“In Insidious: The Red Door, the horror franchise’s original cast returns for the final chapter of the Lambert family’s terrifying saga. To put their demons to rest once and for all, Josh (Patrick Wilson) and a college-aged Dalton (Ty Simpkins) must go deeper into The Further than ever before, facing their family’s dark past and a host of new and more horrifying terrors that lurk behind the red door.
The original cast from Insidious is back with Patrick Wilson (also making his directorial debut), Ty Simpkins, Rose Byrne, and Andrew Astor. Also starring Sinclair Daniel and Hiam Abbass. Produced by Jason Blum, Oren Peli, James Wan and Leigh Whannell. The screenplay is written by Scott Teems from a story by Leigh Whannell, based on characters created by Leigh Whannell. Insidious: The Red Door Opens July 7th. Directed by: Patrick Wilson Screenplay by: Scott Teems Story by: Leigh Whannell Based on characters created by: Leigh Whannell
Produced by: Jason Blum Oren Peli James Wan Leigh Whannell
Executive Producers: Steven Schneider Charles Layton Ryan Turek Brian Kavanaugh Jones
Cast: Ty Simpkins Patrick Wilson Hiam Abbass Sinclair Daniel Andrew Astor and Rose Byrne”
Young Cady (Violet McGraw) has lost both her parents in a tragic car accident. Her Aunt Gemma (Allison Williams) gets custody and is overwhelmed by the prospect of being a parent to the emotionally wounded little girl. Gemma works for the Funki toy company that makes high tech toys. She is currently working on the Model 3 Generative Android…or M3gan for short…and thinks the artificial intelligence equipped doll would be the perfect companion for Cady. At first, she is, but soon M3gan (played by Amie Donald; voiced by Jenna Davis) starts to take her programming to protect Cady a bit too seriously and people start dying. Now Gemma needs to find a way to stop her, but the android’s ability to learn and adapt may have created a very intelligent and quite devious opponent.
Robot run amok flick is well directed by Gerard Johnstone from a script and story by Akela Cooper and James Wan. There is nothing original here. We have seen the killer toy or domestic robot gone awry many times before. M3gan, however, is not trying to reinvent the wheel, just have a little fun with it, and fun it is. The film takes itself seriously, but with tongue planted firmly in cheek, as the overprotective and self-aware android turns to deadly methods to protect Cady and then herself, when Gemma’s Dr. Frankenstein realizes she has created a monster. There are some violent scenes, and the last act in particular really delivers as Me3an goes all Terminator after they try to pull the plug on her. The cast here are good, especially young Violet McGraw whose onscreen bond with the android comes across as sincere. Sure, it’s predictable, but it’s an entertaining enough flick and utilizes the clichés and tropes quite well. A good example of a filmmaker using an oft told tale and all its familiar accoutrements and using them to good effect. A fun and sometimes twistedly entertaining flick.
Malignant is the newest flick from James Wan, a filmmaker who has made a name for himself in contemporary horror with the Insidious and Conjuring flicks. This film tells the story of pretty Madison (Annabelle Wallis) who is in an abusive marriage and now seems to be haunted by a murderous entity that calls itself Gabriel. The malevolent specter speaks to her through electronic devices and shares each of his gruesome killings with Madison through her own eyes. There is more to Gabriel than Madison knows, though, as she and this dark being share a terrifying secret together.
Film is stylishly directed by Wan from his script and story with Michael Clear and Akela Cooper. The result is a bit of a rambling mess, but it is a good looking mess, as Wan has always been a stunning visualist. There are some nasty killings and some really great gore and make-up FX, but the film seems to be a bit of an overindulgent attempt by a filmmaker trying to pay homage to maybe one influence too many and indulging in too many contemporary filmmaking toys. We see nods to everyone from Wes Craven to Dario Argento and the result starts off well enough, but gradually goes off the rails and looses it’s fright factor quickly. In the second half things really go over-the-top and the film gets more silly than scary, especially when we get the big reveal. The action scenes start to resemble a video game—this is where the overuse of digital toys comes in—and there is some cringe worthy dialogue, as again we see a talented filmmaker overindulging himself on all levels. One can truly appreciate what Wan was trying to do here and maybe for some tastes this flick may be exactly the off-the-wall goofiness they came for, but IMO it’s a sign of too many influences spoiling the soup and the result is an overstuffed and overloaded bloody mess that elicits eye-rolling more than screams. In it’s defense, it’s definitely the type of film that could grow on someone over time with repeat viewings, once you get used to the ludicrousness of it all. Now available in theaters or streaming on HBO Max.
