Beetlejuice Beetlejuice

8.5/10

In this sequel to Beetlejuice, and now grown up Lydia Deetz (played by Winona Ryder) must make a deal with the chaotic demon Beetlejuice (Michael Keaton) when her daughter Astrid (Jenna Ortega) get stuck in the afterlife.

The Beetlejuice sequel has been gestating for a long, long time, since the 90's in fact. Winona Ryder even had a clause in her Stranger Things contract that gave her time off to do a Beetlejuice sequel if it ever came to fruition. Well, they finally did it. They made another Beetlejuice with director Tim Burton returning, and honestly this is the most inspired he's been in a long, long time. He's been cautious about doing sequels, the only reason he did Batman Returns is because they wouldn't take "no" and offered him complete creative control, but he never gave up on Beetlejuice. The reason he never faltered and regained his mojo is the same reason Big Eyes is one of his stronger latter entries, he has a genuine passion for the subject material.

This movie is nuts in a good way. So much creativity went into this with so many fun ideas and macabre humor thrown at us. It manages to do something different, which is what made the first film so popular. The third act is definitely something and the funniest part.

We get to see a lot more of the afterlife here, and it's a wild impressive-looking ride. For this, Burton tried to use as much practical effects as he could, and it really helped. If you missed the eighties/nineties era of practical effects, then you'll like this. It just feels more real than CGI, and helps lend to the movie's kitschy feel. Actor turned ghost cop Wolf Jackson, played by Willem Dafoe, has part of his skull missing, and their is just something so distinct about the colors and makeup they did for it. It may bug some that the sandworms in this looker cleaner and have less life in them than the original.

But of course, you can't have a Beetlejuice movie without Beetlejuice, and Michael Keaton's still got it. He's like Jim Carrey in the Sonic movies, he can't due to the rapid physical humor like he could back in the day, but he's got the comic delivery down pat. Beetlejuice remains a hilariously awful being. Unsurprisingly, Catherine O'Hara, returning as Lydia's avant-garde artist stepmother Delia Deetz, is one of the major draws. The writers took some inspiration from her career reviving turn in Schitt's Creek and allowed her to be more over-the-top, which feels natural as she has just become more of her major traits as she's gotten older. Her delivery is on par with Keaton and she steals any scene she's in. 

Best newcomer is Dafoe's Wolf. Though he's a real cop now, he can't help playing it like a TV actor and hamming it up. He's an unexpected character when compared to everyone else and the tone of the afterlife, but he somehow works. Torchwood/Pacific Rim's Burn Gorman is also fun as a priest who speaks in a verbose, old-school pastoral manner.

Though this is one of those surprisingly strong follow-ups made decades after original, it isn't quite at the same level as the original. (Let's be honest; a lot of Tim Burton scripts are imperfect.) First off, Beetlejuice is pining for Lydia, who he met as a FIFTEEN-YEAR OLD! And no one in the production process shot this down?! You would especially think they'd avoid something like this due to Jeffrey Jones not coming back due to his child pornography charges.  

This doesn't have quite the heart of the original and seems to revel more in being meaner. I do miss the Maitlands, the ghost couple from the first film. They were the actual main characters, and in my opinion as important to the movie as Beetlejuice was, and their normalcy and being generally nice people is what served as the backbone of the plot. The ending in particular feels less solid and more cynical. There are attempts to add an emotional element to the film, but they feel half-baked. Astrid's discord with her mother doesn't feel natural enough.

Going back to the "being meaner" part: The writers follow the recent trend for a lot of franchises saying "we need to kill more people and go for a harsher turn". (Be prepared that this is noticeably more violent than the original). If I want to watch a new blockbuster franchise film, I want to have fun, not have it be a bit of a bummer.

I felt Ortega’s talents were wasted here. She had a couple good reaction moments, but Ortega was given a basic character without much to do. The character of Rory (Justin Theroux), Lydia's manipulative boyfriend and producer is completely unnecessary. Theroux plays the role well, and he has a couple nice bits, but he doesn't add much to the plot, and you don't quite understand why Lydia puts up with him, because it feels inconsistent with the rest of her behavior.

