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Smile 2 (2024)
A more psychological sequel
Whilst it's a very effective, if overly long, Voss water commercial, Smile 2 also happens to be a great horror sequel that doubles down on the gore and massively increases the goofiness for an unsettling psychological thriller that has more to say than the original thanks to its pop star protagonist and focus on the isolating nature of fame. Even when it commits to the same miserable conclusion there's more bite to it this time.
Naomi Scott proves she deserves to be a star with an incredible performance that requires her to be hysterical for such a large portion of the film and she's always able to escalate it even when it feels like it can't get anymore intense. She chugs water like a pro and brings the physicality of a pop star effortlessly. The people who do the sinister smiling are all really well chosen, especially Ray Nicholson who has an added uncanny quality because he looks so much like his father.
Parker Finn's direction can't create jump scares that are as scary as last time and compensates for it with a different set of skills as the ones here either try to be cringey, disturbing or creepy and they all excel at those. Charlie Sarroff's cinematography has only gotten more confident this time round and that starts instantly due to the really good one take, succeeded by a steady stream of canted angles and inverted cityscapes.
The Wild Robot (2024)
Peak Dreamworks
The Wild Robot is undoubtedly the best animated film of the year in what has been a strong year for the medium and proof that Dreamworks can be hit and miss, but when they make a hit it's top tier stuff. It's a beautiful story about parenthood and what's sacrificed to raise a child, which is all worth it in the end. It's the sort of film that moves you to tears multiple times because it's so easy to get invested in and so emotionally open.
Lupita Nyong'o gives an incredible performance, showing she's a natural at voice acting as well. She starts off very enthusiastic and suitably robotic with more emotion gradually revealing itself as she continues to raise her child and by the end there's so much humanity in everything she says. She's supported by a strong supporting cast with Pedro Pascal being the best as he's really loveable even when he's being very cynical.
Writer & Director Chris Sanders cements that he's one of the best in the medium and this film might be the best one he's made so far. The writing is surprisingly unafraid to acknowledge the harsh reality of death in ways that are both darkly funny and honest. It's impressive how long the film goes without loads of dialogue and when it does come into play, it only enhances the themes by allowing characters to state them in a poetic yet succinct fashion.
The animation is absolutely gorgeous, finding another unique way to tell its story in a way that looks like a story book come to life. There are plenty of striking frames and it's always vibrant; however the third act takes it all to a whole new level. The amazing score by Kris Bowers is vital for the film to achieve its emotional ambitions and that goes hand in hand with how epic it becomes whenever it's used for the biggest moments.
Pánico en el Transiberiano (1972)
Saved by the cast and short length
Horror Express is only 80 minutes long and yet it's still long winded. There's a really fun premise here but it just takes too long to get going because it wallows in its first act and only gets to the real goods in the last 10 minutes. However, that mercifully short run time remains a huge positive and the totally game cast can keep this thing entertaining enough to warrant a one time watch.
Christopher Lee and Peter Cushing are always a wonderful pairing who both completely understand what kind of performance this requires of them and do a lot of the heavy lifting when it comes to sustaining the film until the ending. The same applies to Alberto de Mendoza and Telly Savalas gives this a much needed burst of energy from the moment he appears, even if he ends up being massively underutilised.
Eugenio Martin's direction is solid. The model work is endlessly impressive and used frequently to become a constant highlight. The actual scares are simultaneously less frightful than you'd expect and bloodier than anticipated with some surprisingly gory dissections. The score by John Cacavas doesn't bring any of the required fear factor but it certainly avoids going unnoticed thanks to its odd choices.
Run (2020)
Really good schlocky thriller
Run is a well made schlocky thriller that doesn't explore the complicated nature of its central relationship as well as it could have but can still use the premise for some really solid thrills. It gets broader as it goes along and always finds new ways to escalate even when it feels like it's got nowhere to go with an ending that fully commits to its increasingly schlocky nature which still works for what it's going for.
Sarah Paulson can be so extreme in effortless fashion and this role gives her the opportunity to be unhinged for such a large portion, only keeping it all at bay for the first handful of scenes. Kiera Allen is amazing in an incredibly empathetic lead performance. She's extremely resourceful, which is always satisfying in a film like this, and it only enhances the tension since her resourcefulness still has to push some big boundaries to escape.