Third Conjuring flick takes place in 1981 and finds Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) presiding over the exorcism of a little boy named David (Julian Hillard). It almost costs Ed his life, leaving him unconscious, and unknown to Lorraine, the demon transferred to Arne (Ruairi O’Connor), a young man present during the ceremony. As Ed recovers in a hospital, warning that Arne is possessed, the young man under demonic influence, stabs his landlord (Ronnie Gene Blevins) to death. Now the Warrens must somehow prove that demonic possession was involved and Arne is innocent of murder.
Threequel is directed this time by Michael Chaves (The Curse of La Llorona) from a script and story by producer James Wan and David Leslie Johnson-McGoldrick based on a supposed real-life case of the Warrens. It opens with a supernatural bang with yet another exorcism, but it is an effective one and sets the tone for the film. It establishes to the audience that Arne is the host and we know something bad is soon to happen…and it does. Third in this series takes a bit of a different direction once blood is shed, as not only does it have the now traditional supernatural hi-jinx, but is a paranormal detective drama as well. Ed and Lorraine go on the road to investigate the origins of David’s possession, unraveling a trail of evil and death leading to a demonic cultist. It takes this franchise in a bit of a different direction and is well done, but the exorcism/possession storyline elements are just too familiar and overdone in recent films to be that scary. At least the cultist angle adds a human adversary which is a welcome change. Chaves is a competent director, but he can only do so much with such frequently treaded material and he doesn’t quite have Wan’s skill at theatrical scares. The investigative portion of the story is intriguing and keeps one’s attention and is the strongest element of this second sequel. If anything, it takes The Warrens out of their usual haunted house setting and that at least keeps them and this sequel from getting too stale. The FX are well done, there is some bloodshed and in contrast, the flick also has some nice heart to give resonance to the Warrens’ cause. Chaves may not have Wan’s visual eye, but he does produce some atmosphere and appropriately spooky imagery, especially in Lorraine’s visions, and orchestrates the jump scares well, though is less reliant on them. The climax is an entertaining The Exorcist meets Silence of the Lambs mash-up that works very well and ends the story with the theatrics fans come to expect.
The cast are solid. Patrick Wilson and Vera Farmiga are good as Ed and Lorraine Warren. Whether you believe the real couple are legit or shysters is up to you, but their cinematic counterparts make for endearing characters. They tread a little new ground for this series and do well and the actors make a good team that gives the movie it’s heart. Ruairi O’Connor is sympathetic as the tormented Arne and pretty Sarah Catherine Hook is likable as his girlfriend and little David’s sister, Debbie. John Noble also appears, in an exposition role, as a retired priest with knowledge of the cult in question, while Eugenie Bondurant is creepy as the cultist whose curse drives this flick’s story.
The Conjuring: The Devil Made Me Do It is a well made film with some spooky moments and wisely takes it’s paranormal couple into a somewhat different scenario to freshen things up a bit. It’s well directed by Chaves, though still focuses heavily on demonic possession/exorcism elements that have become almost as frequently seen in recent horror, as zombies. If you are a fan of this series you will probably like this one and if not, the investigative/detective drama aspect may keep you intrigued enough to be entertained, during it’s almost two hour runtime. Series hasn’t run of of gas quite yet, but shows signs that it might be time to really dig into the Warrens’ case files for a fourth installment. Watch through the credits for some spooky footage, photos and reel to reel recordings from the real life Warrens and this case.
A trailer has arrived for the third flick in the Conjuring franchise, The Conjuring: The Devil Made Me Do It!
“Paranormal investigators Ed and Lorraine Warren try to uncover the truth behind a murderer’s claim of demonic possession.”
The film is directed by Michael Chaves from a script by David Leslie Johnson-McGoldrick for producer James Wan and stars Vera Farmiga and Patrick Wilson as Ed and Lorraine Warren. Flick is due to be released theatrically and on HBO Max on 6/4/21!
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The third time is the charm, as the latest Annabelle flick is a haunted house roller coaster ride of scares, fun and thrills! The film starts off from the opening scene of The Conjuring with paranormal investigators Lorraine (Vera Farmiga) and Ed (Patrick WIlson) Warren, bringing the haunted doll home and placing it in their room of haunted and cursed objects, locked inside a blessed glass cathedral case. They have to go away overnight and leave their daughter Judy (Mckenna Grace), who has inherited some of her mother’s psychic abilities, with pretty babysitter Mary Ellen (Madison Iseman). Mary Ellen’s feisty friend Daniela (Katie Sarife) comes over, too, and despite warnings, goes into the forbidden room of haunted and curse objects, in the hopes of contacting her dead father. Annabelle is released from her prison and a sleepover becomes a nightmare, as the demonic doll lets all the malevolent spirits loose with the three girls trapped inside the house.