Recommended. It's not 100% the original, but it doesn't miss by much. There are valid criticisms with the film, but I feel the spectacle, humor, and whole of it all is massively entertaining.

Crow (2024)

5/10

In this remake of the 1994 film based on the graphic novel by James O'Barr, Eric (played by It's Bill Skarsgaard) comes back to life to become the Crow in order to take down the villains who killed him and his girlfriend Shelly (actress/composer FKA Twigs). 

To the credit of director Rupert Sanders (Snow White and the Huntsman/the live-action Ghost in the Shell) this doesn't feel like one of those films where the director was coasting. He clearly had a vision, and it didn't feel like producers sabotaged his ultimate tone. (In the grand scheme at least. It does feel like parts were cut.) Sanders tried to approach the story in a new way. The reboot focuses more on the relationship of the doomed lovers and how they got together instead of just jumping into things like in the original. Unfortunately, the execution of this angle doesn't play out. The build up takes way too long, and you're mentally begging the movie to jump to the action.

It doesn't help that the rules to the afterlife and the paranormal are confusing and don't track. The main villain Vincent Roeg (Danny Huston) has a very basic, disappointing 2000's evil paranormal agenda. Plus, there is one part about a character sticking around the city that doesn't make any sense. You know people are after you! Why are you still around?! Heck, you still shouldn't even be in the country!

However, when we finally get to the action, it doesn't disappoint. I believe Sanders started out in music videos, and the guy definitely has style. The violence has a distinct rawness to it that works. (Sadly, it comes too late.) Also, Sanders has an excellent eye for sets and locations mirroring the original's intent to have its own distinct larger-than-life city, though this is more desolate modernism than modern gothic. 

Also, I'll give Sanders and the writers a hand for at least making all the baddies feel different enough from each other.

One can't blame the actors for this as most of them are doing the best with what they are given. Skarsgaard feels born to play the character, and really sells Devin's love and rage. It looks like this won't excel at the box office, but I honestly would like to see a sequel under new hands just to see the guy get a chance at better material. 

Not recommended. I mean I suppose it's something to watch if you like interesting-looking misfires, but it's too slow and the script isn't strong enough.

Late Night with the Devil

8.5/10

In Late Night with the Devil, Jack Delroy (played by David Dastmalchian), the host of the late night show Night Owls, tries to restore his show's dwindling ratings by having a special Halloween show that includes Lilly D'Abo (Ingrid Torelli), a girl allegedly possessed by a demon.

I think it's been a while since I've seen such a well constructed story. All plot points flow naturally and we are fed information bit by bit. The interesting thing about this film is that it isn't your typical demon possession tale. There is a lot more going on and one is left interested as to what exactly is at play here.

One is kept engaged as to where everything is going and what'll happen next. True scares can be a slow burn often, but that really isn't an issue due to the film's general sense of unease in that Delroy is messing with stuff he shouldn't as well as solid characterization (Delroy's got several guests/show staff with differing agendas and views on the supernatural). 

Only reason I'm not rating this higher is the ending.  It runs a little longer than needed, and it lacks the cohesion and satisfaction of the rest of the film. To the ending's credit, it does show, not tell, however, I would've prefer the info. to be more explained and spoon fed. Part of the fun of this is putting all the clues together, but the movie ends with you asking a lot of "wait, what about?" questions. That having been said, the ending's not an absolute stinker, I've seen vaguer endings, and what occurs is definitely a choice.   

Strong cast in this. Dastmalchian is like Alan Tudyk in that he's one of those character actors who popped up more and more until they just suddenly hit that point where they became a known name that's in demand. (Among other things Dastmalchian was the main villain the MacGyver reboot, the Russian guy in the Ant-Man movies, and Polka-Dot Man in Suicide Squad.) He especially seems to have gotten his foot in movies lately. However, this is the first time he's gotten the main lead, and he kills it as an charming but ratings hungry TV host who also has to carefully navigate strange occurrences and various opinionated members of the show. 

Other highlights of this are Torelli whose Lilly is more uncomfortable when the demon isn't speaking through her, Rhys Auteri as Delroy's affable co-host Gus McConnell, and Fayssal Bazzi as showman psychic Christou.

