A couple (Anya Taylor-Joy and Nicholas Hoult) travels to a coastal island to eat at an exclusive restaurant where the chef (Ralph Fiennes) has prepared a lavish menu for the affluent guests, with some shocking surprises.
The Menu is an original, tense, and hilarious time at the movies with Ralph Fiennes’ best work in years. Fiennes absolutely kills it as a man who’s controlling and intimidating yet vulnerable and easily provoked. Anya Taylor-Joy is commanding as possibly the only character you may find likable, but that’s completely intentional from the end of the script. All the other actors, like Nicholas Hoult, Hong Chau, Janet McTeer and John Leguizamo are all integral and sneak up on you with moments that are key to the film’s themes and attitudes. Mark Mylod’s stellar direction alludes to his time on Succession with the themes about the snobby and incredibly rich, caught in their pretentious attitudes that they shove onto everyone. Combined with the suspense and occasional bursts of violence, as well as the lavish production design and structure of the high-end kitchen that parodies itself more and more, this movie has one of the most hysterical screenplays of the year. The style feels modern yet sophisticated, irreverent yet deep, and has something for those looking for an eerie and fresh thriller or a sophisticated dark comedy-drama with something to say about the world of art, as well as artists and critics who take themselves way too damn seriously — which gives it a meta angle that boosts the fun even more, and ultimately makes this one of the year’s best moviegoing experiences.
OJ and Emerald Haywood are siblings who own a ranch in a lonely gulch of inland California, where they train and handle horses for movie and TV productions. Soon, they bear witness to an uncanny and chilling discovery.
To call Jordan Peele a unique filmmaker of our time would be an understatement — he’s blended genres and used them to incorporate thoughtful social commentary into the most mainstream popcorn entertainment, all while giving audiences films that can satisfy, challenge, and entertain. Nope is no different. It’s a science fiction-horror-thriller-comedy with a modern infusion of likable characters and borderline surrealist world-building, and Peele’s filmmaking is at the level of the most respected auteurs like Stanley Kubrick. It’s got moments of shock, laughter, brutality, and terrifying humanity that adds so much astonishment to a film that starts with what could’ve been an overused premise in anyone’s else hands. Daniel Kaluuya has evolved into a modern film star of his generation — though he’s starred in Black Panther and won an Oscar for Judas and the Black Messiah, it was Peele’s debut Get Out that guaranteed his stardom. He’s a master at being funny but showing a character confront with real and inner “demons” in a silent way but always being a fun character too. Keke Palmer has a contagious, bubbly energy and I’m sure the entire cast and crew had plenty of laughs due to her fantastic delivery of her lines that often sneaks up on you in hysterical ways. But she’s also a genuine hero, not to mention Steven Yeun and Brandon Perea who are scene stealers.
Peele’s style always challenges genre, structure, and how the audience expects to react to things. His stylistic energy in Nope invokes eyes staring in awe, jaws dropping, and mouths smiling all at once. Due to this, Nope transcends accessibility for fans of horror, and is a top-notch film for all fans of big-screen spectacle, because it never settles for just being a horror movie. In it’s own way, Nope is a piece of art, that’s not meant to give you easy answers or leave you comfortable. Like Peele’s last movie Us, there’s so much to debunk as the thematic elements often drive the filmmaking in his movies. This one addresses many things, but among it, humanity’s flocking to images chaos and danger, and our obsession with getting as close to death and trauma as we can while wanting to arrogantly cheat the effects they may have on us, should our endeavors to harness danger go wrong. The movie is also a tribute to filmmakers and crew members in positions we don’t often acknowledge, and the achievements of black contributions to cinema that aren’t always celebrated. In a way, Peele uses this movie to celebrate the invention of cinema but also warn about our roles as audience members and monetizers of content that’s both real and adapted from truth. With it, he creates the most daring and awe-inspiring summer blockbuster possible that I’m sure will inspire many to create and challenge the world of films the way he has.