This is how you make a haunted house movie! Gary Dauberman hits a grand slam his first time at bat as the writer and director of this threequel. He has written for The Conjuring Universe before, but shows he knows how to direct horror, too, with this delightfully old-fashioned scare-fest. Dauberman uses some very atmospheric camera work, in-camera practical effects, some very well-built tension and suspense, along with some outright goose-bump inducing scares, to deliver simply one of the best haunted house movies since Poltergeist…the 1982 original, that is. His script cleverly gets the adult Warrens out of the house and using some classic horror tropes turns an already spooky home in a nightmare for the three young ladies trapped inside. There are a few jump scares, but only to climax some expertly built tension while his camera turns every shadow into the potential hiding place for something evil. Anything could come from anywhere at any time and it keeps one constantly on edge. The room of haunted objects is wisely a focus and Dauberman milks all the chilling tchotchke for all it’s worth. Despite conjuring some Carpenter level scares, it’s the emotional depth that really makes it work. The girls are all three-dimensional characters. Judy is a very likable kid, who’s “spooky” parents have earned her outcast status at school, with Mary Ellen being her only real friend. Mary Ellen is a sweet and very endearing young lady and one who is very brave when tasked with protecting Judy. Her tenderness and protectiveness towards the Warren’s daughter really make her someone whose wellbeing you care about. Daniela could have been a stereotype ‘bad girl”, but Dauberman gives her a sympathetic and sweet core under the mischievous veneer. Her inner pain over the death of her father gives her a very sympathetic and endearing quality, even if this mess is kinda her fault. Add to it all that, that the writer/director, having put you through a last act ringer, gives us a nice cool down with a very sweet climax that works far better than it should being this is an intense horror flick. Very Spielbergian.
The cast are wonderful here and really bring the scripted characters to life. Farmiga and Wilson are basically just there at the beginning and end but have really locked these characters down. Regardless of what you think of the real Warrens, their cinematic counterparts are quite the likable duo. Mckenna Grace handles the lead like a pro. She really makes us feel Judy’s loneliness due to the reputation caused by her parent’s line of work and the emotional turmoil caused by inheriting her mother’s abilities. Obviously, the demonic spirit in Annabelle, targets her. Madison Iseman continues to impress as an actress. She takes the stereotypical babysitter and gives her a very endearing personality and imbuing her with a very natural sweetness in her caring for Judy. She’s also brave and resilient when Annabelle’s demonic entity unleashes all the other spirits, including a particularly spooky entity that sets its sights on the babysitter. Iseman has a natural girl-next-door presence, and she really makes this character three dimensional. Same could be said of Katie Sarife as Daniela. Her character is more the mischievous bad girl, but Sarife really makes her a bit complex as inside she is in pain over the death of her father, and it motivates some of the bad decisions she makes. She wants to talk to her father one last time. She is also very sweet at heart, especially when it comes to Judy. Makes for a very un-stereotypical classic character. All three young actresses share great chemistry, which makes their on-screen relationships gel realistically. Lastly, is Michael Cimino as Bob, a nice boy who has a crush on Mary Ellen. Their awkward and sweet conversation scene, when he comes over to the Warren’s to see her, has such a natural feel to it. A perfect example of a good script meeting a good cast.
This movie gave continual goosebumps to a man who has literally been watching horror movies for half a century. It proves when a talented director pushes all the right buttons, and in the right ways, old tropes can become solid scares. We have a nice build to the story and given time to get to know some well-rounded and likable characters, all the while the tension is simmering with it. We are then thrown into a literal fun house of horrors, as all hell breaks loose in the last act. Along the way Dauberman proves subtle nuances can be just as scary as grotesque phantoms and nothing makes the scares stronger than a solid emotional center to all the supernatural hijinks. An incredibly impressive directorial debut from Gary Dauberman who delivers one of the scariest flicks in quite some time and yet one with some surprisingly sweet and sentimental moments that mix far better than one might expect. Evoking Carpenter and Spielberg at their best in your first flick is quite an accomplishment.
