Category Archives: Thriller

11.06.24
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Heretic

When two Mormon missionaries arrive at Mr. Reed’s house attempting to convert them, they find themselves stuck there in a game of wits, fighting for their lives.

When two Mormon missionaries arrive at Mr. Reed’s house attempting to convert them, they find themselves stuck there, fighting for their lives.

Heretic doesn’t play out with the typical levels of jump scares and macabre we’re used to from horror films these days — rather it’s a battle of wits in which the characters contemplate belief, religion, and faith… oh, and an adult man is terrorizing two young women as they’re held captive in his house, which becomes a maze of puzzles related to his disdain for their faith. Hugh Grant is rather terrifying as Mr. Reed here, but he’s clearly having such a delightful time in the character’s skin. He’s as threatening as you can imagine a mysterious man in his 60s alone in a large house but also has plenty of outlandish and hilarious dialogue. Some viewers simply looking for an intellectual dark comedy could most definitely find satisfaction in watching Heretic. You also genuinely care about our two protagonists. Sophie Thatcher and Chloe East both bring cleverness to the film, a willingness to challenge their captor, and not break down and quit. Thatcher brings a rebellious sense of mystery to Sister Barnes, while Chloe East is heartfelt and capable as Sister Paxton.

Though Heretic takes some time for the uniqueness and thrills to set in, it stands out from other recent horror films thanks to its restraint on its scares, as well as its smart screenplay and chilling villain. The three performances are integral and lift up the film’s shocking fun, and may even make you think about some big ideas all while you’re enjoying this dark ride.

10.05.24
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Joker: Folie à Deux

After inciting violence, murder, and chaos in Gotham City, Arthur Fleck is institutionalized at Arkham, where he faces trial for his crimes — and perhaps the love of his life.

It might still be that there’s no reality in which a sequel to Joker makes sense. Joker felt so fresh compared to other IP-driven blockbusters when it was released, but also provided a sense of shock when it ended. Folie à Deux is a confused sequel that left me feeling nothing. Perhaps a radical decision like making this follow-up a jukebox musical is exactly what it needed to justify its existence, but a movie this ambitious is also too cowardly to take large enough swings or hit hard as a musical. The two main ingredients that work here are Joaquin Phoenix’s performance, which is still incredibly committed and breathtaking at times, and the gorgeous cinematography by Lawrence Sher, which embraces different colors and a grand sort of look to its prison scenes. However, it’s a bad sign when you wish such a legend like Phoenix was spending his time and talents elsewhere rather than helping Warner Bros. milk this character, which won him an Oscar the first time around.

One of the things that inherently doesn’t work about the concept of a Joker sequel is that we don’t have that gateway of sympathy into Arthur’s world when we meet him; he’s been dejected and abused by the world around him, but by the time this movie starts, he’s already done his awful deeds, and it’s hard to feel anything for him in this one’s opening act. Without that fascinating entrance into this world of sorrow and sadism, it’s hard to really feel anything watching the movie. Lady Gaga’s casting is inspired, but the film itself doesn’t do her and the character justice. Why make the singer of a generation whisper lots of her singing or not give her something more substantial than to pine over Arthur? In a psychological thriller about two insane criminals that turns into a musical, the numbers couldn’t afford to be this safe and scared. They feel like they’re holding back and are too concerned with convincing us they are set in the characters’ heads rather than leaning into surrealism and ambiguity. The music scenes don’t feel like a trip, or like they’re unlocking something about the characters and the film that can’t be backtracked on, they’re just breaks with song, and that’s what makes this risk feel so frustrating and timid. Not to mention, we don’t feel like we learn anything new about Arthur that wasn’t already established in the first film, nor anything original about the justice system, the mass hysteria around violence, or society’s outlook on poverty and the mentally ill.

Joker: Folie à Deux is a film that, unlike the masterful and already iconic first movie, has no identity of its own, because it’s too scared to commit to its giant leaps. As a courtroom drama, it’s derivative. As a romance, it’s painfully undercooked. As a social commentary, it’s tiring. And as a musical, it’s just too dim. By the end, nothing really transports, terrifies, or resonates, and worst of all, it fails to answer the most important question of why another chapter to this story.

08.26.24
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Blink Twice

Waitress Frida meets cocktail billionaire Slater King at his fundraising gala, and the next thing she knows, she and her friend Jess are invited to join him and his friends on a dream vacation on his private island. But reality starts to close in on itself when strange occurrences start to happen to Frida.

