REVIEW: THE BLACK PHONE (2022)

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THE BLACK PHONE (2022)

Thriller takes place in 1978 in a working-class suburb of Denver, Colorado. It focuses on Finny Shaw (Mason Thames) who has enough problems with school bullies and an alcoholic father, but there is also a series of child abductions being committed by a mysterious individual the press has dubbed The Grabber (Ethan Hawke). Finny is kidnaped himself by the masked serial killer and finds himself locked in a sound-proof basement. The boy gets help from unusual sources as a disconnected phone in his prison bares the voices of previous victims and his sister Gwen (Madeleine McGraw), who shares her late mother’s gift for clairvoyance, tries to help police find him. Is it enough to keep Finny from being The Grabber’s next victim?

The Black Phone is directed by Scott Derrickson (Sinister, Doctor Strange) from his script with C. Robert Cargill, based on Joe Hill’s short story. Derrickson smartly gives us a little time to get to know Finny, and his life at the moment, so we are endeared to him when Hawke’s creepy Grabber abducts him. We then intercut between Finney receiving phone messages from beyond, while police search for him with Gwen trying to help through her dream visions. It could have gotten silly quick with both a psychic sister and phone calls from dead kids on the menu, but Derrickson keeps it chilling and tense as Finny tries to find a way to escape. It also helps that Hawke’s Grabber is a disturbing yet grounded psycho who never goes over the top or falls into camp. He remains calm most of the time and that’s scarier. Derrickson only falters by once again letting James Ransone play a borderline goofy character that disrupts the serious tone and overdoing it a bit with his grainy footage schtick, which seems to be the only reason the film is set in the 70s. Gwen’s visions appear like old grainy film stock a la Sinister’s old film footage sequences. It doesn’t fit in as well here. Otherwise, this is a well-crafted thriller with some good lead performances and a worthy confrontation between victim and villain were certain puzzle pieces also fall into place.

The cast are mostly good with a very strong performance by young Mason Thames as Finny. Finny is resilient and smart, but a bit meek at times, despite showing there is some strength inside him. He and Hawke work very well together. Hawke is very good here and once again proves he is a versatile and underrated actor. His Grabber is low key and calm and that makes him all the scarier as he appears confident and in control, despite being obviously very twisted and deranged. Madeline McGraw is also excellent as the apparently psychic Gwen. She’s a tough and sometimes foul-mouthed little girl but determined to find her brother. A very strong performance from the young actress. Not so impressive is James Ranson as Max. This is a goofy and almost unnecessary character, and it interrupts the tension when his goofball antics are on screen. Also weak is Jeremy Davies as the siblings’ alcoholic father Terrance. The character simply should have been stronger and more threatening, thus his change to sympathetic would have been more impressive later on. Otherwise, a good cast!

Overall, this was a solid thriller with some impactful violence and some suspenseful moments. There were some strong performances from the leads, which helps make the more supernatural elements here work. There were a few supporting character missteps, but Hawke and Thames portrayed strong characters that made them good adversaries. An effective and tense thriller from the Doctor Strange director.

-MonsterZero NJ

  Rated 3 (out of 4) wall phones

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BARE BONES: DASHCAM (2022)

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DASHCAM (2022)

Dashcam has rapper and vlogger Annie (Annie Hardy) traveling to England and almost upon arrival beginning to cause trouble for her friend and former bandmate Stretch (Amar Chadha-Patel). She accepts the task of driving an old woman named Angela (Angela Enahoro) to a destination for cash and soon she and Stretch learn to regret it, as Angela turns out to be something quite unexpected…and dangerous.

Found footage horror is directed by Rob Savage, who made the quarantine filmed internet sensation horror Host. The script is by he with Gemma Hurley along with Jed Shepard and is simply a bloody mess. This is literal as the film is quite the splatter-fest, but also because the mess of a story seems to be making itself up as it goes along, instead of following some sort of cohesive narrative. Sure, there are a few creepy sequences, and the gore can be fun, but the flick is as loud and obnoxious as it’s heroine Annie. By presenting a lead who grates on ones every nerve, it leaves no one to endear or fear for, except for maybe the hapless Stretch, as we really don’t care what happens to a woman who is basically a big, selfish, a-hole. Angela…or whatever she is…can be spooky at times, but the rapid-fire hurling of crashes, mutilations and chases being thrown at us gets tiring very quick. That and at already less than 80 minutes, the film pads out its runtime with a grating, precredit Annie Hardy rap sequence that feels like it goes on forever. A sadly disappointing sophomore effort by Savage, who showed potential with his first flick.