Following the events of the predecessor, the Abbott family now face the terrors of the outside world. With both A Quiet Place and its sequel that’s now playing in theaters everywhere, John Krasinski has proven himself to be not only an awesome actor but a master filmmaker. It worries me whenever a studio greenlights a sequel to a great film that stands alone perfectly, but A Quiet Place Part II is one of the rare occasions where the sequel lives up the original, and not only that, but along with that 2018 film, is one of the best horror/thrillers of recent years. A lot of it is thanks to Krasinski’s direction and the style which made the concept and storytelling of the first film so memorable. The opening sequence is nail-biting and even though the violence is kept at a PG-13 level, the film knows where and how to scare most effectively with showing and not showing certain things. For example, we see scenes from characters’ perspectives so the aliens and action aren’t always in the frame but sometimes in the background. The cinematography and editing are great as well, but it’s the sound editing that makes the movie. It’s the small noises that make you terrified for the characters as they try to survive among creatures who can track them based on any small noise from a distance, and the sound creates its own tension without a single jump scare. The loud sound effects of the monsters contrast this excellently and make this a terrific theater experience.
Emily Blunt may be at her best in this series as a mother trying to protect her kids, including a newborn, from otherworldly threats that are a family’s worst nightmare. Cillian Murphy is also excellent as a new addition to the cast, a cynical, hopeless survivor who is changed by his time with the Abbott family. Millicent Simmonds, the deaf actress who plays the deaf daughter in the film, may be the film’s heroine as she takes on challenges courageously and delivers a stellar performance, with not only some of the most positive deaf representation I’ve ever seen in film but all around a brilliant actor and lead role. Noah Jupe, who plays the son/brother, is again excellent, and he’s proven himself with these films as well as his magnificent roles in 2019’s Ford v Ferrari and Honey Boy. And even with just a cameo, Krasinski himself makes his presence felt throughout the film, passing the courage and good-ness of his character from the last film into his children and the world of the movie. Beyond the brilliant scares, which are only strengthened by techniques such as cross-cutting that Krasinski marvelously uses to make scenes more powerful and symbolic, the film retains the heart that made its predecessor so emotional — in every frame and line, this is a movie about a monster apocalypse, but also about parenthood, family, human survival, and hope. And one can’t help but think that with a family taking back their world by venturing back into the unknown and fighting back against the apocalypse, it’s a perfect film to represent our return to theaters. I, for one, had not been to the theaters since Tenet last August, when some screens briefly reopened, and this is an impeccable choice to return to the big screen with for the thrills, sound, and amazing effects and story that will more than satisfy those who know what they’re in for, and for the shared experience we’ve been longing to have back and can finally experience for a new blockbuster once again.
Twenty-seven years after their first encounter with the terrifying Pennywise, the Losers Club have grown up and moved away, until they must return to Derry and band together once again when their worst fear returns.
The massively hyped duology adapting one of Stephen King’s most beloved and terrifying novels comes to a close with It Chapter Two, following the mighty success of the first It. In the first film, a group of kids banded together and formed the Losers Club, using their camaraderie and their heart to defeat the being that feeds off their fears, but now that same being has returned and summons them back together as adults. The leading cast is great, including James McAvoy who shines as Bill, a fearless kid from the first film who led the group, though his on-and-off stutter make his performance slightly confusing. The standout was certainly Jessica Chastain who blesses the screen with her marvelous presence yet again, with her range, from joy to remorse to terror, all make Bev a standout character once again. But also worth noting is SNL alum Bill Hader in what’s definitely his best film role ever, playing the hilarious Ritchie who also gets more layers as the film progresses. Also impressive is Bill Skarsgard as Pennywise, although this time around, he has less moments to strike fear into audiences again.
It Chapter Two‘s main strength definitely lies in its cast, as well as the theme of how being together is what helped these people become their best selves and overcome their fears. However, where Chapter Two stumbles is finding merit outside of what viewers already learned in the first film. There’s a lot of flashbacks to the Losers Club when they were kids, but above that, it seems like Warner Bros. felt like they kept having to remind us what the first movie was about, resulting with the pacing being dragged down with repetitive scenes of Pennywise taking advantage of each individual member through their fears — both through flashbacks and present day scenes. Of course every character needs layer, but extending the runtime so long to the point where they had to bring back nearly every plot point from the predecessor feels unreasonable and tiring. The movie keeps treading this same ground for a while, reminding us for too long about the character relations, arcs and events from the first film, until it ultimately becomes a rehash of that movie. It brings back every character including an irritating side character who we thought was gone for good but wastes screentime here with an awful performance. Above all that, there are less horror scenes that will catch the viewer’s attention, although a very note-worthy scene is a terrifying moment in a mirror maze that I cannot spoil.
