you just want her to get the fairytale ending she's been promised, making you hold onto the slightest shred of hope even as reality sets in at every turn.
There's a strong cast of supporting characters too. Mark Eydelshteyn makes Ivan seem nice in spite of his obvious flaws before sadly revealing that he is just a spineless spoiled brat. Yura Borisov, Vache Tovmasyan, and Karren Karagulian are a delightful trio who just spend the majority of their screen time dealing with an awful job which quickly morphs into a spectacular comedy of errors so you just feel really bad for them.
Sean Baker's direction is amazing thanks to an air tight grasp of the tone, allowing it to do the big shift gracefully and the striking opening scene set to Take That sets the scene beautifully. His editing is a standout since this is 139 minutes without feeling overly long. The home invasion sequence goes on for a while and it's only a good thing since it keeps escalating and it definitely helps that the middle chunk is an in the moment search across town for Ivan.
Heretic (2024)
Tightly contained and smart horror
Heretic puts religion through the ringer in a thoroughly gripping slow burn that's got plenty of tricks up its sleeve. It presents its central argument with some unexpectedly funny metaphors and then pokes holes in its theories, pivots to a brief improvisation and finally reveals what this game has all been about in a satisfying fashion. It's a one location horror that doesn't delve as deep into the shifting areas as you'd expect but finds plenty of ways to make up for that.
Sophie Thatcher and Chloe East are a really good pairing because they contrast each other so well. Sophie Thatcher is more world weary whereas Chloe East is more naive as it seems like she misses obvious traps. That contrast is shown in everything from their costumes to the media they reference and how they reference it. Plus the film cleverly plays with your expectations based on what it tells you about them and the actresses previous roles.
The main attraction is undoubtedly Hugh Grant continuing his winning villain streak with a delightfully evil performance as he revels in what he's doing and is effortlessly threatening whilst delivering cheesy jokes. He contorts his natural British charms into something more off putting so even when he's being warm there's still something uncomfortable about it and it's made more effective because he always retains some composure, even when things don't go to plan.
As writers and directors, Scott Beck and Bryan Woods sustain the longest scenes through the meaty dialogue and Chung Chung-hoon's excellent slow moving cinematography and the horror succeeds by keeping jump scares to an absolute minimum. The lengthy debates about religion and its many forms are so enthralling the length almost goes unnoticed and the cinematography employing a lot of close ups and gradually moving between whoevers speaking adds a sense of dynamism.
Relic (2020)
Affecting horror
Relic is an emotionally affecting drama about the effects of dementia whilst also being a really creepy horror film that builds slowly and effectively to a gnarly body horror climax. It's the epitome of 'elevated horror' and can balance both sides really well so it can have deeper themes and be about something important without skimping on the scares. The fact that the central metaphor is simple and bluntly stated doesn't massively hinder it.
Emily Mortimer and Bella Heathcote are amazing as they struggle with their inner turmoil. They genuinely want to help but at the same time they do look for the easy way out and then feel bad for considering it. Robyn Nevin is very convincing when she needs to be unsettling or threatening; however, her greatest strengths lie in how she's able to remain empathetic even when things have properly escalated at the end.
Natalie Erika James directs a strong debut film that's got a potent atmosphere enhanced by the rotting setting that contains all the scares, even if it's almost too dark at points. The scares weaponise some of the most potent fears with claustrophobia, fear of the dark and the uncomfortable possibility of something lurking under your bed all being employed for the strongest moments. Plus the drama interspersed between them is equally impactful.
Bone Tomahawk (2015)
Fantastic original slow burn
Bone Tomahawk is a slow burn at its finest. It really takes its time to get things into motion which only makes it more engaging and actually enhances the growing sense of unease as it's held for an unrelentingly long time. It's always nice to see a western because they're so infrequent and it's especially satisfying to see such an original idea as well with the classic western trappings morphed into something more horrifying.
The longer run time and slower pace lets the cast really sink their teeth into the roles. For a large portion of the film it's just Kurt Russell, Richard Jenkins, Patrick Wilson, and Matthew Fox traversing the unforgiving landscape and it never comes close to being boring thanks to their dynamics. There's conflicting morals and ideologies between them that come through in the thoughtful yet strained conversations with resolutions occurring in a believable fashion.