Aneesh Chaganty's direction here shows what he can do outside of Searching's wonderfully high concept construction thanks to a collection of set pieces that get all the tension they can from their neatly set up scenarios and aren't afraid to get pretty intense when it comes to the solutions. Torin Borrowdale's score knows exactly what this film is going for and can ratchet up the suspense and ensure the tone remains clear.
Ouija: Origin of Evil (2016)
Strong prequel
Considering the poor reputation of the first Ouija, the fact that Ouija: Origin of Evil is really good is a pleasant surprise and at the same time it's kinda obvious that this one would be a lot better with Mike Flanagan at the helm. It's proof that he can turn some of the most lifeless ideas into something worthwhile, which bodes well for his upcoming Exorcist film. The only thing working against it is being a prequel and that's balanced by strong scares and a deeply human approach.
Annalise Basso and Elizabeth Reaser are great as they have an earnest mother daughter dynamic whilst bringing some emotional heft to the horror thanks to their pained reactions. Lulu Wilson has the required innocence early on which she can then contort into something more off putting performance later on and Henry Thomas gets to play a priest who supports with genuine care and subtlety.
Mike Flanagan's direction wholeheartedly commits to the period aesthetic well beyond the grain of the image, employing old school filmmaking techniques for maximum authenticity. Some of the scares are a little goofy but overall they get the desired effect without announcing themselves and are all the better for it. Michael Fimognari's cinematography is amazing as it moves with the characters in such a dynamic yet unobtrusive fashion.
His House (2020)
Horror rife with scares and commentary
Horror and social commentary work really well together and His House is a prime example of both going hand in hand. It's an honest depiction of the refugee experience that's got plenty of smart and genuinely terrifying scares interspersed throughout for the ultimate horror film that's fantastic in the moment and designed to leave a lasting impression. It uses the haunted house structure to show the struggles of adapting to a new life without completely forgetting the previous one.
Sope Dirisu and Wunmi Mosaku are amazing together as they try their best to adapt to their new setting without letting everyone around them get under their skin. While Sope Dirisu gets to portray the fear for most of the scariest moments, Wunmi Mosaku gets the majority of the flashbacks that reveal why they're both so tormented, giving it a nice balance. Moments of warmth are few and far between, making them all the more impactful.
Remi Weekes has made a fantastic feature film debut with his writing & directing creating so many individual moments that are striking and communicate everything the film is about in different ways. It starts in a way instantly that grabs your attention and ends on a collection of powerful images. The way it transitions from the drama on the London council estate to every stage of their journey and back again are endlessly inventive.
The scares that are crafted here avoid cheap jump scares, instead opting for intense terror that prefers to linger for an unbearable amount of time, making them all the more effective and using the contained environment in creative fashion. The titular house is basically the third most important character as it looks suitably decrepit and constantly reflects the mental state of its characters as the story progresses.
Haunt (2019)
Rough but fun
Haunt knows how to torture it's characters without being exploitative. The stupidity of them is nicely counterbalanced by the structure of its setting and how it constantly finds new things to do with it. Eli Roth's producing credit is rather fitting because this feels like a toned down entry point into his gruesome world that's more accessible and contains some of the preoccupations around trauma that the genre is currently obsessed with.
The whole cast do a really good job at making their characters likeable with a believable friendship and their early naivety is funny more than anything else. Katie Stevens and Will Brittain are designed to be the best ones out of the group and their performances are strong enough to make up for some of the baffling decisions that their characters make even after they're fully aware of what's actually going on.
The direction by Scott Beck and Bryan Woods is rough around the edges but good at the essentials of horror, creating memorable kills that arrive in shocking fashion and are perpetrated by antagonists with memorable looks that only get better once the masks are off. The pacing is really strong too as it spends just enough time having the characters ignoring the red flags and then revealing and revelling in the terror.
It's What's Inside (2024)
All time great body swapping
It's What's Inside is a great body swapping thriller that demands your full attention and is immensely rewarding once it's given as the film is constantly changing to keep things fresh and takes full advantage of the body swapping to bring out the worst in its characters. It only slightly fumbles in its final moments but everything beforehand is utterly thrilling and the twists are wonderful disruptions.