The movie really encapsulates the feel and look of the 1970's and talk shows. It doesn't feel anachronistic or forced. Budget was clearly small, but the Night Owls' set is pulled off nicely.

Highly recommended. Yes, the finale's not perfect, but the film as a whole is definitely worth a watch. Unfortunately, this is only in limited theaters, the ones that are usually close to or in cities.  If you're not near one of these, this'll be on Shudder in a month, I believe, and if you're not subscribing to that, most films from the streamer appear on DVD/Blu-ray a few months later.

Goosebumps- Season 1

7.5/10

In this the second show to be based on the popular children's horror series by R.L. Stine, a group of teens accidentally open a secret room unleashing a collection of cursed objects upon their town.

I give the creators credit for doing something other than the same ol' with the Goosebumps style. Instead of the more colorfully shot tales like with the original stories and the films that star children, this has the leads being teens and the story being told with bleaker lighting and somewhat more grounded writing. The show has more weight and story than your regular Goosebumps. I rather liked the whole backstory of the secret behind the accursed objects and other forces. This took a few risks for a Disney+/Hulu family program. However, the show still manages to be macabre and scary without crossing content lines. (Parents be forewarned that the very last episode is more violent than the entirety of the rest of the show.)

Though a more serious Goosebumps, the writers are having fun. There's a decent amount of humor to balance the tone.

The main teens though maybe not the most standout characters, are all good enough. This is another one of those "teens with parental problems" shows. The show doesn't do much new with the formula. I'm so tired of every series/movie starring teens having emotional trauma issues. I get it, a lot of people in this world don't have super parents, but seeing this done ALL the time is exhausting and kinda depressing. Can't we just have teens going on an adventure that focuses on just the adventure and not their problems? At least the parental issues in this aren't as strong as they would have been if this was more of a teen/adult show.

Standout in this is Justin Long (who'd have guessed at the start of his career that he'd become so associated with horror?) as the teens' teacher Mr. Bratt. He gives a pretty lively, offbeat performance. Childrens Hospital's Rob Huebel (who I'm surprised isn't in more things as he's good with drama or humor) is also pretty watchable as a semi-ineffectual school counselor.

Recommended. Goosebumps purists may not love the somewhat radical changes, but this managed to deliver something new without feeling like its completely discarded the elements of the books.

Five Nights at Freddy's

7/10

In this new movie adaptation of the popular video game series that is airing simultaneously in theaters and on Peacock, Mike (played by the Hunger Games films' Josh Hutcherson) gets a job as a security guard at the closed down family restaurant Freddy Fazbear's Pizza where there is more to the dormant animatronic characters than first meets the eye. (I assume this takes place over five nights. I didn't count. I'll take the film's word on this.)

When it's being scary, the film captures what makes the games work. The animatronics, created mostly through practical puppet suits created by the Jim Henson Workshop, are unsettling, feeding on the fact that there is something uncanny about how animatronics move in an uncanny valley way. These characters were originally created on a low budget years ago and their designs were made to be simplistic and something that works in a video game. Some can make the argument that they don't look as close to the classic animatronics of the Show Biz Pizza/Chuck E. Cheese era, and that a game or movie could've been more scary if you had something like one of those. However, Fazbear and friends do have something about their simplicity and blocky appearances that feels imposing even when they're stationary.  

This isn't one of those movies that rely on characters in the shadows and the less-is-more formula. You see the animatronics a lot, and it works in this situation, because the constant hint of menace beneath the character's faces always intimidates. The kills in this are well done, and director Emma Tammi has a nice visual eye. I particularly like how the opening credits are: a solid way of delivering exposition while staying true to the feeling of the games.

The biggest downside of this movie is that the scary parts are few and far apart and there is a LOT of plot and backstory. The movie is fair to the lore of the games. However, the games slowly teased the backstory over several installments. Here, way too much is thrown at you. I think most would've preferred the simplicity of mostly taking place at the restaurant and having Mike just try to survive. Speaking of the guy, Mike has a dark past and present day personal troubles and has way too much on his plate. The movie could've cut down on all the personal issues. There are also a few plot holes.