Blink Twice is as colorful as it is relentlessly violent, reality-bending, and darkly humorous in the most horrific of situations. Naomi Ackie is amazing in what starts as her loosest and most charismatic performance to date, but soon she grips us when she has to act shocked, horrified, and straight-up puzzled for most of the movie. Channing Tatum was perhaps perfect for the character of Slater King, whose mask of cluelessness and charm makes him appear apologetic and soft with the right edge of craziness. Adria Arjona also particularly shines, throwing subtle comedy into pressing fear and paranoia. The film not only has a vivid look and energy, it’s also got genuine intrigue to its mystery, even if you might know where it’s going. It’s a film in the vein of Get Out, The Menu, Fresh, and even Last Night in Soho, and I’m not here to say it’s incredibly different or original compared to other modern dark satirical comedy thrillers like those. Its social and feminist undertones wouldn’t have left as much food for thought if not for the memorable mood and tone debut director Zoe Kravitz brings. Every single cast member is memorable, even if their characters don’t have much under the surface, and motifs like nail polish, a jazz song, or other seemingly harmless objects stick out to the mind. The way the editing reveals things as a sudden retrieval of memory by the mind is also masterfully done. The violence is a lot to watch but culminates in some macabre pleasure that allows for that release of audience excitement, and the movie doesn’t overstay its welcome at all either. Blink Twice is a dark and relentless thriller that takes its time to set the groundwork for the insanity that’s to come in the final act, and once you reach the end, you’ll feel that the buildup was completely worth it.

08.18.24
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Alien: Romulus

While scavenging the deep ends of a derelict space station, a group of young space colonists come face to face with the most terrifying life form in the universe.

Alien: Romulus distances itself from much of the story of the other films, to create a contained haunted house/spaceship thriller. The film manages to give us enough interesting characters to attach us to the action and root for certain ones to make it out, though a few others are simply irritating. Making the premise about a “heist gone wrong” makes it feel unique and gives the film a more fun hook than expected. Cailee Spaeny, who needs no introduction at this point, is not only a terrific lead but perhaps the best person who could’ve played this role, flawlessly balancing the terrified and badass sides to Rain without feeling like Ripley, Shaw, or Daniels 2.0, giving a protective and resourceful edge to her strength. David Jonsson gets a lot to work with as Rain’s surrogate brother Andy, and Isabela Merced absolutely owns her screen time with the terror her character goes through. I mean, who can blame anyone for reacting in such horror after looking at a Xenomorph for the first time?

The effects of the creatures are seamless and innovative, and the gore that unfolds throughout the runtime does not relent or let you feel safe. Though it takes a bit to get going, the thrills get more and more innovative as we explore deeper and deeper through the titular space station. Though it’s often visually stunning, including shots of asteroid belts, planets, and spaceships, the darker lighting makes the shots not quite as gorgeous to look at as Prometheus and Covenant. It embraces enough of the formula that’s made past films work while finding enough in this story to induce curiosity and excitement. It thankfully stands on its own but the action scenes may end up ranking high for fans of the franchise, and ultimately deliver the sophisticated mix of science fiction, action, and horror that have made these films, 45 years later, still feel gripping and cool.

06.29.24
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A Quiet Place: Day One

Though A Quiet Place worked best due to its minimal cast and remote settings, this prequel works strongly by embracing the chaos of a Manhattan monster invasion, and the desolation left behind, with that large scale terror that made Cloverfield such a cultural stamp. Michael Sarnoski, who directed the excellent Nicolas Cage drama Pig, effortlessly manages to replicate the beautiful tension and almost melodic sound design that John Krasinski distinguished this franchise with in the first two films. Though this film isn’t as heart-racing and emotionally fine-tuned, it’s still got a fantastic protagonist and captivating thrills. Though it’s very well-filmed when focusing tightly on its lead characters, there are a few unnecessary cuts to wide shots that do harm that tension, even if just for a moment. If any actress can command an audience and emote in a way as brilliantly as Emily Blunt — well, that would clearly be Lupita Nyong’o. It’s impossible to look away when she’s on the screen, as her character expresses instability yet empathy that carries the viewer with her from the film’s very first shot to its last. Joseph Quinn also shines, delivering an inconsolable fear to his character that’s also aligned with his courage and generosity.

The film’s real experience comes from use of sound — the amplification and implications of certain sounds compared to others in the mix takes you on a ride of sorts and keeps you on the very edge of your seat. It cleverly paces itself and uses its wider settings, but never sacrifices the mystery that made this franchise great: that all of civilization and hope might just be lost to these deadly creatures beyond what we see. It’s different enough from its predecessors to justify its existence as a spin-off prequel, and conceptually similar enough to continue playing with the idea of sound-hunting monsters and near-silent human leads in exciting and satisfying ways.