The whole cast is excellent. The first time they change bodies is incredible, enhanced by everyone being on screen at once to show how freaky it is and it's hard to focus on anyone in particular when everyone is on point. After that they change again and again so all of them get to play multiple characters and are so good it's hard to keep up, which is part of the fun. It's an impressive feat that no one gets sidelined, even after death.
Greg Jardin's direction has a lot of neon drenched style that's employed with a few other creative flourishes to make it easier to tell who's who, so they serve a greater purpose. His editing is really tight and that allows the film to gain a rhythm quickly and then it's never lost. Kevin Fletcher's cinematography is beautiful as it moves through scenes extremely gracefully and gets more chaotic as it goes along.
The Visit (2015)
M. Night Shyamalan's return to form
The Visit is M. Night Shyamalan's glorious and twisted return to form. After a few large scale misses, it's great to see M. Night go small scale again, rediscovering what makes him one of the best thanks to a horror film that has a characteristically strong premise and an absolutely belter of a twist that's set up beautifully. There's a real heart to it to top it all off with an emotional core revolving around letting go of anger.
Olivia DeJonge and Ed Oxenbould are so good together because of their believable dynamic as siblings with completely different interests and they're both very endearing in their awkwardness. Deanna Dunagan and Peter McRobbie know how to gradually dial up the red flags and then just go completely gonzo in the third act. Kathryn Hahn just has a handful of scenes and is still amazing, bringing all the emotion at the very end.
M. Night Shyamalan's direction uses the deliberately amateurish found footage nature of the film to get the exposition out of the way in a more natural fashion and it also compliments the horror as well by getting really close to the scariest things which aren't afraid to be disgusting. His writing cleverly puts the twist in plain sight long before its revealed and displays a newfound talent for intentional comedy.
Salem's Lot (2024)
Deserved a proper release
Stephen King was right, Salem's Lot didn't deserve to be shelved for so long and then unceremoniously dumped on streaming in the US with no fanfare. It's a fun horror movie that undoubtedly benefits from the big screen release it's been given over here. It moves along nicely whilst offering a traditional vampire story bolstered by an inventive third act and a really good cast.
Lewis Pullman, Makenzie Leigh, Jordan Preston, Alfre Woodard, and Bill Camp are all really likeable which makes this surprisingly investing especially since the film makes it clear it isn't afraid to ruthlessly dispatch them at any point so there's some genuine stakes. Barlow on the other hand, is a complete non entity in this version which barely gets any screen time, preventing him from making any impression.
Gary Dauberman's direction is pretty good even though all the scares essentially boil down to ineffective jump scares. Still, all the scenes at night time have a solid, fog heavy atmosphere and the likeability of the characters is a major asset for any scene that's trying to create some tension. The cinematography by Michael Burgess stands out by doing a lot with reflections and loves to glimpse through narrow holes.
Killer Heat (2024)
Too slow
Killer Heat is a noir that burns so slowly it becomes numbing. Everything revolves around a mystery that just isn't very engaging and hindered further by how obvious it is. A gorgeous cast in nice looking locations isn't enough to sustain it, even for a run time that's pretty much ideal. Still, it's the kind of serviceable content that feels like an unfortunately perfect fit for a streamer, where it can be viewed and quickly forgotten about.
Joseph Gordon-Levitt has been back for a while now but it's still really nice to see him appearing consistently. He's low energy by design so his performance feels flat even if he's just matching the extremely slow burning nature of the film. Shailene Woodley gets the best role with the most satisfying conclusion and despite having 2 different characters to play, Richard Madden remains thoroughly one note.
Philip Lacôte's direction goes through all the usual motions of a noir, all the way down to an overused voice over, with no showmanship. There's a handful of nice looking shots interspersed throughout and that's pretty much it. The locations are an easy win as they're suitably extravagant and luscious, confirming that everyone involved would've got a very sunny holiday out of this if nothing else.