When the climax finally arrives, it takes place in the exact same location as the first movie’s final standoff, has the exact same “villain tactics” or obstacles as last time, and ends with the same theme yet an even tackier resolution. There’s also an awful subplot thrown in about a ritual that must be performed, and it goes too deeply into the origins of “It” instead of subtly dropping hints that would leave us guessing. There’s a moment in the film where an old woman tells Bev that her “father joined the circus” — the camera then pans up to a picture of a man in the early 1900s near a sign that says “Pennywise” — this is a perfect example of planting small clues about It’s origin, but it didn’t need to actually reveal the whole deal to us, which slightly undermines the mysteriousness and threat of the entity. What director Andy Muschietti unfortunately did not understand is that less is more, when it comes to storytelling. On the contrary, this film becomes unreasonably long and repetitive without finding as much of a purpose or effect as the first did two years ago. If this one didn’t feel the need to be as long as The Hobbit or Interstellar I could definitely see a slightly more effective story coming out without forcing the audiences through too much of the same thing over and over again.
It Chapter Two feels more like an epilogue to the last movie than a sequel or its own film. There are certainly some touching themes and great cast members — especially the wonderful Jessica Chastain and the hysterical Bill Hader. However, there are definitely less memorable horror moments for the general audiences, but worst of all, Chapter Two fails to justify itself as its own film, rather borrowing all the ideas from the first film and saying, “this is how they deal with this stuff, but this time they’re older!” I was definitely looking forward to this but looking back now, the first It certainly holds up just as well as its own story, and this may just be another case of Hollywood stretching out existing franchises beyond a breaking point. Perhaps this follow-up would have worked better if it was actually released 27 years from now, where relying on nostalgia from the first film to craft another crowd-pleasing success may had actually worked instead of just remaining a myth inside of the Warner Bros executive’s heads that makes a for an often tedious and familiar three hours.
Dr. Louis Creed and his wife, Rachel, relocate from Boston to rural Maine with their two young children. The couple soon discover a mysterious burial ground hidden deep in the woods near their new home.
This latest adaptation from a work of genius author Stephen King proves to be a missed opportunity. The trailers teased something dark, unpredictable, and memorable, but what we got instead was a terribly written film with poor direction and no attempt to fulfill any promises it sets up. The film has some nice atmosphere building in the start, but ultimately falls into too many horror cliches, like the family moving to a new place for a “fresh start”, and the older, wiser, “exposition dump” character who conveniently knows everything. The marketing not only gave away every surprise there as about the movie, but made me believe this would be a brutal and unsettling horror film. Unfortunately, there are few truly scary moments and every important death happens either off screen or too dramatically to be taken seriously and emotionally. Jason Clarke’s acting never stands out, and he’s an actor who’s unfortunately found himself stuck in the limbo of playing the boring characters in reboots, and like I said, John Lithgow is just there for exposition purposes. There’s also an arc for the female lead which becomes super repetitive and involves unnecessary flashbacks that provide the only possible scares this movie had. There’s also some aspects, like a frightening opening hinting at a cult of some sort or more resurrected animals or people, but this buildup ends up leading nowhere. Pet Sematary ultimately becomes frustrating in its climax and I was happy when it was over. It unfortunately fails to dodge any cliches of the genre and misses out on any emotional response it could have gotten out of its audience, which is disappointing because I had hopes for this one. You’re best off watching the trailer and leaving it there, because the 2-minute teaser was far more entertaining than the actual film was. Let’s hope the King adaptations improve when It: Chapter Two and Doctor Sleep are released in the fall.
This horror film follows a family whose summer trip to a beach house is interrupted when a family that looks exactly like them shows up at their door.
Jordan Peele follows up a victory with another one that should be praised for its own reasons. Though it’s a very different film than Peele’s Oscar-wining horror film, Us is an all-out nightmare that will get under your skin like no other mainstream film ever has. Not only is it more frightening than most horror films, but it’s so meticulously crafted and strongly directed by Peele, who make his care for characters and root for them to survive within an instant. From the very first shot of a girl watching television, Peele already plants clues for what’s to come, followed by an opening credits shot that’s simple but will give you chills. He wonderfully builds every shot to contain mystery and intrigue, that will make you never stop guessing what will happen next. He builds shots hide and show certain things and wonderfully makes the doppelganger characters frightening antagonists for the viewer. Lupita Nyong’o delivers two main performances that feel very different but both are spectacular in their own route. She convincingly acts terrified in many instances, but also changes her voice and achieves many feats in numerous scenes tin which she will blow you away. The violence is uncompromising but a blast to watch if you can watch graphic imagery without flinching, as the fight for survival is always thrilling and unpredictable. However, there’s also great moments of comic relief thrown in there, which delivers while still feeling like a full-on horror film. But above all the fright and entertainment, there’s some true shock thrown in, especially towards the end. Peele leaves the message and themes of the film open for discussion, as opposed to more obvious racial commentary in Get Out , while the meaning of Us will be debated for years. Not to mention a plot twist that will go down as an ending for the ages.
