Reviews

Blood is an okay film, with the only standout performance being from June B. Wilde (Helen), while much of the narrative leaves you wondering if anyone has any decent motives or a sense of morality. The horror aspects are more jarring than outright scary, with the actions of Jess (Michelle Monaghan) being head-scratching throughout Blood.

Blood isn't a bad film; it just feels like a film that is missing depth and an array of interesting characters. Overall, it can be enjoyable if you don't expect too much, or you could watch Blood with someone else and enjoy their company.

Blood is the epitome of average, I hope the sequels add much more complexity to the narrative.

Real Score: 5.5.

This was my introduction to Polish cinema, and I'm quite intrigued. The film contains a number of astrological and philosophical symbols. The narrative is helped by a slew of good performances from the cast.

This a good movie to watch on a date or a part of the club, as it leaves the viewer with a need to discuss the philosophical points and whether or not they agree with the point made by the film (I personally don't, but it's still a quality film).

My only real drawbacks come from the narrative going a bit too over the top in some moments, but it works for the comedic aspect the creators were going for.

Netflix did a good job green lighting this project.

Real Score: 6.0.

A Spoonful of Sugar is an interesting film that takes a look at the effects of psychedelics without making those using them a villain by default. While the plot spends a lot of time focusing you on a narrative that becomes completely irrelevant during the credits, it remains engaging and full of easter eggs.

Pay close attention to the dialogue during your first watch of the film. Morgan Saylor (Millicent), Kat Foster (Rebecca), and Keith Powell (Dr. Welsh) carry the film in regards to acting, with Saylor proving that she can handle a range of emotions as an actor.

There are parts of the plot that seem a bit over the top and unbelievable, but those issues don't get in the way of the viewer's enjoyment.

Real Score: 6.4.

Prom Night (2008) is a modern re-make of a 1980s film of the same name. However, Prom Night fails to capture the imagination, tell a realistic stalker story, and develop characters despite massive emotional trauma being present.

The entire premise of Prom Night revolves around a series of unrealistic mistakes from a wide range of people. The narrative takes you out of the story once you realize the entire scenario is highly unlikely.

The film could have been good if it touched on the issues Donna Keppel (Brittany Snow) has to deal with after first encountering her stalker. The one good point about the film is the acting is solid and shows what type of film Prom Night could have been with a much better script.

Idris Elba and Ming-Na Wen are in the film, but neither is used up to their abilities due to the flat script.

True Score: 4.9.

It Follows is a unique horror take that creates more of a mental scare atmosphere, rather than one filled full of jump cuts to create anxiety and fear.

The film has a lot of symbolism and a good plot, considering the rules set in place by the 'Hunter' or 'It' following potential victims around.

There is a side plot that includes jealousy, and a character is awarded for being a touch possessive and missing the gravity of the entire situation, but the narrative remains steady.

The acting job done by lead Maika Monroe (Jay Height) was pretty good, but not great.

What seemed to be a strange concept turns into a good story that doesn't insult the viewer.

True Score: 6.1.

Look Away is a creative horror concept that looks at revenge, honesty, jealousy, vanity, and bullying through a creative lens. India Eisley (Maria) absolutely ate her role and was fantastic on film, showing a great range of emotions and personality, this film could be her entire reel.

The film itself isn't scary but more of a thought-provoking film with moments of suspense. I appreciate how different it is (much like It Follows), with the execution done fairly well.

If there is a negative, too many 'events' happen in what feels to be a short time frame and the film doesn't capture the urgency of any of them.

True Score: 6.8.

Bodies Bodies Bodies is a suspense horror that has comedic elements that don't go over the top (don't expect Slotherhouse levels of comedy here). The dialogue crafted by Sarah DeLappe and Kristen Roupenian is fantastic.

The film is loaded with symbolism, down to showing that people may have good social commentary, but only to receive impressions and praise -- not because they actually care about being a quality person.

The acting by the cast is phenomenal; Amandla Stenber (Sophie), Rachel Sennott (Alice), and Myha'la Herrold (Jordan) stand out for their quality scenes -- but there isn't a bad performance throughout the film.