The Babadook (2014)
Great elevated horror
The Babadook excels at being creepy. It's a prime example of a great metaphorror as it can deliver plenty of scary chills whilst being a moving exploration of motherhood, grief and the struggles of being a single parent. There's a lot of dark content here but it's all the better for having light at the end of the tunnel and going for a genuinely satisfying ending opposed to taking the easy way out.
Essie Davis gives an excellent lead performance that neatly splits into two halves. For the first part she's stressed out and overworked in a very empathetic manner and then in the second half she gets to bring some horror herself as her deepest and darkest thoughts are let out by something beyond her control. Noah Wiseman is really impressive as a troubled yet naive child who has good intentions and a darker side.
Jennifer Kent's direction is excellent, crafting smart scares that prey on primal fear to create nightmare fuel. The special effects used to create the titular Babadook are old fashioned in a way that enhances how unsettling it is, especially when they're combined with some suitably uncomfortable sounds. The majority of the proceedings take place in a bleak location that still manages to be really striking.
The Blair Witch Project (1999)
Really good genre birthing horror
The Blair Witch Project gets a lot of mileage out of its game changing concept and execution alone. It's all the better for being really short due to its deliberately chaotic construction and the low budget only helps to increase the terror towards the end, utilising the less is more effect even if some of it is by accident. The reason they keep filming is really smart even if the film just bluntly states it.
Rei Hance, Joshua Leonard and Michael C. Williams all have a believable friendship early on which comes in handy when they spend the middle of the film constantly screaming at each other as that gets grating even if it's for a good reason. Rei Hance in particular, is really good at creating a palpable sense of fear as things really spiral out of control at the end and her eventual acceptance makes up for the middle part.
Directors Daniel Myrick and Eduardo Sánchez wholeheartedly commit to the found footage elements, making the film the rare example of something being better on a small screen as camerawork this erratic on a cinema screen would undoubtedly be nauseating after a while. It's impressive what's been achieved on such a low budget and that also helps the horror because it relies on your own imagination to great effect.
A Different Man (2024)
Surreal and unpredictable
A Different Man is hard to pin down without losing focus of its exploration of being uncomfortable with your own image, exacerbated by a society that doesn't know how to accept it. It goes through the motions without a clear endgame which imbues it with an unpredictability that means the film is moving faster than it seems. It's a descent into madness that mixes well placed humour and body horror to surreal effect.
Sebastian Stan is phenomenal. He feels uncomfortable in his own skin before and after the transformation with an awkwardness that feels so genuine. As he unravels his inner turmoil is shown through his wonderfully emotive facial expressions which he struggles to contain. Adam Pearson takes control of the proceedings with ease from his confident entrance and remains a standout in every subsequent appearance.
Aaron Schimberg's direction is fantastic thanks to smart staging and framing that draws attention to the background extras and their constant staring as well as a generally strong grasp of the tone. The body horror is kept to a couple of scenes, allowing them to to truly disturb with their gross imagery. Umberto Smerilli's score is surprisingly noticeable thanks to its classic stylings that also enhance how surreal everything feels.
Sicario (2015)
More than meets the eye
Sicario is an incredible thriller that denies you the usual pleasures found in stories of cops vs cartels as a slow burning narrative that's never anything less than thoroughly gripping with an unflinching depiction of both the brutal violence and the way it shows what life is like in a land of wolves. It's the rare film to be crafted by (at least) two distinct auteurs who's sensibilities merge pretty seamlessly.
Emily Blunt is phenomenal in an extremely gruelling lead performance since her morality is tested in every way. She's pretty much the sole moral centre with her only backup coming from a reliably great Daniel Kaluuya. She's the perfect audience surrogate as you rarely get more information than her so when everything escalates well beyond her jurisdiction with the context only coming after the action, she's the only anchor.
Benicio Del Toro has never been cooler, more intimidating or hard to pin down. He's not usually got this specific set of skills but he's thoroughly convincing here with an element of mystery to him that's only revealed at the very end and makes everything fall into place. Josh Brolin is terrific as someone having too much fun bending the rules however that blasé attitude is not to be tested as is revealed at the end.