Jordan Peele has not let down expectations and is an established horror genius here in Hollywood, promoting true originality and terror in his films. With strong writing and acting, as well as plot devices and themes that can be analyzed for years to come, there’s so much to say about this new horror masterwork that I’d rather not ruin and let you discover for yourself.
Forty years after she was attacked by a masked killer, Laurie Strode prepares for the return of Michael Myers so she can end his murderous carnage once and for all.
After several sequels that were poorly received by critics and audiences alike, the most recent film in this slasher franchise retcons all the sequels’s continuities, disregarding them and acting as a direct sequel to the 1978 classic. The movie delivers on the promise of intense sequences elevated by the frightening presence of Myers, and effective tension throughout these horror scenes. The blood and gore is also fittingly strong to amplify the fright of a masked murderer coming after these characters, with some nice cinematography and tracking shots as well. However, even though it’s quite entertaining to watch, most of the jump scares are pretty predictable and a lot of these scenes fall into familiar tropes. Jamie Lee Curtis reprises her role and does a terrific job as Laurie, bringing a layered character to the screen in every scene she’s in. The aspect that hasn’t been seen before is the PTSD Laurie faces and how she’s willing to go to far lengths to prepare herself and her family for the inevitable return of her greatest fear. The way Curtis portrays a woman affected by an incident even decades later and how she’s always looking over her shoulder, ready to bravely face the villain of the story is done very strongly. If only the movie focused more on her, as lots of the film cuts to uninteresting side characters that don’t serve a purpose to the main story and aren’t portrayed very well. Sometimes the movie doesn’t stick true to the promise of being the story of Laurie facing Michael one last time and instead focuses more on developing character who do nothing other than fall victim to Michael’s killing spree. The plot also basically follows the structure of the original and we can tell what the final showdown will be like even before the movie begins. Halloween has plenty of fun scares and effective violence that will entertain horror fans but it borrows too much from the structure of the first film and doesn’t try much that’s new from the overall horror movie formula, and could’ve used more focus on its compelling protagonist.
After the death of her mother, Annie Graham must shield her family from the psychological and supernatural demons she believes she’s inherited from her mother.
A24 continues its streak of truly disturbing, frightening, and upsetting movies that redefine the horror genre as we know it. This movie has a layer of terror that no other horror film I’ve seen lately has offered. Not only does it offer scares, but the emotional depth and damage the characters have is the most terrifying part of it because it feels more grounded than what comes later. What’s so disturbing about Hereditary isn’t just the supernatural aspect but also everything that our characters are already put through before, which could be a tragedy on its own. Ari Aster does a terrific job creating suspense and placing the camera in creative angles, without using too many cuts within scenes. He also elevates tension with effective use of music. He writes a nightmarish family drama that escalates into screams, visions, and paranoia in nearly every scene. You can never tell what will happen in the movie, from a scene in the first 30 minutes that’s so unthinkable and disturbing it makes your jaw drop. Toni Collette is not to be ignored in her deep and unsettling performance as a woman dealing with grief and loss, and her character acts somewhat insane at some points, but Collette’s performance is believable enough to be taken seriously and she brings chills down the viewer’s spine in some scenes. There are some truly terrifying sequences that will have your heart racing and some gory imagery, and I should warn you that if you don’t like gore or slower, less conventional horror movies, then you should probably stay away from this one. This movie has strong psychological fright and themes about grief and broken families, but I feel that the ending decided to go more supernatural and I hoped for a more emotional blow that stuck true to the themes rather than the scares, like most A24’s horror movies have done. Other than that, Hereditary will live up to the expectations of those hoping for scares, but it’s also got the depth that fans of the studio will be looking for.