Supernatural horror takes place in 1973 with widowed social worker Anna Tate-Garcia (Linda Cardellini) looking into the death of two children, from one of her cases. Their mother (Patricia Velásquez) claims it was La Llorona, The Weeping Woman, who murdered her children and they are dead because of Anna’s interference. Anna discovers that La Llorona is from Mexican folklore, a woman in the 1600s who got revenge on a cheating husband by murdering her own children and then killing herself. Distraught with guilt, her spirit is now said to seek out other children to kill to take the place of her own. Whether the folktale is true or not, a dark force is now stalking Anna and her own kids (Roman Christou and Jaynee-Lynne Kinchen). Is the spirit of La Llorona real and out to get Anna’s offspring?
Generic horror flick is directed by Michael Chaves from a routine script by Mikki Daughtry and Tobias Iaconis. Mexican folklore base could have been interesting had there been a more involving movie built around it, or a better use of that folklore. Flick centers on the usual, vengeful, sinister specter surrounded by dark cinematography, flickering lights and an abundance of jump scares. The lead character, Anna, is the cliché skeptic who is forced to go to someone of faith and supernatural belief (Raymond Cruz) for help. There is even an exorcism of sorts in the last act. Chaves tries to build atmosphere and Cardellini gives it her all, as the frightened Anna, but this is just too familiar to really evoke solid scares. It follows the recent template for mainstream supernatural horror to the letter and does nothing innovative or intriguing with it. While it also lacks the over-the-top fun of last years The Nun, this was still another box office hit for producer James Wan and his Conjuring universe, which this film is thinly linked to by the appearance of Annabelle‘s Father Perez (Tony Amendola).
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DC comics flick is a mixed bag finding our aquatic hero (Jason Momoa) coming up against his half-brother King Orm of Atlantis (Patrick Wilson). The power and conquest hungry Orm wants to take control of all the undersea kingdoms and then use their combined might to lay waste to the surface world. Princess Mera (Amber Heard) of the undersea kingdom of Xebel defies her father (Dolph Lundgren) to warn Arthur Curry, aka Aquaman and inform him that if he retrieves the Trident of Atlan, he will have the power to stop Orm and take his rightful place as king. Standing in his way is a modern day pirate with Atlantean tech and a personal grudge against Aquaman, The Black Manta (Yahya Abdul-Mateen II).
Superhero flick is directed by James Wan (Insidious, The Conjuring) from a screenplay by David Leslie Johnson-McGoldrick and Will Beall, based on a story by Wan, Beall and Geoff Johns. The flick is a bit of a mess, that bites off more than it can chew, though it can be a fun mess at times. The negative points are a thin story that gets poor development as the film steamrolls ahead from one set-piece to another. From the flashback meeting of Arthur’s mother Queen Atlanna (Nicole Kidman) and his lighthouse keeper father,Thomas (Temuera Morrison), to Arthur’s first meeting/fight with Orm, to a massive undersea battle, a lot goes on in this flick. Somewhere in between all this, the film stops and goes on a Tomb Raider style quest for the trident…wasn’t that the plot of the latest Pirates of the Caribbean flick?…and then finally back to Aquaman vs Orm, the rematch. It gives the film a choppy feeling for the first hour, or so, before it settles down a bit in the last act. None of the characters get proper development, especially Black Manta, whose sub-plot could have been eliminated completely with no harm done. At least we already met Arthur in Justice League…and, by the way, where were his League pals as this was a global destruction situation. The good points are that some of the action set pieces are quite fun and Wan has a great visual eye, so the film looks sumptuous and spectacular. The undersea kingdoms are amazing, there is a stunning Star Wars-esque underwater battle at it’s climax and the film has a lot of cool creatures. The cast all get the material and play their roles with the right tone and if the story was more involving, this might have been a bit more memorable, which sadly it’s not. A good time was had overall, though it didn’t resonate once the theater lights came up.
Back to the cast, Wan has assembled a top notch one. Momoa has locked it in as Aquaman and the character has never been cooler. His bad-ass surfer boy take works very well as a modern incarnation of the DC hero and Momoa has the charm and sense of humor to overcome the thin script. Amber Heard is beautiful and resourceful as Mera. She is a strong character and is not played as a damsel and Heard makes a solid heroine out of her. Patrick Wilson is a pleasant surprise as the vengeful King Orm. Wilson is usually cast in the straight-laced good guy role and here he chews up the seaweed and scenery with just enough restraint to keep Orm from flipping over into camp. He’s a better villain than Justice’s Steppenwolf and Wonder Woman’s Ares. Rounding out the supporting cast is Nicole Kidman as a noble Queen Atlanna, Willem Dafoe as Vulko, Dolph Lundgren as King Nereus, Yahya Abdul-Mateen II as David Kane/Black Manta and Temuera Morrison as Arthur’s dad. All do good work in their roles and help keep this bloated flick from sinking.