Dennis Villeneuve's direction can handle the darkest elements really well which is vital as they come thick and fast. The action is amazing because it can deliver visceral thrills without sacrificing the nuance, especially the border crossing sequence. Roger Deakins cinematography is just breathtaking in its compositions. Skylines have rarely been this beautiful and the use of night vision and CCTV is so clever.
This screenplay is a perfect showcase for writer Taylor Sheridan's talent. He has a knack for blunt yet poetic dialogue that communicates the film's themes efficiently and spends its time on a seemingly unrelated small scale subplot that weaves back into the main plot at the ideal moment. Jóhann Jóhannsson delivers his best ever score thanks to its gradually building haunting nature that's unforgettable.
Stage Mother (2020)
Old-fashioned but breezily entertaining
Thanks to its well intentioned narrative that focuses on an old fashioned main character confronting their prejudices and making everyone's lives better with their inclusion, Stage Mother absolutely belongs in the 1990s. It's breezily entertaining and at its strongest when prioritising the core characters and their growing relationships but falters when its biggest moments rely on the most overdone tropes.
Jackie Weaver is so likeable from the very beginning and she balances the humour and heartbreak of her character gracefully, with some unexpected badassery too. The journey she goes on has been done so many times before but because she's endlessly charming that doesn't become a major issue. There's a solid supporting cast too with the highlight being Lucy Liu in a very extroverted role, giving her some big laughs.
Considering the amount of musical performances and the general vibrancy of its setting, Thom Fitzgerald's direction is surprisingly bland. Nothing stands out until the final song which does admittedly have an inventive idea behind it however even that's still slightly undermined by some dodgy editing and a blunt ending. It's still competent overall and the strong cast who are all loveable are enough to sustain it for 93 minutes.
Will & Harper (2024)
Honest and earnest documentary
Will & Harper captures a lovely friendship in the most earnest way a film could possibly achieve. It's a lighthearted road trip across America that seeks to educate and enlighten audiences on the trans experience. It's equal parts funny and emotional as they go from state to state with results that range from highly comical to deeply personal and briefly frustrating as the worst parts of people's attitudes are exposed.
Will Ferrell brings his usual comedic sensibilities as he gets some big laughs from his loud presence and at the same time that's contrasted by an emotional openness that you rarely get to see from him. Harper Steele brings the emotional heft by sharing her experiences in a very honest manner whilst showcasing her genuine and tender friendship with Ferrell, buoyed by some brief yet lovely appearances from fellow SNL alumni.
Josh Greenbaum's direction is satisfyingly unobtrusive as everything is really well put together without drawing attention to itself. Zoë White's cinematography is excellent because it avoids the usual documentary clichés by keeping the camerawork as steady as possible for most of it. It only starts to shake and zoom towards the end but by then it's not an issue since it's already spent the majority of the run time capturing beautiful moments.
Joker: Folie à Deux (2024)
Refreshingly audacious sequel
Joker: Folie à Deux dials up the tragedy to the max with a sequel that takes the kind of huge risks you're only allowed to do after you've made a billion dollars. It's the rare comic book film to actually commit to the genres it's hybridising as it's pretty much a 50/50 split between the musical and courtroom drama aspects. There's not a single comic book film like it, including its own predecessor, and there never will be.
Joaquin Phoenix is amazing as he avoids a retread of familiar ground by creating a larger divide between Arthur and Joker. Arthur remains so pitiful with his softly spoken voice and defeated nature whereas he's almost too confident once the makeup is on. However, there's a much greater turmoil here as Joker becomes more a performance to gain popularity than something he actually believes in, which visibly weighs on him.
Lady Gaga is great as a very unique version of Harley Quinn who's obsession with Joker is highly convincing. The romance that blooms between them is surprisingly sweet though not without it's darker elements and she's obviously got a phenomenal singing voice when it's needed. Even with a very small role Harry Lawtey brings the required self assured smarmy nature that defines this version of Harvey Dent.
Its generally too long but Todd Philips' direction makes up for it by being a lot more unique from the very start where it opens with a Looney Tunes style cartoon that basically sums up the central argument of the film. There's a great use of the IMAX aspect ratio to signal an incoming musical sequence and Lawrence Sher's cinematography is superb yet again thanks some astonishingly good long takes in particular.