The performance by Maria Bakalova (Bee) is symbolic and may seem reserved due to direction from Director Halian Reijin or the two aforementioned writers.

The films take on modern technology is a bit overplayed and tired, but it creates an interesting narrative for this specific piece.

Bodies Bodies Bodies is a fresh look at horror and a step away from a gore fest, and leans into plot development and human relationships.

Real Score: 6.9.

Black Christmas (2019) is the second remake of the 1974 film of the same name. The film suffered from review bombing due to its focus on real issues that women must deal with on college campuses and society in its entirety (a potentially budding relationship portrayed likely wasn't to the taste of those who would resort to the tactic). Consent, sexual assault, and the fallout of speaking out against abusers are front and center in Black Christmas, making it a highly unique horror film.

The dialogue of Black Christmas is intelligent and realistic. Kris (Aleyse Shannon), a feminist activist, is at the heart of passionate and important conversations with her sorority sisters, Riley (Imogen Poots) and Marty (Lily Donoghue). Marty and Nate (Simon Mead), who are dating, have an argument that captures the debate around the language, who is to blame, and how society can combat sexual abuse.

Several scenes display the non-belief of victims, the dismissive language used, and the feeling of betrayal is well done. Sophia Takal (also the Director) and April Wolfe did a great job with the script of telling a story that often isn't heard in film and much less in horror.

Black Christmas also steps out of the norm from typical slashers, displaying those being hunted fighting back rather than simply running when pitted up against an intruder. Those scenes were well done, showing the use of force multipliers to build tension, building a sense of an equal fight after an initial ambush.

Despite the qualities of Black Christmas, there are some tiny plot holes that go without answering when the final reveal takes place, leading to several questions about how certain things were arranged. However, those issues aren't large enough to detract from the quality of the film.

The weight of the topic matter makes characters feel to have more of a purpose than simply being killed, which is a fresh take on the slasher genre, also making deaths affect the viewer a little more than the typical horror film.

If you care about a fresh horror take that tackles serious subject matter from the viewpoint of a survivor and is loaded with symbolism, then Black Christmas is worth watching. Don't pay attention to the review scores, this is a quality film that is worth examination from film students and horror fans.

Real Score: 7.3.

If you go into Slotherhouse expecting a serious horror film, you may have missed the title of the film. Slotherhouse is an exceptionally silly horror film; that has goofy fight scenes, off-the-wall kill scenes, and all the camp you could ever expect from a single film.

There will be times to laugh while watching Slotherhouse, especially from Zenny (Bianca Beckles-Rose) and Ms. Mayflower (Tiff Stevenson). Bianca Beckles-Rose is the stand-out actor in the film, and scenes with her make the movie that much more enjoyable.

Suspend your disbelief and expect to see some rather off-the-wall moments with a Sloth and Slotherhouse will hit like it was intended.

Real Score: 5.9.

Zombie Town doesn't take itself seriously; it is a cheesy and sometimes self-aware comedy. At times, the script leaves a lot to be desired; however, the appearance of several comedy heavy hitters inserts a bit of fun and intrigue into the film.

Once you realize Zombie Town is a teen comedy meant for an easy watch without needing much thought, you can enjoy the film for what it is. Stars Marlon Kazadi and Madi Monroe will have long careers if they continue working at their craft.

Is Zombie Town the best comedy of all time with horror themes? No, but that shouldn't keep the right audience from enjoying it.

Real Score: 5.8.

The Forever Purge is a really good addition to the franchise, looking at what happens when anger, hatred, and violence takes over a nation for more than one night.

Much like the entire series, The Forever Purge is art that makes strong social commentary regarding violence, socioeconomic classes, anger, and tyranny.

This entry also looks at what happens when people come together despite trivial differences that speak nothing on the true character of an individual.

The acting is solid, the narrative moves in a logical fashion, and the action scenes are well put together.

Definitely give The Forever Purge a watch.

Real Score: 7.4.

Closer is full of incredible dialogue, acting, and quality writing is on full display. It's clear the film was based on and presented in play fashion, as the reveals were all presented through dialogue -- which is a different and fitting touch for a film of Closer's nature.