So, Aquaman is a bit of a mess and DC still has a way to go to catch up to Marvel and set it’s cinematic universe right. The story here is thin and underdeveloped due to filmmakers being too overeager to do too many things in one film. There’s globe hopping adventure, epic undersea battles, a quest for a mystical object and a superhero battling to save the world and find his destiny. All we needed was a musical number. It has a solid cast, who get the material and a director who knows theatricality and how to make it look gorgeous. In lesser hands this might of been an awful mess, but Wan makes it an entertaining one. Overall, it’s a step back from Wonder Woman, but two steps ahead over the disappointing Justice League and the bloated Batman v Superman.
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The Nun is the latest film in The Conjuring film series now referred to as “The Conjuring Universe”. The film explores the origins of the demonic nun that plagued the Warrens in Conjuring 2 and is a spooky fun entry in a series that, up till now, has taken itself a bit too seriously at times. The story opens in 1952 where a veteran priest, Father Burke (Demián Bichir) is asked by the Vatican to travel to Romania to investigate the suicide of a nun at a remote Abbey. He is asked to bring along young Sister Irene (Taissa Farmiga) who is about to take her vows to join the sisterhood. There they find that the locals think the place is cursed and maybe with good reason as the Abbey is housed in the castle of a duke who used to perform occult ceremonies. Something evil he conjured has been reawakened and now needs a human host to escape. It’s focused on Irene and so she, Burke and a French-Canadian migrant named Frenchie (Jonas Bloquet), must find a way to send this demon in nun’s clothing (Bonnie Aarons) back to the hell it came from before it releases its bad habits upon an unsuspecting world.
Flick is directed by Corin Hardy (The Hallow) from a script and story by James Wan and Gary Dauberman. Hardy brings loads of atmosphere and some incredibly spooky visuals to the proceedings. The man knows how a Gothic horror should look. He manages some spooky scenes and delivers loads of nods to other movies such as Fulci’s City of the Living Dead, Raimi’s Evil Dead and at times it even evoked the Blind Dead series and obviously, some of the nun themed horrors out of Europe in 70s, like Jess Franco’s The Demons. It’s never truly scary, even if it does play its story straight, but it’s fun in that it throws its familiar tropes at us fast and furious and mixes and uses them quite well. We get frightened villagers, ominous woods, exorcisms, fog strewn graveyards, re-animated corpses, folks buried alive and more crosses than you can shake at a demonic nun. We do find out who the demon in question is and why it’s here, but other than liking the style or mocking its prey, it’s never clear why it prefers to dress like a nun. But with all the spooky goings on, do we really need to know? What the heck…It works. By the rolling of the credits a good time has been had and the film does gives us that vital link to the Warrens that makes the Conjuring connection. After the holy smoke clears, we haven’t seen anything new, but are amused by the way Corin Hardy took all the familiar tropes and ran with them…and run with them he does. He also had good support from Maxime Alexandre’s sumptuous cinematography and a really Gothic score by Abel Korzeniowski.
The cast work well, especially young Taissa Farmiga as Sister Irene. She portrays well a young woman of the cloth whose faith and strength are tested against something not even The Bible has prepared her for. She’s a good actress much like her older sister Vera Farmiga from The Conjuring films. She makes for a good heroine. Demián Bichir is good as the priest with a past. He has a grizzled demeanor and a gravelly voice which essays a man who has seen a lot in his lifetime and experienced some harsh events. Of course, the demon uses those events from his past against him and it makes things interesting. Jonas Bloquet is OK as the French-Canadian Maurice or ‘Frenchie’ as he is known to the locals. He has some of the weakest lines and his character disappears for a long stretch, so his character development is the weakest. Rounding out is Bonnie Aarons as our demonic nun Valak, and she is effective under the make-up and CGI, but never appears long enough to really chill us like she should.
Not being the biggest fan of this Conjuring Universe, the general opinion is that they run hot and cold with the original The Conjuring still being the most effective of the lot, with Annabelle: Creation and now The Nun being the more enjoyable spin-offs. The Nun is full of things we’ve seen before but mixes them well and serves them up at a rapid pace with some real nice atmospheric and visual support from director Corin Hardy. It’s played straight, but one can tell Hardy is having fun throwing all the crosses, headstones, spooks and specters at us and the film is more self-aware and a bit less serious than its predecessors in this series…and that’s a good thing. Spooky fun.
For those who haven’t seen Corin Hardy’s first film The Hallow, I recommend you check it out! -MZNJ