This apocalyptic horror film focuses on a family who is forced to live in silence while hiding from creatures that hunt by sound. Starring in the main roles are John Krasinski (also the director of the film) as the father of the family, and Emily Blunt (his real-life wife) as the mother. With A Quiet Place, Krasinski not only crafts a great edge-of-your-seat thriller with plenty of scares for wide audiences and horror fans to enjoy, but also makes excellent use of suspense with the sound, directing, and acting. Every noise is made to feel loud enough to pose a threat and surprise us at certain moments, and the sound editors knew very well which sounds they needed to make louder than others and how loud each sound needed to be. The tension is built effectively in every scene, as we get character development with each member of the family while the danger around them quietly builds. Small moments like a lamp falling and breaking or a toy making a sound will frighten you, and whenever it gets too noisy you’ll even start getting stressed just by the thought of what what be about to happen to our characters. None of the intensity feels fake and you’ll definitely be as anxious as the characters in some of the most scary scenes in the film. Krasinski and Blunt are both splendid as the parents; Krasinski’s character clearly showing fright but also leadership of his family through the everyday hours and protecting them with everything he can. His love for his children is the strongest part of the film and his acting is always spot-on. Blunt also can’t be ignored; she’s a fearful and also protective mother who demonstrates pain and terror excellently.
A Quiet Place is not only a great showcase of acting and directing but doesn’t forget to be an entertaining horror flick; you don’t have to worry about this one being too boring or stretched out even though most of the film is in sign language rather than spoken dialogue as the device the family uses to survive against the creatures. The visual images are always conveying of the conflict and emotions the family faces, and we though we never see too much about how the creatures got there or what’s going on in the rest of the world, that’s what makes everything more mysterious. My one problem is the ending, which though I didn’t have something strong against, I feel the ending had a more light and even comedic feel to it, and I hoped it would’ve stopped at a place a little more powerful, like the rest of the film. Otherwise, horror and science fiction fans won’t bed disappointed by this short but noteworthy thriller that won’t fail to keep you thrilled and entertained.
A biologist joins an expedition into a mysterious zone called The Shimmer, full of mutating landscapes and creatures that threaten whatever enters it.
Natalie Portman leads the cast of this ambitious sci-fi feature from Ex Machina director Alex Garland. This corner of the sci-fi genre is one of my favorite types of films because they’re often the most shocking and thought-provoking. i like to watch science fiction movies not just for excitement or satisfaction, but to be surprised and to think about what happened. Ex Machina was a smart cautionary tale about how scary a future with artificial intelligence may become, and Annihilation is much more complicated than just having a single theme like that. However, it’s a good thing that a movie is trying to be more intellectual, although Garland’s refusal to alter the film to make it more pleasing for mainstream viewers cost it its theatrical release overseas, so if you don’t live in North America you’ll only be able to see this on Netflix, which is unfortunate because this movie is a gorgeous theater experience. Portman is exceptionally deep as Lena, who leads a great cast along with Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, and Oscar Isaac. The way Portman expresses her feelings such as fear, uncertainty, and agony serve the character very well, and also noteworthy is Isaac as her husband. Annihilation is what people may call classic sci-fi, as it does have the buildup, clues, and mystery until there’s a final twist reveal, but I personally don’t think I’ll ever get tired of these films because of how many questions they can raise and how puzzling they can be but still intrigue (like the bizarre but fascinating Cloverfield franchise). People can draw comparisons to Arrival, and I think that one is a far superior film to this because it doesn’t just talk about the sci-fi concept it introduces but also presents more layered themes about humanity that don’t just belong in science fiction, not that this one doesn’t have any of that. Annihilation definitely has a lot under the surface that I still have yet to discover but I’ve been thinking a lot about it ever since I saw it and I remember sitting quite shocked in the theater as the credits rolled. Some of it doesn’t completely add up, including some subplots and details that weren’t fully realized but that doesn’t stop this from being a worthy experience. Don’t go in expecting anything because the story takes many unexpected turns and has some visually marvelous sequences, as well as a spectacular musical score, but though it has a horror scene here and there, don’t expect too many answers right away but a lot is left open-ended for the audiences that aren’t mistaking this for an Alien or Predator-style film.
Annihilation presents marvelous visuals and style, as well as questions that sci-fi fans will love to discuss, with Natalie Portman giving it her all, and though Alex Garland encountered some problems with the international release of this film, he has nothing to apologize for and should continue making smart and unique science fiction like this, because these are really the films we need to remind us how intriguing science fiction cinema can be.
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