S. Craig Zahler's direction gradually builds the horror, starting as stories then unsettling sounds as they approach the cannibal's territory and it culminates in some unforgettably horrific gore that is limited to one major scene to leave a real impression whilst brutally establishing the stakes for the third act. The music by S. Craig Zahler and Jeff Herriott has an air of sadness which perfectly compliments the final moments.
Terrifier 3 (2024)
Best one yet
Terrifier 3 proves this franchise only wants to improve by responding to the criticisms of the last one. It's thankfully closer to 2 hours this time and the kills only continue to feel more balanced. It really doesn't waste the potential of its festive setting and understands the appeal of these films, so it just escalates them to new heights. The only thing holding this one back a bit is the deeper exploration of the mythology, which just brings unnecessary baggage.
By this point, David Howard Thornton has cemented Art the Clown as a new all time great horror icon. His performance only dials up the dark humour to great effect as he relishes what he does, making every scene with him unforgettable. It helps the tension too because once that smile drops things always get intense. Equally as important to any of this working is returning final girl Lauren LaVera, who keeps the proceedings seriously investing thanks to her amazing performance.
Once again, there's a noticeable leap in budget working in its favour. Allowing everything to get bigger without losing its sense of identity. Damien Leone's direction starts things off beautifully thanks to an opening sequence that confirms exactly what this film is and isn't afraid to do and shows he still hasn't run out of fresh ways for Art to torture his victims. Paul Wiley's synth heavy score continues to be the ideal pairing for what this is going for.
47 Meters Down: Uncaged (2019)
Inoffensively bad
47 Metres Down: Uncaged represents a marginal improvement over its predecessor thanks to a more interesting location that allows its characters to remain trapped without being stuck in one place. It's the right kind of stupid since fish scream and Sharks are blind but it's execution doesn't nail the so bad it's good tone it could have and it's certainly not good enough to be an actually engaging thriller.
Other than it being less than 90 minutes with credits, the strongest aspects are the impressive underwater sequences and some of the performances. All of the stuff underwater is an easy win because it sets a relatively atmospheric and claustrophobic scene. It's small cast, mostly made up of canon fodder in which Sophie Nélisse and Corinne Foxx anchor everything by making a very predictable arc investing enough.
Director Johannes Roberts crafts scares that almost exclusively result in a cheap jump scare, hindered further by the fact that every death is overly telegraphed to the extent any surprise has been completely removed. It's powered exclusively on tropes and the use of slow motion backfires in fun fashion. The CGI employed for the Sharks is noticeably cheap and pushed past its breaking point when they get way too close to the camera.
Gerald's Game (2017)
So good until the end
Monsters come in many forms in Gerald's Game, a really solid (mostly) single location thriller that goes beyond the sex game gone wrong to offer a thoughtful exploration of overcoming childhood trauma. Unfortunately, it does that through an extremely clunky exposition dump topped off with an ending that just takes a wild tangent and since it's come after a strong first two acts, it becomes a very fitting Stephen King adaptation.
Carla Gugino is incredible in a lead performance that does so much heavy lifting. She makes the final exposition dump work as well as it can and spends the majority of the film in a highly distressed state while having conversations with a more self-assured version of herself. Bruce Greenwood brings confidence as becomes the voice of doubt and Henry Thomas continues his Flanagan collaboration with a much more unsettling role.
Mike Flanagan's direction sustains the tension constantly and delivers thrills through disturbingly detailed injuries and haunting imagery enhanced by the darkness in which they manifest. Michael Fimognari's cinematography doesn't let being confined to one location for a large portion prevent it from being dynamic thanks to its understated movements and the way it blends multiple locations together at once.
Venom: The Last Dance (2024)
Surprisingly emotional ending
Venom: The Last Dance is comfortably the weakest of the trilogy thanks to its nonsensical plot and a villain who's a complete non entity. However, by dialling up the goofiness and honing in on the central bond it can still be brainless entertainment, massively helped by an ending that actually commits to a genuine sense of finality. It makes the final moments unexpectedly emotional with some actual weight which is a godsend in a genre that never ends.
Tom Hardy is pretty much carrying this as usual. His bond with his symbiotic self has never been better as they're at a place in their relationship where they have no issues being vulnerable with each other and the constant bickering that gives this film its best jokes remains intact. It's essentially acts as a fun road trip movie for a large portion which only works because of him and the ending also relies solely on him.