That having been said, the script mostly works and I wasn't turned off. (You can't accuse this horror film of choosing style over story.) There are also a couple funny bits. 

The backstory to this movie does get dark. If you don't like violence against children, this won't be for you.

Hutcherson is convincing as poor Mike. He isn't in this much, but "why-isn't-this-guy-in-more-things" Matthew Lillard is clearly stealing the show with his delivery as the employment counselor Mike works with. You's Elizabeth Lail plays a cop that befriends Mike. She gets some of the worst dialogue and motivations to work with and while she isn't bad, she just isn't able to fully make it work.

Kinda recommended. The over-exhibition and darkness of the film won't be for everybody, but when it works it works, and I can honestly say that it does a have a bit of a different feel than a lot of other films.

The Fall of the House of Usher

9/10

In Mike Flanagan's third limited Netflix horror series based on a popular house-based work of fiction (and probably his last since he has signed a deal with Amazon), we get an adaptation of Edgar Allan Poe's short story The Fall of the House of Usher as well as several other of the author's other works. After suffering a great tragedy, CEO of the powerful pharmaceuticals company Fortunato Roderick Usher (played by Thirteen Days' Bruce Greenwood) invites his nemesis district attorney Auguste Dupin (Alias' Carl Lumbly), who's been trying to get him charged for various criminal activities for decades, for a confession. In it, Usher recounts what befell him and his family and why.

This is an interesting departure from the last two house shows. Whereas those were more typical haunting shows with low body counts, this one's rather different. Body count's high here and the show is far more violent. (Perhaps this is Flanagan's reaction to criticisms about his previous show The Haunting of Bly Manor which is more psychological and the least with straight scares.) There is one kill in particular that is EXTREME and not for everyone.

Whereas the previous shows were about basically good people in bad situations, the Usher family, which are obvious parallels for the Sackler family, the ones responsible for the opioid epidemic, are mostly the opposite. This is one of those morality tales where bad people have things happen to them that are equivalent to their trespasses. Flanagan has always been big on characterization, and he does a solid job of making ourselves understand how the Ushers turned out the way they are. The two major strengths to FotH are getting to know the rich, diverse cast of characters and predicting how the next over-the-top death will happen.  One may argue that it's a bit lazy of Flanagan to focus most of the episodes around specific Poe stories, but he does a superb job of updating them to modern times.

Most of the dialogue works in this. However, there are a few speeches given by characters where it does not feel natural and is just Flanagan trying to too hard to get a message across.

As with most Flanagan productions, we get a great cast, including many of the the director's regulars. Originally, Frank Langella was cast to play the Usher Patriarch but got fired for repeated inappropriate comments. I won't lie that I would've liked to see what could've been with Langella's trademark bold voice and performance. (Not to defend him. He was warned to stop, and he still kept on.) However, Greenwood is a veteran actor and he does an awards-worthy performance as a complex, nuanced character. The man's expressions can say so much with so little effort. One of the best parts of this show is the framing device of Greenwood's conversation with Lumbly: two talented men working off of each.

Best performance probably goes to Carla Gugino as the mysterious woman involved with the Ushers' misfortunes. She utilizes multiple disguises in this and its impressive how the actress slips into various personalities.

A surprise casting for this was Mark Hamill as the Ushers' lawyer/fixer Arthur Pym. The actor has been popping up in live-action more often these days, but it still feels like the movie/TV world often still doesn't know how to properly utilize the guy. I think this will be considered alongside The Big Red as one of his best works outside Star Wars. He plays the guy who knows where the bodies are buried; the one employee the spoiled Usher children know you don't mess with. Hamill brings to life a no-nonsense, smart character but who also has a bit of humor and personality to when he is faced with the unexpected. There's a discussion in this that is arguably one of the best performances he has ever given.

Highly recommended. I'd say this is the second best of the trilogy. Hill House has the better scares but the difference between the quality of these two is not by much.

The Exorcist: Believer

4/10

In this the sixth Exorcist movie, young Angela (played by Good Girls' Lydia Jewett) and Katherine (Olivia O'Neill) go go missing for three days and have no knowledge of what happened. Soon, it becomes quite obvious that the girls are possessed. 