It is refreshing, especially considering the film is from 2004, that a sex worker (Alice) was featured without ever showing regret for her work. There was a decision that Alice made which felt unfortunate, as the individual showed a lack of respect for her profession. Alice being the most sympathetic character was also refreshing, considering how sex workers are often portrayed in mainstream media.

The acting is incredible, led by Natalie Portman, who portrays Alice, and how that character weaves in and out of a confident sexiness to a depressed and vulnerable shell, depending on which version of herself is on display. Julia Roberts (Anna) had a good, but subdued performance due to the nature of Anna. Clive Owen (Larry) delivers a great performance, capturing the gross underlying makeup of Larry in a fantastic manner. Jude Law (Dan) captures the entirely flawed and selfish nature of Dan wonderfully.

Every character has flaws, not all you can root for, and Alice is where a great deal of the film's symbolism is found.

Real Score: 7.5.

Totally Killer mixes a touch of horror and a touch of comedy, neither of which completely hit the mark, but neither fall flat enough to make the film a complete bust.

It feels like a horror movie made for sixteen-year-olds, with some of the narrative points feeling rushed in for a reveal, rather that a proper build to a logical sequence of events.

How important information is 'learned' at key moments leaves a lot to be desired, as it's conversations that would have taken place at an earlier time in any common-sensical universe.

However, there are enough fun elements in the film that make it watchable and somewhat enjoyable.

No one acting job stood out, but Olivia Holt does have a charismatic presence.

Real Score: 5.3.

Avatar: The Way of Water is a captivating visual experience, with first-of-its-kind technology that allows the film to deliver a unique sense of immersion. While personally enjoying the forest setting more, The Way of Water does its best to introduce a new culture and ethnic tribe of Pandora to viewers to make the film experience memorable.

At times, the film seems more focused on the visuals than delivering a plot that holds up to the spectacle placed in front of viewers. Many of the sequences starring Spider don't entirely fit the narrative of his lived experience for 3/4ths of the film; however, there is enough there to not detract from the story too much.

Some narrative points played too much on typical tropes that felt to be exact replicas of humanity -- placed on the Na'Vi, in what feels to be slightly uncreative for a culture far separate from that on Earth.

While The Way of Water isn't the film it could have been, it remains an entertaining watch that does provide moments of water and intrigue as to what the future of the franchise may hold.

Real Score: 7.2.

I didn't have much opinion coming into this, as I heard about it only last week. However, it did surprise me. Dave Franco (Seth) probably had the best acting performance. Natasha Liu Bordizzo (Heather) was also fun.

Snoop Dogg (Big John) was basically him playing himself as a vampire hunter, and Jamie Foxx (Bud) delivered here.

The plot was straight forward and wasn't too special. The film's high point is definitely the fight choreography. The differing vampire types were interesting as well.

Real Sore: 6.7/10.

I absolutely adore this show. It has comedic and serious moments; however, I feel the best parts come from the symbolism seemingly every reviewer for a major outlet missed.

Despite everyone accepting of LGBTQ characters in the show, the elements of societal bigotry are present (and come from those very few shows in entertainment depict).

It has elements of Romeo and Juliette; however, beneath the obvious symbolism it gets a bit darker with families unaccepting of those who are 'different' from them.

While the marketing for the show point out issues each family has, it doesn't take much vision to see the stigma/bigotry many in society deal with regarding certain relationships.

Fun show. I can't wait until Season 2.

Real Score: 7.4/10.

I didn't know what to expect coming into the film, but it left me more excited about anything involving a DC character since DC jumped into the combined universe template after Marvel.

Matt Reeves did an incredible job, and there are only a few narrative elements that left me thinking it could be a bit better.

The acting is quality, the story is gritty, and the character arcs are well done.

True Score: 8.8/10.

The Matrix Resurrections follows the progression of evolved systems, as explained in the original Matrix trilogy. At it's core it is an explainer of what happens when advanced technological systems receive an updated code.

The philosophical references remain, along with what the future looks like after the events of The Matrix Revolutions.

The acting was quality, except Keanu seemed a bit 'tired' which seemingly was a direction choice. I don't exactly agree with that direction, but it makes sense with the story told.