It's impressive how many actors are given thankless roles here. Juno Temple and Chiwetel Ejiofor are given very one note characters and Stephen Graham has never been given a more thankless role that's just a colossal waste of his talents. There was absolutely zero point in bringing him back. Rhys Ifans on the other hand, plays to his strengths thanks to an easygoing hippie character allowing him to have a lot of fun.
Its never a good idea to start your directorial career with a $120 million comic book movie so the fact that Kelly Marcel's direction is able to make any of this coherent is a miracle. Plus, she does create a couple of challenging set pieces underwater and involving animals. Dan Deacon's score is utterly generic, compensated for by a larger selection of songs than previous entries had, including an oddly fitting Maroon 5 song for the end.
El asesino del juego de citas (2023)
Tense and real
Woman of the Hour is a thriller that's rife with tension and steeps all of it in something very real as it makes a connection between the horrific actions of a serial killer and the blatant misogyny present in everyday life. It's a strong showcase for Anna Kendrick's newfound skills as a director and is designed to leave you shocked because of the closing text so hopefully it doesn't end up getting buried in Netflix's back catalogue.
Anna Kendrick's performance has a stoicism since she is forced into a lot of uncomfortable scenarios without being able to show her discomfort. The only joy comes from her ability to control the game show and have a lot of fun doing so. Daniel Zovatto is almost too good at being unsettling. Every scene he's in has you on edge and the scenes that show how he can't cope with his own insecurities only makes him more dangerous.
Anna Kendrick's direction is really good. The 70s setting isn't recreated authentically and it definitely lacks the grain but the greatest strength is the tension crafted here which is so palpable and goes on for an unbearable amount of time. Zach Kuperstein's cinematography is impressive as it subtlety moves through scenes and then ends on a striking image whilst doing quite a bit with reflections.
Never Let Go (2024)
Solid Shyamalan style horror
Never Let Go is a Shyamalan inspired horror that burns slowly and has a clean structure. The central mystery is engaging enough to sustain it even if the answer disappointingly proves both answers are right at the same time. It's a story of a parent wanting to protect their children from the dangers of the outside world but holding on too tightly with a solid psychological aspect and a couple of surprises inside of the familiar narrative.
Halle Berry gives a very committed performance that's equal parts caring and intense throughout. Her performance is a big reason why this works as she sells the fear of the outside world whilst laying doubts about whether she's telling the truth. Anthony B. Jenkins and Percy Daggs IV are both really good, especially when the film heavily relies on them towards the end and Percy Daggs IV becomes an anchor for everything.
Alexandre Aja's direction brings a potent atmosphere to the proceedings and crafts some good jolts throughout, including one particularly memorable and unsettling creation during the third act. The atmosphere is enhanced by the sound design which distorts natural sounds to create unease that starts in the very first scene and the score by Robin Coudert has a fittingly dark fairytale quality to it.
Host (2020)
This generation's Blair Witch
In terms of perfectly timed releases, they don't get more on point than Host, a pandemic set horror film that uses the distance between its characters to ratchet up the terror as they're trapped, isolated and escape isn't an easy option. Every spike in the audio or image that's low quality without syncing up with the corresponding dialogue not only adds real authenticity but also increases the atmosphere in the same way The Blair Witch Project used its own imperfections to do.
The cast are all terrific. Everything they do feels genuine which makes their early banter a joy to watch and it honestly could have gone on for a lot longer on their rapport alone. However, this is an extremely efficient film so it doesn't take long for things to go horribly wrong and once they do everyone sells the fear beautifully and that is essential for one particular scare that only works because of them.
Director Rob Savage and the whole cast create a real technical marvel. The zoom setting works wonders when it comes to creating scares that are hidden in the backgrounds or masked by deliberate technical errors and there's so much to take in with the meeting offering multiple frames within frames. Each scare is all the better for being unrelenting in its outcome and the stunts are endlessly impressive.
The Apprentice (2024)
Standard biopic elevated by performances and craft
The Apprentice is a standard issue biopic that covers as much of Donald Trump's rise as possible. What makes it better than that sounds are the strong performances and stylish filmmaking, which elevate it into something more memorable. A supervillain origin story is an extremely fitting description for a film that's main ambition is to show how a monster was created and lost any shred of humanity that was there to begin with.