04.24.24
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Civil War

A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.

Alex Garland is often not one to shy away from dark images as they unfold, but there’s something particular about the violence in Civil War, as if you’re peeking at something you’re not supposed to, only it’s happening in your own yard. Garland seems to have something to say with the “action” here that’s proven itself in reality too much not to struck a chord when it’s depicted way — Americans being just a few disagreements (and arms) away from completely tearing each other apart. What began this second civil war in America is none of our concern, rather the ease at which we’ve turned on the very fabric of democracy. Bloodthirsty militias and anarchists seem too familiar a sight, though we’re following this dystopian war through a group of journalists. Kirsten Dunst gives a powerful performance, as she reveals the most about her character in the quietest of moments. Wagner Moura also gives the film a lot with his charismatic, knowledgeable, and authoritative presence among the protagonists. Cailee Spaeny is notably wonderful as the ambitious younger photographer on the journey who’s horrified responses to what unfolds in front of her are probably how we’d react to, let’s face it. Stephen McKinley Henderson is a fantastic presence as well who adds a lot with his wisdom and charm to each of Garland’s projects that he’s in.

Though Civil War is minimal on exposition as to the larger politics of this war — rather we get an idea of the state of the nation through smaller moments and remarks — the action is incredibly harrowing and graphic. The sounds of gunfire and combat roar through the speakers, and blood is a “loud” reality and consequence. It all plays out without the “cool” sort of filter many Hollywood action movies have, rather it’s an unfolding of sheer chaos and carnage through intentionally amassed manpower, in the way that Children of Men and Sicario throw you into uncontained, senseless warfare. Best of all, the climactic battle at the center of the third act is exhilarating and ends in the most Alex Garland rug-pulling way possible for a film with this subject matter. Fans of Garland’s daring and mature work be interested in the punch he packs here, but for anyone who’s simply looking for an action film — this one’s singular and profound but does not hold back, and when it’s untamed, it’s at its most engrossing.

11.25.23
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Saltburn

Oliver, a student at Oxford University, finds himself drawn into the world of charming and aristocratic classmate Felix, who invites him to his eccentric family’s sprawling estate for the summer, where lust, infatuation, and envy ensue.

Emerald Fennell’s new film may not be as socially relevant as Promising Young Woman, but it’s even more daring as it presents a world in which everything is just a little crazier than our own. The world of Saltburn is drenched in beautiful colors thanks to the remarkable cinematography, and Barry Keoghan gives a psychopathic performance — not his first of the sort, but it feels like everything his acting career has built up to. The production design subtly symbolizes Oliver’s journey in the film into becoming something he’s not, but soon you may believe he’s really shedding his skin and showing his true self. Jacob Elordi gives a charismatic performance that dominates the screen just as his character Felix is made to feel like he owns every room he enters. The chemistry between the two men treads the line between friendship, adoration, and unhealthy obsession. Rosamund Pike also gives a highlight performance as Felix’s mother, who’s caring yet eccentric and even stuck-up, and Archie Madekwe and Richard E. Grant round out the rest of this great cast.

Fennell has created a truly unique experience here that never quite tells you if it’s a college party film, a social satire, a psychosexual thriller, or something completely new. The depths Keoghan’s character goes to and the twists and turns you’ll embark on in this fever dream won’t be for everyone, but those who will welcome a film that surprises you, gets under your skin, and makes you not want to look away, Saltburn delivers on the unexpected fronts in a darkly flashy, twisted, and expertly directed and filmed movie.

09.21.23
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A Haunting in Venice

Hercule Poirot attends a seance at the suggestion of his friend, mystery novelist Ariadne Oliver, who wants to expose a medium as a fraud, but a murder occurs and Poirot must get to the bottom of what seems to be an impossible deadly truth.

Though Kenneth Branagh has seemed to find a formula that works in his slew of Agatha Christie-based films in which he directs himself as the iconic detective, he also wisely ditches the CGI-heavy look of the last two films for a more intimate setting within a darkly lit Venice palazzo one stormy Halloween night in 1947. Though the cast has more weak links this time, Jamie Dornan, Kyle Allen, Jude Hill, Michelle Yeoh and others deliver interesting performances, with Tina Fey being as cocky and entertaining as you’d expect her to be as a writer in the 1940s who’s friends with the Hercule Poirot. It embraces some of the visual and tonal aspects of gothic horror but cleverly doesn’t fully indulge in the genre and remains a solid Whodunit murder mystery, although the pacing still has its slow moments. As I said before, the less “obnoxious” or massively cinematic style helps it better establish a darker mood and a murder mystery that feels contained and believable, and delving just enough into the concept of spirits to feel unique compared to the last two, without throwing too many supernatural elements at you. In other words, it’s another delightful Poirot mystery that never quite surpasses the description of satisfactory, but still fun enough for a watch.