-MonsterZero NJ

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BARE BONES: TORN HEARTS (2022)

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TORN HEARTS (2022)

Collaboration from Blumhouse Pictures and Epix finds country singer wannabes Jordan (Abby Quinn) and Leigh (Alexxis Lemire) performing under the name Torn Hearts and seeking to hit big. They gain an opportunity to visit reclusive country music legend Harper Dutch (Katey Sagal) at her home, and try to convince her to perform with them, as a way of getting the attention they seek. Harper Dutch, however, turns out to be something quite unexpected…and possibly quite dangerous.
 
Flick is directed by Brea Grant from a script by Rachel Koller Croft. Grant has a good cast to work with, as Lemire and Quinn play well the wannabe rising stars, and Katey Sagal does strong work, as usual, as the unstable Harper. The flick gets a bit unsettling the moment the girls arrive at Harper’s home, Brea Grant quickly establishing that something is wrong with this former star and our ambitious duo may have bothered the wrong country music icon. Even when a night of partying with their idol seems harmless enough, the following morning things start to get weird. It does take a while for the flick to get going, but it is still fun to watch veteran actress Sagal gradually bring Harper to a psychotic boil, without ever descending into camp. Harper’s behavior goes from eccentric to unhinged and she takes her young guests with her. Sagal’s costars also do a nice job keeping up with her, as Harper plays them against each other, and things get a little nasty. It’s the last act where things get a bit disappointing, though. Torn Hearts is like a tense fuse that never leads to the explosion. It does have the situation finally descending into secrets revealed, emotions boiling to the surface, madness and murder, though doesn’t really get nuts like we want it to, until literally the last few minutes, and even then, it seems to be holding back. The ending doesn’t have the impact or resonance it needs to, either, as it simply comes as no surprise. Grant also could have given the film a snappier pace, as it starts to drag just when it should have been ramping up. She does have a nice visual eye, though, especially in Harper’s old, music paraphernalia-filled house, and the setting works very well to establish some atmosphere. Not a complete success, but not a total failure either, flick is still worth a look, especially for fans of Sagal. Torn Hearts also stars Shiloh Fernandez as Caleb Crawford, a country star who gives Jordan Harper’s address and Joshua Leonard as the girls’ manager, Richie.

-MonsterZero NJ

2 and 1-2 star rating

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BARE BONES: FIRESTARTER (2022)

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FIRESTARTER (2022)

Blumhouse/Universal flick is a remake of the 1984 thriller, which in turn, was an adaptation of Stephen King’s novel. The story is the same. A young couple Andy (Zac Efron) and Vicky (Sydney Lemmon) undergo drug experiments that give them special abilities. More troublesome, is their daughter Charlie (Ryan Kiera Armstrong) is born with the power to set fires with her mind. Now the shady organization that created them is hunting them down to take control of Charlie’s incendiary skills.

Update is lamely directed by Keith Thomas from a weak script by Scott Teems that fixes none of the problems with the original film’s screenplay. There is no suspense, the film is extremely by-the-numbers and dull, the villains are boring and the performances stale. Only young Ryan Kiera Armstrong gives her underwritten role a little life. There has been little or no publicity for this release and now it’s obvious why. Aside from being completely forgettable, the film even looks cheap. The only redeeming thing about the flick is the score by legendary filmmaker/composer John Carpenter, his son Cody and Daniel A. Davies. The delightful irony here is that Carpenter was originally set to direct the 1984 version before being fired after the lackluster box office performance of The Thing. Now his contribution is the only memorable part of this pointless remake. Film is currently available in theaters and streaming on Peacock.

-MonsterZero NJ

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HORROR YOU MIGHT HAVE MISSED: HALLOWEEN KILLS (2021)

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HALLOWEEN KILLS (2021)

(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

Sequel to Halloween 2018 starts out with a pre-credits flashback to 1978 and after the fiery jack-o-lantern filled credits sequence, picks up were the last flick left off. While the citizens of sleepy Haddonfield have yet to realize who’s back and a wounded Laurie (Jamie Lee Curtis) heads to the hospital with Karen (Judy Greer) and Allyson (Andi Matichak), an ill-fated group of firemen unleash Myers (James Jude Courtney) from his burning prison. Now, as an angry Michael starts carving up the town, locals, including 1978 survivors Tommy Doyle (Anthony Michael Hall) and Lonnie Elam (Robert Longstreet), decide it’s time to hunt him down and put an end to his reign of terror.