The musical numbers are a more natural fit than they seem since music was already a vital part of the original. Some of them could've gone on for longer however they all nail the old Hollywood feel, allowing Arthur to escape into fantasy and they're sung in such an emotionally raw fashion. Because of those musical elements, Hildur Guðnadóttir's score takes a back seat for the most part whilst still being a beautifully bleak highlight.
Lady Macbeth (2016)
Brief and bleak
Actions speak a lot louder than words in Lady Macbeth. It's a dark tale of revenge and repression that starts off with actions that feel satisfying as the title character begins to get her way by any means necessary but becomes increasingly uncomfortable to witness as this commitment to getting what she wants reaches its logical and bleak conclusion. Plus it's so short that becoming boring is never a possibility.
Florence Pugh is incredible in a leading performance that puts so many of her talents on display all at once as she's in full control of the darker places this film asks her to go to. As well as having a palpable chemistry with Florence Pugh that's heavy on the lust, Cosmo Jarvis is really good as someone who isn't as committed to her plans so everything that's done begins to weigh on him before exploding in an unforgettable fashion.
William Oldroyd's direction just throws you in the deep end with absolutely zero fanfare and the darker elements of this film are exposed within minutes of it commencing. There's generally less dialogue than expected as most of the major plot beats are shown rather than told which always makes a film more compelling when it's not a gimmick and it's especially effective here thanks to a near total reliance on diegetic audio to make it feel all the more isolating.
Coco (2017)
One of Pixar's finest
Coco is a prime example of the creative team at Pixar operating at their peak with new ideas and exciting worlds to explore at the same level of emotional maturity that you expect from their best output. It's got a really strong twist that holds up to a surprising amount of scrutiny if tested and it all culminates in a devastatingly emotional ending that celebrates the unwavering bonds between family and the personal connection that can be had with music.
Anthony Gonzalez is phenomenal with an adorable lead performance where he's instantly likeable from the opening narration. It's very demanding as he's present in almost every scene but he never falters with a boundless enthusiasm and the emotion he brings makes his journey thoroughly investing. Gael García Bernal is amazing as a likeable huckster who's story unfolds with heartbreaking tragedy and Benjamin Bratt is perfectly typecast.
Lee Unkrich and co-director Adrian Molina direct with efficiency as the film moves with a consistent speed without rushing for a single scene. The animation is absolutely gorgeous as it does what Pixar excels at. It strikes a strong balance between photorealistic objects and locations contrasted by character designs that are more animated and stylised. The land of the dead is an awe inspiring wonder and the skeletons work with the exaggerated comedy seamlessly.
Terrific songs are usually Disney's forte however Pixar prove that they are just as gifted in that department when needed. They're super catchy with Remember Me designed to be the standout thanks to its added emotional heft. Interspersed in between songs is a fantastic score by Michael Giacchino which fits in naturally with both settings and when it's combined with the epic introduction to the land of the dead it elicits goosebumps.
Mothers' Instinct (2024)
Solid simmering thriller
Mothers' Instinct is a solid thriller that simmers without ever truly boiling. The ending is unexpectedly dark and by far the best part as it's the closest the film comes to achieving its true potential. Other than that, it remains a nice showcase for the two immensely talented leads at the centre who are each given the ideal role that allows them to play to their unique strengths.
With a very small supporting cast who aren't given much to do, this is solely relying on Jessica Chastain and Anne Hathaway to sustain it and they're more than capable of doing everything needed to keep it going. They both get their time to have some fun with it as they get more suspicious of each other whilst maintaining an overall restraint so it never gets too hammy.
As a cinematographer turned director whilst still being his own cinematographer here, Benoît Delhomme's direction finds plenty of time for the camerawork to shine in subtle ways through its movement and framing. Anne Nikitin's score does a lot of heavy lifting when it comes to bringing any tension to the proceedings by consistently imbuing the film with an air of suspense.
Homefront (2013)
Really good small scale Statham action
Homefront is standard action fare that's just really good at the essentials. It's satisfyingly lean and focused on its family dynamics just as much as the action, culminating in a third act that contains all the best moments. The villains are surprisingly strong and it's held together by the perfect leading man even if having Sylvester Stallone on screenplay duties make it feel like it was meant for him at some point.