02.08.23
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Knock at the Cabin

Eric, Andrew, and their daughter Wen are vacationing in a remote cabin in the woods when four strangers arrive, requesting an unimaginable ultimatum — sacrifice one of their own or the world will end.

M. Night Shyamalan’s dark and stylish filmmaking make this one another win, and his best since Split. The inventive cinematography knows exactly how to make you anxious about what’s about to happen and when or when not to show what matters most, and his unpredictable style keeps this one-location movie exciting and unnerving. The atmosphere makes you attached to the main family within moments but questioning whether anyone here is truly a bad guy. Dave Bautista delivers his best on-screen work as a man who’s empathetic and understanding but also bringing forth a horrific choice for the protagonists to make, though all the “antagonists” show humanity and remorse, besides Rupert Grint’s character who feels the most like a caricature. Jonathan Groff and Ben Aldridge deliver exceptional performances having to endure panic, pain and disbelief while counting on each other’s love to make it through the situation. The tension escalates in jaw-dropping ways that’ll have you questioning the sides and genuinely fearing for the characters. Shyamalan gets rid of the unintentional humor or ludicrous plot turns of Old for a thriller that shows the character’s emotions and behavior much more realistically and makes a contained but chilling film that teeters between the line of humanity and insanity. A strong watch for fans of the horror and thriller genres that’s as emotionally gripping as it is edge-of-your-seat level intense.

11.23.22
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Glass Onion: A Knives Out Mystery

Famed detective Benoit Blanc travels to Greece, where tech billionaire Miles Bron has invited his friends for a getaway on his private island, but Blanc soon finds himself in the midst of another murder mystery he must solve.

After turning one of the most beloved films of the last few years into a whodunit franchise, Rian Johnson has delivered the rare movie that not only surpasses the original but elevates it and its entire genre. He also proves himself as a modern auteur, completely in control of his creative field and having built credibility and excitement based on his name alone. After reinventing the wheel when it comes to murder mysteries with Knives Out, he decides to reinvent the reinvention, with plot twists and dramatic irony where you’d least expect it — all without becoming unbelievable, overwhelming, or twisty for the sake of it. But credit must also be awarded to Daniel Craig, who, over these two films, has created a new fan favorite character who’s an absolute joy to have on screen, whether he’s actively solving the mystery or simply commenting on the absurdities he observes throughout the film. Speaking of which, is it possible to assemble an ensemble cast as talented and hysterical as in the first film? Well, the cast here rivals that in the original film and every performance is effortless. Janelle Monae proves herself a superstar in a performance too good to spoil, not to mention an extravagant performance from Kate Hudson as a celebrity model/influencer. Edward Norton does a great job as Bron, who’s a spoof of the eccentric billionaires we see today who can’t seem to stop feeding their egos and wallets such as Zuckerberg and Musk. But there really isn’t a weak link in the cast, whether it be Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline, or Dave Bautista (the latter of which is absolutely perfect as a parody of today’s “alpha male” YouTubers such as Andrew Tate).

The movie’s themes about the oddities and shadiness of the top 1% and the toxic effects of wealth networks are anything but subtle, but Rian Johnson lets us laugh at some of the characters and the parallels to today’s pop culture, creating commentary that’s as strong as in the last film, but never annoying and best of all, entertaining to reflect on. The humor comes at you from all cast members and angles, whether it be visual, lines, or moments of performance that will make you laugh out loud. The scale expands from a winter-absorbed mansion in the last movie to a gorgeous luxurious island worth billions, while Nathan Johnson’s score is commanding and memorable. Best of all, the mystery keeps you guessing, feeding you information in the order you’d never expect and not letting go of your attention throughout the entire exuberant ride. Rian Johnson’s made a mystery as grand as it is goofy, as spectacular as it as silly, and as nail-bitingly intense as it is even more stylistically satisfying than the first film. Movies like Glass Onion: A Knives Out Mystery are what sequels and the cinematic experience are just right for, especially when the mystery has evolved into a meta high-stakes extravaganza, the cast is at the top of their game, and only a director like this one could’ve done it so right — who will likely shock and please us many more times again.