Halloween Kills is again directed by David Gordon Green (Pineapple Express) who co-wrote with Danny McBride and Scott Teems. The result is an incredibly polarized mixed bag with some really great scenes and scenes that borderline suck. The good stuff is anything involving Michael. The opening flashback to his capture in 1978 is one of the best Halloween sequences outside of the 1978 original and has a really shocking surprise cameo. The scene of Michael decimating his first responder rescue team is not only already controversial, but quite intense and bloody. The Michael Myers here is angry and his stalk and kill scenes are intense, very graphically violent and sometimes outright scary. They have impact and we see one of the most vicious portrayals of Michael Myers since Rob Zombie’s flicks. Unfortunately, the scenes featuring Tommy Doyle and his mob of frenzied townies at the hospital are downright terrible. The dialogue spoken by Doyle and the hospital security chief, former sheriff Brackett (Charles Cyphers), is awful and hearing an angry mob shouting “Evil dies tonight!” in the hospital lobby is almost laughable, if one wasn’t busy cringing. Add in the silly mob pursuit of another escaped mental patient mistaken for Michael and hilarity not intensity ensues. How could Green nail the scenes with Michael so well and completely bungle everything else? Laurie is sidelined for pretty much the entire movie, with Karen and Allyson taking up the mantle of Myers hunters and their confrontation with him at the old Myers house is thankfully one of the things Green gets right. The gore is plentiful and quite gruesome and the violence is quite brutal, but it’s sadly the stuff that should have given this dramatic weight that fails so badly here. At least Carpenter, his son Cody and Daniel Davies provide a really good score and David Gordon Green still has a good eye for visuals. The film looks great and the score really punches up the kill scenes. Everything else just induces a lot of intense eye rolling and mumblings of “WTF” were they thinking.

The cast are a mixed bag, too. Curtis does the best with what little she has to work with and it’s Greer and Matichak that shine here, as they go on the offensive with mom Laurie in the hospital. Anthony Michael Hall just doesn’t click as Tommy Doyle, who, for some reason, is given the Dr. Loomis role here. It doesn’t work and his Loomis-esque dialogue is terrible. Dylan Arnold is good again as Cameron and Robert Longstreet is fine as his dad Lonnie. Rounding out the original character returns is Kyle Richards returning to her original role as Lindsey, Cyphers as Brackett and Nancy Stephens returning as Nurse Marion. Nice to see these original faces, but they could have been better used. Also returning is Omar J Dorsey as Sheriff Barker and Will Patton as Hawkins. James Jude Courtney is once again imposing as Michael Myers.

What can one say. After a fantastic opening sequence and an intense and brutal escape by Michael Myers, the film turns into a silly pitchfork and torch mob movie—and yes, there is actually a pitchfork at one point—with some scenes that feature awful dialogue and completely misfire, killing any intensity the Myers stalk and kill scenes have. With those at least, the film lives up to it’s promise with David Gordon Green really nailing these scenes and giving us the vicious, brutal and scary Michael Myers that we came to see. We can only hope Halloween Ends is exactly that and this incarnation of  Myers can finally rest in peace.

-MonsterZero NJ

Rated a generous 3 (out of 4) carving knives, because the Michael scenes rocked. Happy Halloween 🎃!

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REVIEW: FREAKY (2020)

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FREAKY (2020)

(Remember, clicking the highlighted links brings you to other reviews and articles here at The Movie Madhouse!)

Blumhouse’s latest is a slasher twist on the classic body switch scenario. While the town of Blissfield is being stalked by a serial killer, misfit high school teen Millie (Kathryn Newton) has her own problems to deal with. She is still mourning the death of her father, her mother (Katie Finneran) has turned to drinking, her crush Booker (Uriah Shelton) doesn’t even notice her and she is not exactly the most popular girl in school. The paths of she and The Blissfield Butcher (Vince Vaughn) are fated to cross and when they do, the use of an ancient Aztec dagger, procured from a previous victim, causes Millie and her attacker to switch bodies. Now, on Friday the 13th, of all days, Millie, in the Butcher’s body, has till midnight to fix things before the switch becomes permanent. She has to convince her best friends Nyla (Celeste O’Connor) and Josh (Misha Osherovich) that it’s really her, avoid her cop sister (Dana Drori) and stop The Butcher, who is using Millie’s body to stalk new prey in her high school’s very halls. It’s going to be a freaky Friday the 13th indeed!