Sebastian Stan gives an amazing performance shortly after his phenomenal performance in A Different Man, proving he's the best actor currently working in and out of the MCU. He nails the look, mannerisms, and bullish personality of Trump and comes closer to looking like him as it goes along. Jeremy Strong was born to play roles like this due to his ability to convey a dominant and unflinching presence with ease, plus it's not his first time doing this either.
Ali Abbasi's direction has a strong grasp of the tone as Stan taking the final step into his Trump transformation is horrifying in more ways than one and uses Kasper Tuxen's frenetic documentary style cinematography to bring a lot of energy to the proceedings. The soundtrack contains some appropriately lively songs to keep that energy going and the score by Brian Irvine, Martin Dirkov and David Holmes doesn't sound how you'd expect, which works in its favour.
Smile 2 (2024)
A more psychological sequel
Whilst it's a very effective, if overly long, Voss water commercial, Smile 2 also happens to be a great horror sequel that doubles down on the gore and massively increases the goofiness for an unsettling psychological thriller that has more to say than the original thanks to its pop star protagonist and focus on the isolating nature of fame. Even when it commits to the same miserable conclusion there's more bite to it this time.
Naomi Scott proves she deserves to be a star with an incredible performance that requires her to be hysterical for such a large portion of the film and she's always able to escalate it even when it feels like it can't get anymore intense. She chugs water like a pro and brings the physicality of a pop star effortlessly. The people who do the sinister smiling are all really well chosen, especially Ray Nicholson who has an added uncanny quality because he looks so much like his father.
Parker Finn's direction can't create jump scares that are as scary as last time and compensates for it with a different set of skills as the ones here either try to be cringey, disturbing or creepy and they all excel at those. Charlie Sarroff's cinematography has only gotten more confident this time round and that starts instantly due to the really good one take, succeeded by a steady stream of canted angles and inverted cityscapes.
The Wild Robot (2024)
Peak Dreamworks
The Wild Robot is undoubtedly the best animated film of the year in what has been a strong year for the medium and proof that Dreamworks can be hit and miss, but when they make a hit it's top tier stuff. It's a beautiful story about parenthood and what's sacrificed to raise a child, which is all worth it in the end. It's the sort of film that moves you to tears multiple times because it's so easy to get invested in and so emotionally open.
Lupita Nyong'o gives an incredible performance, showing she's a natural at voice acting as well. She starts off very enthusiastic and suitably robotic with more emotion gradually revealing itself as she continues to raise her child and by the end there's so much humanity in everything she says. She's supported by a strong supporting cast with Pedro Pascal being the best as he's really loveable even when he's being very cynical.
Writer & Director Chris Sanders cements that he's one of the best in the medium and this film might be the best one he's made so far. The writing is surprisingly unafraid to acknowledge the harsh reality of death in ways that are both darkly funny and honest. It's impressive how long the film goes without loads of dialogue and when it does come into play, it only enhances the themes by allowing characters to state them in a poetic yet succinct fashion.
The animation is absolutely gorgeous, finding another unique way to tell its story in a way that looks like a story book come to life. There are plenty of striking frames and it's always vibrant; however the third act takes it all to a whole new level. The amazing score by Kris Bowers is vital for the film to achieve its emotional ambitions and that goes hand in hand with how epic it becomes whenever it's used for the biggest moments.
Pánico en el Transiberiano (1972)
Saved by the cast and short length
Horror Express is only 80 minutes long and yet it's still long winded. There's a really fun premise here but it just takes too long to get going because it wallows in its first act and only gets to the real goods in the last 10 minutes. However, that mercifully short run time remains a huge positive and the totally game cast can keep this thing entertaining enough to warrant a one time watch.
Christopher Lee and Peter Cushing are always a wonderful pairing who both completely understand what kind of performance this requires of them and do a lot of the heavy lifting when it comes to sustaining the film until the ending. The same applies to Alberto de Mendoza and Telly Savalas gives this a much needed burst of energy from the moment he appears, even if he ends up being massively underutilised.
Eugenio Martin's direction is solid. The model work is endlessly impressive and used frequently to become a constant highlight. The actual scares are simultaneously less frightful than you'd expect and bloodier than anticipated with some surprisingly gory dissections. The score by John Cacavas doesn't bring any of the required fear factor but it certainly avoids going unnoticed thanks to its odd choices.