This is from David Gordon Green, the director and co-writer of the recent Halloween trilogy. If you had issues with the way people felt a little surreal in Halloween Ends, this movie is that but even more so. To his credit, Green is trying to have this be a movie that focuses on characterization. However, the dialogue is off throughout. Pacing is real fast. Green's trying to get through all the plot points which makes it hard to really get to know some of the characters. The relationship between Angela and her father Victor (Hamilton's Leslie Odom Jr.) never feels natural and kinda weird. Plus, there is one whispering scene where you guess they're trying to provide exposition, but you can't make anything out.

Giving that those involved were trying, I was initially inclined to give this a slightly higher rating. It was bad but only kinda bad and an "interesting mess". Then the ending came. All good will was thrown out the door. It's not worth watching through the entire movie for what happens.

Green did make a concentrated effort not to have this be just another exorcism movie, a genre that admittedly has gotten pretty similar over the years. Yeah, making it two kids possessed instead of one might be a bit obvious, but it does work. You have to watch two separate and different parental units handling the situation. The exorcism itself is also a bit different.

The scares and effects are definitely scary and well done. The makeup for the possessed girls is real creepy. If the plot hadn't been so frustrating and dominated over the good stuff, I would've given the movie more of a pass for its fear factor. Color scheme is similar to the 70's throwback feel that the Halloween movies had and is effective. Settings weren't too shabby either.

The cast can't be blamed for this film. Everyone's good here and do the best they can with the poor dialogue they're given. Odom is especially strong as a concerned and desperate father.

Not recommended. An off film that never quite works.

Demon Slayer: Mugen Train

 

8/10

Demon Slayer: Mugen Train, the film sequel to the anime show Demon Slayer: Kimetsu no Yaiba, continues the adventures of demon slayer Tanjiro, his demon-turned sister Nezuko, and their compatriots as they board a train that has been the source of several disappearances. This movie is the highest grossing in Japan and the first non-American film to top the annual international box office.

This is one of those movies where it helps to see the original show or look up some basic info. at least. (I went in fairly new myself.) It is a direct continuation of the series happening right after the last episode. Whereas a lot of anime films based on shows are original works that tend not to interfere with canon, Mugen Train directly adapts a story arc from the manga. I kind of appreciated this, since a lot of those aforementioned films' stories never feel as strong as the those originating directly from the manga creators, plus the antagonists often feel subpar. This film has a backbone to it.

As someone who walked in new to this, I warmed up to the main cast real quick. Tanjiro in particular is a relatable character. You really end up rooting for him. I did not realize how emotional this movie was going to get as Tanjiro has a lot he has to struggle against. I think this might actually be as good a character piece as an action film. The main villain Enmue, a verbose, theatrical, and sadistic demon with a penchant for strategy, is the type of baddie you love to hate.  

Since the commercials don't really go int detail into what Enmue's main style of attack is, I won't spoil it. It is something that has been done before. However, it's done well enough that it didn't bother me. Heck, I think it's one of the best parts of the film, and it really helps separate this from a lot of other more traditonal shonen anime.

The whole thing looks pretty nice. The movie makes good use of the combination of 2D and 3D animation. The train speeding past the 3D landscape is particularly eye-catching. 

The fight scenes look good too, being creative and ferocious.

Going back to this being based on the manga, this situation does have its setbacks. Usually if something is adapted to film, stuff has to be changed or cut in order to make it more accessible to the audience and fit for time. However, because this film has to connect to the first season of the show and the upcoming second season, plot points and characters couldn't be tossed. The ending feels overextended, going on way past where you'd think it would end. The pacing and structure generally feel odd since the story was intended to be told episodically. 

Overall, I liked this despite not having seen the show. But, I don't quite see why this is top of the box office. It is definitely up there in the top five or ten anime films based on shows, but it doesn't stand as a great work separated from the show like, say, Castle of Cagliostro. At the end of the day, it's a traditional shonen story arc. Fans of Demon Slayer will probably love it. (Like I said, it does have a grand ending.) General anime fans who haven't seen the show, shouldn't have much trouble getting on board. But if you're not big on anime in general, this SHOULDN'T be your entry point. There's so many characters and stuff thrown at you.