Flick is directed by Christopher Landon from his script with Michael Kennedy. Landon is responsible for writing a number of Paranormal Activity sequels and directing that series’ The Marked Ones installment, as well as, directing and writing the fun Happy Death Day movies. It’s an entertaining mash-up of slasher meets Freaky Friday, though not quite the energetic fun that was his previous slasher meets Groundhog Day flicks. It is a lot more gruesome than Happy Death Day, though, and earns it’s “R” rating, while still being filled with some fun dialogue and generous movie references. The script is fairly clever with getting the Aztec dagger “La Dola” into The Butcher’s hands quickly, to get the story rolling, and using web savvy teens to give us the exposition we and Millie need, as to how the dagger works and what needs to be done. This sets in motion the race to regain possession of La Dola, before midnight passes and Millie is trapped forever in the body of a middle aged murderer…which The Butcher realizes may not be a bad thing. The film only falters a little when a few sentimental dialogue scenes go on for a bit too long and the filmmaker’s desire to be politically correct becomes a little too obvious in spots. The last act could have been a bit punchier, too, with it’s teen filled party in a warehouse setting. Otherwise, it’s a fun slasher/high school flick homage with some witty banter, some bloody carnage and a hip sense of humor.

The flick wouldn’t have worked nearly as well, if it wasn’t for our two leads having a blast playing each other’s parts. Kathryn Newton is very good, first as the awkward, likable and sympathetic Millie, and then as the sadistic serial killer. Newton is very successful at oozing evil and malice from within a high school girl’s veneer and has a threatening presence despite being a very pretty young girl. It’s Vince Vaughn, however, that really has a chance to take the ball and run with it as Millie in The Butcher’s body. Vaughn is hilarious as the awkward high school girl in the body of a middle aged serial killer and his mannerisms and body language are just as funny as his line delivery. He is even very threatening when he is The Blissfield Butcher back in his own body, in case you forgot he was a sadistic killer. Supporting cast is solid, too. Celeste O’Connor and Misha Osherovich as Nyla and the flamboyantly gay Josh are a fun duo. They play off Vaughn very well and have some amusing dialogue and comic bits as they race to help get Millie back in her own body. Katie Finneran is good as Millie’s lonely, mourning mother, as is Dana Drori as Millie’s tough, sarcastic cop sister. Uriah Shelton is likable as Millie’s crush, Booker, who is dragged into this mess and Ferris Bueller star Alan Ruck appears as a harsh wood shop teacher.

Overall, this flick was fun and was a nice mash-up of two types of film’s one wouldn’t immediately think of mixing up. The cast are really good, especially our body swopping leads, who have a blast playing each other. It can be gruesome, but is very witty and clever as well. It does drag in a few parts, due to some lengthy attempts at adding some sentimentality to the proceedings, but otherwise is an entertaining homage, though not quite the infectious fun of Landon’s Happy Death Day flicks…which Landon recently conceded take place in the same universe. Freaky Death Day someday maybe?

-MonsterZero NJ

Rated 3 (out of 4) chainsaws which pretty Kathryn Newton wields quite well.

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BARE BONES: YOU SHOULD HAVE LEFT (2020)

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YOU SHOULD HAVE LEFT (2020)

Theo Conroy (Kevin Bacon) is a man who’s been accused of killing his first wife. Despite being acquitted, it has made him somewhat infamous and left him mentally scarred. He’s trying to live a new life with his new, young, actress wife Susanna (Amanda Seyfried) and their adorable daughter Ella (Avery Essex). WIth Susanna doing a play in London, the family rents a secluded house in Wales. Unfortunately, there is something very strange going on in that house and Theo’s past comes back to haunt him, as does the house’s shadowy occupant.

Supernatural thriller is written and directed by David Koepp, but despite a nice try to concoct something a little different and spooky, the flick seems cold and distant. Maybe it’s because we never really like or feel sorry for Theo, as he seems to be a bit of a jerk at times and we know from the start there is something about his tragic past he is not telling his new wife, or us. It’s all very predictable and ends exactly as we expect, even up to and including the identity of the house’s specter-like occupant. There are a few spooky moments, but they are few and far between and the excuse to get Susanna out of the house for the last act, just succeeds in making her unlikable as well. As for the couple’s marriage, the fact that Theo is so weird from the start and so much older than Susanna, not to mention his past, leaves their whole relationship, very unconvincing. It might have worked If there was some nice chemistry between the actors, but Bacon and Seyfried never click as a couple onscreen, either. At least young Avery Essex shines as Ella, who is basically the only truly likable person in the movie. Kinda of “meh” when all is said and done. Most entertaining thing about the film, is that it takes place in Wales yet was actually filmed entirely in New Jersey.