Jason Statham is in dad mode here, making him even more likeable. He's still got all the required action chops and that brooding physicality which he brings to almost every role. James Franco is in fine form as a sleazy redneck villain who attempts to have some morals which only makes him more dangerous and Frank Grillo gets a very brief role whilst still being able to leave an impression.
Gary Fleder's direction is a little choppy during the hand to hand combat but it doesn't squander the impressive choreography on display that makes its leading man look effortlessly cool thanks to some badass finishers. It throws you in at the deep end which is a great way to get things going instantly and allows the film to bookend itself with two high energy and less choppy car chases.
Terrifier 2 (2022)
Too long but still an improvement
Terrifier 2 really shouldn't be this long but other than that, this is a better film in every way. It actually has a plot this time and finds the time to develop its main characters more without sacrificing any of the gory kills that define these films. In classic sequel fashion, this is just more in every department which gives it the opportunity to somehow be more violent than before as it dials up the gore and dark humour at the same time.
The performances generally feel stronger across the board even with the occasional dodgy line reading still being present. Lauren LaVera gives a great lead performance that's able to anchor everything with a final girl who's easy to root for. David Howard has only got more comfortable as Art the Clown with greater savagery as he has even more fun with everything that he does, including reading a newspaper whilst doing his laundry.
There is a noticeable increase in budget for this one which returning director Damien Leone uses to full effect, especially in the third act which takes place in a much more interesting location than last time. The kills themselves are more effective as well thanks to the speed of them as the most horrifying scenes escalate so quickly there's no time to register everything and the black comedy that follows only makes them more memorable.
Megalopolis (2024)
Kinda embarrassing
Megalopolis defies reason and expectation. It's wonderful that Francis Ford Coppola finally got to make his dream project on his own terms and filmmaking in general could use a lot more huge creative swings like this. However, this is an unfortunate testament to why complete creative freedom can be a bad idea with a nonsensical and agonisingly long film that's endlessly pretentious without the narrative coherence to back it all up.
It's honestly astonishing to see such a big cast of accomplished actors be this bad in their own ways. Adam Driver is one of the best actors of his generation but you wouldn't be able to tell that from his performance here, even if it is as suitably insane as the film surrounding him. Jon Voight is so convincing as someone well past their prime who keeps making a fool of himself that it's honestly hard to tell if he's acting.
Aubrey Plaza is basically in a completely different film to everyone else and somehow manages to be crazier than the film around her. Shia LaBeouf is endlessly intense so it's equally hard to tell if he's acting, Dustin Hoffman mumbles way too much and Jason Schwartzman is completely wasted. Nathalie Emmanuel, Giancarlo Esposito and Laurence Fishburne are the only ones who come away fairly unscathed.
Francis Ford Coppola's direction is so erratic. There's nice shots and gorgeous imagery interspersed with an incredible amount of nonsense and a lot of unintentionally funny moments. He doesn't trust the audience at all, especially when it comes to the ending that undermines its main argument. Even with some impressive visuals, it still looks ugly which puts the $120 million budget into question since all of it clearly didn't reach the screen.
Terrifier (2016)
Suitably gross and mercifully short
Terrifier is completely comfortable with how gross and provocative it is. The 85 minute run time is the only nice thing about it in an extremely gory film that has some unforgettable kills and spends the majority of its time moving from victim to victim with no filler. It's a film of two halves where the first part contains all the best bits and takes some huge swings that the second half just can't live up to.
Jenna Kanell is by far the best out of all the speaking performers here. She's the person with the best fight or flight and the film's at its most investing when it's focusing on her survival. With his distinct look and committed performance, David Howard as Art the Clown is the main selling point and he's as funny as he is scary. He brings a lot of personality to Art, showing how much he's enjoying himself without any words.
Damien Leone's direction works with the noticeably low budget which adds a fair amount of charm. It's at its strongest when putting the unforgiving kills front and centre, even if it's very obvious that it's not being fair with its victims. Paul Wiley's score is a satisfyingly sinister presence which is a natural fit for a film rife with dirty sets, tacky gore and supporting performances that are knowingly bad.