Run (2020)
Really good schlocky thriller
Run is a well made schlocky thriller that doesn't explore the complicated nature of its central relationship as well as it could have but can still use the premise for some really solid thrills. It gets broader as it goes along and always finds new ways to escalate even when it feels like it's got nowhere to go with an ending that fully commits to its increasingly schlocky nature which still works for what it's going for.
Sarah Paulson can be so extreme in effortless fashion and this role gives her the opportunity to be unhinged for such a large portion, only keeping it all at bay for the first handful of scenes. Kiera Allen is amazing in an incredibly empathetic lead performance. She's extremely resourceful, which is always satisfying in a film like this, and it only enhances the tension since her resourcefulness still has to push some big boundaries to escape.
Aneesh Chaganty's direction here shows what he can do outside of Searching's wonderfully high concept construction thanks to a collection of set pieces that get all the tension they can from their neatly set up scenarios and aren't afraid to get pretty intense when it comes to the solutions. Torin Borrowdale's score knows exactly what this film is going for and can ratchet up the suspense and ensure the tone remains clear.
Ouija: Origin of Evil (2016)
Strong prequel
Considering the poor reputation of the first Ouija, the fact that Ouija: Origin of Evil is really good is a pleasant surprise and at the same time it's kinda obvious that this one would be a lot better with Mike Flanagan at the helm. It's proof that he can turn some of the most lifeless ideas into something worthwhile, which bodes well for his upcoming Exorcist film. The only thing working against it is being a prequel and that's balanced by strong scares and a deeply human approach.
Annalise Basso and Elizabeth Reaser are great as they have an earnest mother daughter dynamic whilst bringing some emotional heft to the horror thanks to their pained reactions. Lulu Wilson has the required innocence early on which she can then contort into something more off putting performance later on and Henry Thomas gets to play a priest who supports with genuine care and subtlety.
Mike Flanagan's direction wholeheartedly commits to the period aesthetic well beyond the grain of the image, employing old school filmmaking techniques for maximum authenticity. Some of the scares are a little goofy but overall they get the desired effect without announcing themselves and are all the better for it. Michael Fimognari's cinematography is amazing as it moves with the characters in such a dynamic yet unobtrusive fashion.
His House (2020)
Horror rife with scares and commentary
Horror and social commentary work really well together and His House is a prime example of both going hand in hand. It's an honest depiction of the refugee experience that's got plenty of smart and genuinely terrifying scares interspersed throughout for the ultimate horror film that's fantastic in the moment and designed to leave a lasting impression. It uses the haunted house structure to show the struggles of adapting to a new life without completely forgetting the previous one.
Sope Dirisu and Wunmi Mosaku are amazing together as they try their best to adapt to their new setting without letting everyone around them get under their skin. While Sope Dirisu gets to portray the fear for most of the scariest moments, Wunmi Mosaku gets the majority of the flashbacks that reveal why they're both so tormented, giving it a nice balance. Moments of warmth are few and far between, making them all the more impactful.
Remi Weekes has made a fantastic feature film debut with his writing & directing creating so many individual moments that are striking and communicate everything the film is about in different ways. It starts in a way instantly that grabs your attention and ends on a collection of powerful images. The way it transitions from the drama on the London council estate to every stage of their journey and back again are endlessly inventive.
The scares that are crafted here avoid cheap jump scares, instead opting for intense terror that prefers to linger for an unbearable amount of time, making them all the more effective and using the contained environment in creative fashion. The titular house is basically the third most important character as it looks suitably decrepit and constantly reflects the mental state of its characters as the story progresses.
Haunt (2019)
Rough but fun
Haunt knows how to torture it's characters without being exploitative. The stupidity of them is nicely counterbalanced by the structure of its setting and how it constantly finds new things to do with it. Eli Roth's producing credit is rather fitting because this feels like a toned down entry point into his gruesome world that's more accessible and contains some of the preoccupations around trauma that the genre is currently obsessed with.
The whole cast do a really good job at making their characters likeable with a believable friendship and their early naivety is funny more than anything else. Katie Stevens and Will Brittain are designed to be the best ones out of the group and their performances are strong enough to make up for some of the baffling decisions that their characters make even after they're fully aware of what's actually going on.
The direction by Scott Beck and Bryan Woods is rough around the edges but good at the essentials of horror, creating memorable kills that arrive in shocking fashion and are perpetrated by antagonists with memorable looks that only get better once the masks are off. The pacing is really strong too as it spends just enough time having the characters ignoring the red flags and then revealing and revelling in the terror.