-MonsterZero NJ

2 and 1-2 star rating

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MONSTERZERO NJ’S SATURDAY NIGHT DOUBLE FEATURE: HAPPY DEATH DAY and HAPPY DEATH DAY 2U

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While talk of a third installment goes back and forth, the two current installments of Blumhouse’s comedy/horror franchise are a lot of fun when paired together. So, if you’re looking for something light and more fun, but don’t want to completely leave the horror genre, this is an entertining Saturday Night Double Feature…

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HAPPY DEATH DAY (2017)

(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

College student Theresa (Jessica Rothe) is having a really bad day…over and over again. She wakes up in the dorm of a strange guy, she’s mean to those around her, she’s sleeping with one of her professors, it’s a birthday she doesn’t want to face and someone is trying to kill her…and does. But Theresa keeps waking up at the moment of her death, starting the day all over again. She soon realizes that if she is to break the loop, she has to find out who this masked killer is and stop them. Easier said than done if there weren’t so many people who might want her dead.

Obviously, the Groundhog Day routine with reliving the same day over and over has been done to death, but here it’s literally. Director Christopher B. Landon knows we’ve seen it all before and takes the derivative ball and runs with it. Landon is helped by a fun script he co-wrote with Scott Lobdell and a sassy stick of dynamite leading lady in Rothe’s Theresa. As it starts out, Theresa is an unlikable mean girl…though her mean quips are very funny…but as she embarks on her journey of identifying her masked killer and ending this loop, it takes her from snotty sorority girl to sarcastic and feisty heroine. It’s a blast to watch Theresa as she meets each day head on and each time finds a new piece of the puzzle, all the while discovering things about herself. If it sounds corny, it is and Landon knows it and revels in it. He also delivers some solid suspense, some intense action and a few surprises on the road to Theresa’s final confrontation with the killer in her midst. It’s also kind of fun to watch the spunky girl die over and over again in different ways, only to have to do it all again with increasing frustration. The humor and suspense are perfectly mixed here, making it all the more enjoyable. This is a prime example of a filmmaker taking familiar elements and having a good time with them and not just re-using them in a by-the-numbers manner. The result is a fun slasher/thriller with a very hip sense of humor and a heroine to really endear to and root for.

As for our leading lady, Jessica Rothe is having an outright blast with the plot contrivances and owns this flick from start to finish. She introduces us to a mean, snarky, sorority princess and slowly transforms her into a smart, sarcastic and resilient final girl, who grows with each repeat of the ill-fated Monday the 18th. She is firecracker of a leading lady and really makes even the corniest elements of her transformation believable, such as her having the courage and tenacity to face a killer head on. It’s her show and she handles it like a boss. In support is a charming turn by Israel Broussard, as Carter, the boy she wakes up with and bonds with over her dilemma. The two have a nice chemistry on screen and their forming relationship works very well. The rest of the cast is also solid with Rachel Matthews as Theresa’s even meaner sorority sister Danielle, Ruby Modine as her sweet and verbally abused roommate Lori, Charles Aitken as her professor/lover and Rob Mello as a captured serial killer who may, or may not, be her masked murderer.

So, maybe this is not the most original film in terms of story, but it knows it and just runs with it. Christopher B. Landon…who wrote four successive Paranormal Activity sequels and also directed the Marked Ones spin-off…has really sharpened his craft by having a blast with he and Scott Lobdell’s clever slasher variation on the Bill Murray classic…which is playfully acknowledged in the film. It’s a fun movie that succeeds beyond it’s means thanks to a filmmaker who gets how to handle the material and a star-making performances by leading lady Jessica Rothe.

-MonsterZero NJ

Rated 3 and 1/2 (out of 4) baby-faced killers.

 

 

 

 

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HAPPY DEATH DAY 2U (2019)

(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

Sequel pics up right after the first flick with Tree (Jessica Rothe) cozying up with Carter (Israel Broussard) and all being well until roommate Ryan (Phi Vu) starts to relive his own murder over and over. Tree finds out her previous predicament and Ryan’s current one are as a result of Ryan and friends science experiment that effects time…just not in the way they planned. An effort to kill the loop sends Tree back to Monday the 18th again, only this time in an alternate universe.  She’s reliving her death all over again, only in this dimension Lori (Ruby Modine) is no longer the killer, Carter is dating Danielle (Rachel Matthews) and her mother is still alive. Can Tree get back to her normal dimension…and does she want to?