Without any spoilers, the forced romantic elements didn't need to exist, especially in a world as complex as The Matrix.

True Score: 7.5/10.

The film is an intellectual look at sexual encounters at the workplace. However, it doesn't really center around BDSM culture. The sadomasochist aspects are mostly there for shock value, which would have likely been extremely shocking back in 2002. Yet, the movie fails to really go into some of the more uncomfortable aspects of the film involving consent and power -- especially when it alludes to a possible pattern of abuse being present.

Maggie Gyllenhaal was engaging in this film, it's a shame it didn't lead to her becoming a bigger star. The overall theme of the movie is more centered around taking control of your emotions rather than sexual taboo. It's definitely not what I expected, but it was far from a bad watch.

Real Score - 6.4.

Many have spoken about the plot holes (they exist) and the weird (and out of place) plots that take a minute of screen time. I will give some of those a pass, as the franchise is being drastically expanded, therefore those may lead to something later.

However, while the movie was well filmed and there were several good performances (Nora Arnezeder was outstanding), the overall arc just falls a bit flat.

There seems to be a central theme, that I won't spoil, but I will say if the franchise does go forward there are opportunities to fix the problems in the film.

Raw Score: 5.8 out of 10.

Overall the movie is what I call 'fine.' There wasn't a stand out acting performance, though Ken Watanabe delivered the best on screen. Mille Bobby Brown came off as flat, and didn't seem to truly grasp her character.

Some of the pitfalls of the film come down to writing, unnatural reactions by characters, and an over reliance on the monsters to fill time. When looking at the larger 'Monster Universe' I can see how the film slots into the larger picture well, which saves the film from being a disappointing stand alone picture.

With better writing the Godzilla: King of the Monsters would have been a complete home run, but sadly that wasn't the case.

True Score: 5.8

I enjoyed The Babysitter, however, The Babysitter: Killer Queen had very little in common with the first film. The issues come down to Brian Duffield not being retained as the screenwriter. The team of McG (also Director of both films), Dan Lagana, Jimmy Warden, and Brad Morris cobbled together a film full of unrelated film references and teenage sex jokes.

The Babysitter wasn't a masterpiece when it came to dialogue, yet in comparison to its sequel, it looks Oscar worthy. The Babysitter: Killer Queen doesn't have anything clever, wastes money on needless graphics, and fails to deliver on narratives in the original.

It's shocking the script used for the film wasn't a rough draft for a potential plot sequence. The Babysitter: Killer Queen took the worst possible narrative and turned it into a barely coherent sequel.

If you are going to produce a sequel, at least keep it true to the source material. It may also be helpful to retain the individual who drafted the first screenplay.

Real Score: 3.6

The Duff is another movie in the expansive Teen RomCom, but it stands out for its charm, message, and how the plot is delivered. Is it perfect? No. However, Mae Whitman (Bianca) is charming throughout, Robbie Amell (Wesley) does good work, and Ken Jeong (Mr. Arthur) nails every scene he's in. Bianca Santos (Casey), Skyler Samuels (Jess), and Bella Thorne (Madison Morgan) play their roles effectively. Allison Janney (Dottie) also does well with her role.

Yes, the plot pushes towards the genre rather than harsh realism during certain points as expected. Those moments within the teen genre of films is always present, and shouldn't take away from the overall feel of the film. Overall, The Duff is fun.

Real Score: 6.6

There isn't much to say about the film, nothing really stands out as awful or great. Dermot Mulroney (August Bittner) stood out for his acting. Bella was okay here, and I appreciated her willingness to play a different character.

There were some weird narrative choices that didn't make much sense. Better writing could have avoided that scenario quite easily (it involves the overhead premise of the 'No Go Zone').

The movie is fine overall. There are definitely some unanswered questions, but that may have been on purpose in hopes for a sequel.

Real score: 5.6

This was a solid movie, with my only complaint being the pacing during an important focal point. While the movie was three hours long, it felt like it needed to be four to tell the complete narrative. However, it was a good story that brings the entirety of the MCU to an interesting point.

Well done.

Real Score: 7.9