It's What's Inside (2024)
All time great body swapping
It's What's Inside is a great body swapping thriller that demands your full attention and is immensely rewarding once it's given as the film is constantly changing to keep things fresh and takes full advantage of the body swapping to bring out the worst in its characters. It only slightly fumbles in its final moments but everything beforehand is utterly thrilling and the twists are wonderful disruptions.
The whole cast is excellent. The first time they change bodies is incredible, enhanced by everyone being on screen at once to show how freaky it is and it's hard to focus on anyone in particular when everyone is on point. After that they change again and again so all of them get to play multiple characters and are so good it's hard to keep up, which is part of the fun. It's an impressive feat that no one gets sidelined, even after death.
Greg Jardin's direction has a lot of neon drenched style that's employed with a few other creative flourishes to make it easier to tell who's who, so they serve a greater purpose. His editing is really tight and that allows the film to gain a rhythm quickly and then it's never lost. Kevin Fletcher's cinematography is beautiful as it moves through scenes extremely gracefully and gets more chaotic as it goes along.
The Visit (2015)
M. Night Shyamalan's return to form
The Visit is M. Night Shyamalan's glorious and twisted return to form. After a few large scale misses, it's great to see M. Night go small scale again, rediscovering what makes him one of the best thanks to a horror film that has a characteristically strong premise and an absolutely belter of a twist that's set up beautifully. There's a real heart to it to top it all off with an emotional core revolving around letting go of anger.
Olivia DeJonge and Ed Oxenbould are so good together because of their believable dynamic as siblings with completely different interests and they're both very endearing in their awkwardness. Deanna Dunagan and Peter McRobbie know how to gradually dial up the red flags and then just go completely gonzo in the third act. Kathryn Hahn just has a handful of scenes and is still amazing, bringing all the emotion at the very end.
M. Night Shyamalan's direction uses the deliberately amateurish found footage nature of the film to get the exposition out of the way in a more natural fashion and it also compliments the horror as well by getting really close to the scariest things which aren't afraid to be disgusting. His writing cleverly puts the twist in plain sight long before its revealed and displays a newfound talent for intentional comedy.
Salem's Lot (2024)
Deserved a proper release
Stephen King was right, Salem's Lot didn't deserve to be shelved for so long and then unceremoniously dumped on streaming in the US with no fanfare. It's a fun horror movie that undoubtedly benefits from the big screen release it's been given over here. It moves along nicely whilst offering a traditional vampire story bolstered by an inventive third act and a really good cast.
Lewis Pullman, Makenzie Leigh, Jordan Preston, Alfre Woodard, and Bill Camp are all really likeable which makes this surprisingly investing especially since the film makes it clear it isn't afraid to ruthlessly dispatch them at any point so there's some genuine stakes. Barlow on the other hand, is a complete non entity in this version which barely gets any screen time, preventing him from making any impression.
Gary Dauberman's direction is pretty good even though all the scares essentially boil down to ineffective jump scares. Still, all the scenes at night time have a solid, fog heavy atmosphere and the likeability of the characters is a major asset for any scene that's trying to create some tension. The cinematography by Michael Burgess stands out by doing a lot with reflections and loves to glimpse through narrow holes.
Killer Heat (2024)
Too slow
Killer Heat is a noir that burns so slowly it becomes numbing. Everything revolves around a mystery that just isn't very engaging and hindered further by how obvious it is. A gorgeous cast in nice looking locations isn't enough to sustain it, even for a run time that's pretty much ideal. Still, it's the kind of serviceable content that feels like an unfortunately perfect fit for a streamer, where it can be viewed and quickly forgotten about.
Joseph Gordon-Levitt has been back for a while now but it's still really nice to see him appearing consistently. He's low energy by design so his performance feels flat even if he's just matching the extremely slow burning nature of the film. Shailene Woodley gets the best role with the most satisfying conclusion and despite having 2 different characters to play, Richard Madden remains thoroughly one note.
Philip Lacôte's direction goes through all the usual motions of a noir, all the way down to an overused voice over, with no showmanship. There's a handful of nice looking shots interspersed throughout and that's pretty much it. The locations are an easy win as they're suitably extravagant and luscious, confirming that everyone involved would've got a very sunny holiday out of this if nothing else.