As you can guess by the plot description, Happy Death Day 2U sends the slasher elements to the background and focuses more on a Star Trek-ian/Back to the Future-esque tale of alternate timelines and other dimensions. It’s still fun, though shifting the focus also mutes some of the chills and thrills that made the first film such a treat. There is a lot of entertainment to be had and they have fun with the expanded concept, but this seems more like a cinematic episode of The Big Bang Theory with a slasher sub-plot. Christopher Landon again directs well, though this time from his own script and seems to want to play more with the whole alternate timeline thing and guide the story away from the slasher elements. A mid-credits scene hints that a part 3 will veer away even further. There was also a brief flirting with dopplegangers, but that disappears quickly, which is a shame as Tree being stalked by other alternate reality selves sounds like it would have been a hoot. If the film is missing anything, it’s the intensity the slasher elements brought to the table in the first film. The mix was more even in Happy Death Day and this sequel could have used a bit more.

Jessica Rothe is again a blast to watch though she shares the film’s focus with other characters and isn’t always the center of attention. The actress also proves again she is a leading lady with talent and can do drama, comedy and kick some ass, too. Israel Broussard is still charming and likable as Carter. The alternate reality version is pretty much the same guy, except for dating Rachel Matthews’ Danielle, who is a lot nicer in this other dimension. Matthews gets more screen time and gets to perform some slapstick comedy in one of the sillier sequences. Phi Vu gets a far more expanded role and is fun as Ryan and Suraj Sharma and Sara Yarkin play two of his nerdy lab partners/friends.

In conclusion, the sequel is not an equal, but not a disappointment either, unless you were expecting more of a horror film. There are some amusing sequences, some fun character interaction and even a little heart-tugging drama to go with the occasional dips back into slasher territory. On the downside it is slower paced, the killer was easy to guess and horror fans might not be happy with all the science geek quantum this and quantum that mumbo jumbo. Leading lady Jessica Rothe is still at least every bit the firecracker and if there is a three-quel, hopefully she is not pushed to the sidelines or lost in an ensemble piece. A fun movie thought maybe not what you might go in expecting. Stay through the credits for that mid-credits scene.

-MonsterZero NJ

Rated 3 (out of 4) baby-faced killers.

 

 

 

 

 

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BARE BONES: MA (2019)

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MA (2019)

Cliché filled thriller finds pretty high school student Maggie (Diana Silvers) moving back to her mother Erica’s (Juliette Lewis) home town after her parents separate. Maggie soon makes friends and when out in pursuit of some liquor to party, they meet lonely Sue Ann (Octavia Spencer). Sue Ann starts to buy them booze and soon invites them to use her basement to party in. As “Ma” gets more and more involved in their lives, her behavior starts to get stranger and stranger. Maggie soon starts to believe their new ‘friend’ has ulterior motives for her hospitality, but what is she up to and why?

Aside from an unsettling performance from veteran Spencer and a solid heroine in Silvers’ Maggie, there isn’t much to say about this flick. It’s a routine and very familiar thriller from writer Scotty Landes and director Tate Taylor, who don’t bring anything new to the stalker/crazy person sub-genres. Ma’s hidden agenda is no surprise, as it is revealed to us, over the course of the film, through flashbacks to Sue Ann’s days in high school and what pushed her over the edge, so to speak. It’s nothing we haven’t seen before, plays out exactly as we expect and not portrayed in any way innovative or creative. Aside from good performances from the leads and from supporting cast members Juliette Lewis and Luke Evans, there would be very little to recommend here. The cast, especially Octavia Spencer, deserved better material and we deserved a better movie.

 

-MonsterZero NJ

2 and 1-2 star rating

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BLUMHOUSE and JOHN CARPENTER ANNOUNCE 2 HALLOWEEN SEQUELS!

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BLUMHOUSE and JOHN CARPENTER ANNOUNCE 2 HALLOWEEN SEQUELS!

Blumhouse and legendary director John Carpenter have announced today that there will be, not one, but two sequels to the hit Halloween 2018. Carpenter, Jamie Lee Curtis, director David Gordon Green and co-writer Danny McBride will supposedly all return for Halloween Kills on 10/16/2020 and Halloween Ends on 10/15/2021. Will this finally conclude this decades spanning franchise? We’ll find out in 2021!

-MonsterZero NJ

Source: instagram

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