Movie Review: Spiderhead (2022)

Spiderhead, Spiderhead, is a head on a Spider’s neck. Though it is, also a, brand new film, on Netflix. Look ooouuuut… it is a Spiderheeeeeaaaad.

Ladies, gents, and non-binaries… “Spiderhead”.

The near future, convicts are given the opportunity to reduce their sentences by taking part in some medical experiments involving emotion-altering drugs. One such convict is Jeff (Miles Teller), who soon starts to question these experiments, and their charismatic creator (Chris Hemsworth). I love this premise, it’s open to so much interesting shit. It sets itself up to be a really intriguing suspense thriller and potential mindbender. And while I didn’t hate the execution of the narrative in the movie, I did feel that it was a little undercooked. What we get works just fine, even though it never reaches the heights of its potential. I wasn’t bored, I didn’t dislike any of it, but it plays things a bit too safe to fully engage.

The characters in this are alright. Again, the script is a little undercooked and plays things safe, so they never reach the depths that they potentially could. But I also didn’t find them utterly uninteresting, just underdeveloped. But what really saves them from being walking flatlines are the actors, all of whom do a solid job here. Miles Teller is really good in the lead role. Jurnee Smollett is great as Teller’s friend inside this odd facility. And then there’s Chris Hemsworth, who is by far the best part of the movie. He is clearly having a ball playing this shady, yet highly charismatic and outwardly friendly dude. He plays it really well, and he clearly has that glint in his eye that says “I am having so much fun right now!”, which makes his performance even more enjoyable for me. The supporting cast is solid too, containing people like Nathan Jones, Tess Haubrich, Mark Paguio, Angie Milliken, Charles Parnell, and more, all delivering solid performances.

The score for the movie was composed by Joseph Trapanese, and it was fine. It’s this low-key, synth-based score that works fine within its respective scenes. It doesn’t really stick out that much, but it also doesn’t ruin any scene. It’s fine. There’s also a good amount of licensed songs used throughout, and I think they work really well for their respective scenes, they feel well integrated into the storytelling.

Based on a short story by George Saunders, “Spiderhead” was written by Rhett Reese and Paul Wernick, with Joseph Kosinski handling directing duties. And I will say, Kosinski does a damn good job directing this. His direction is slick, but never feels too perfect or glossy. One thing I really like about his directing is his usage of space. He gives the actors plenty of space to work in, while still making it feel confined and intimate, really benefitting the thriller vibes the story goes for. Really, Kosinski’s style really helps elevate this and make it a bit more watchable. And on a sidenote, the dude’s certainly having one hell of a summer ain’t he? He’s got this out on Netflix right now, but he’s also got the new “Top Gun” out in cinemas, which people seem to really like. So you know… good for him for finding work!

This movie just came out, so exact numbers can and will change somewhat. But at the time of writing it’s gotten quite a mixed reception. On Rotten Tomatoes it has a 52% positive rating. On Metacritic it has a score of 55/100. And on imdb.com it has a score of 5.7/10.

While it admittedly doesn’t live up to its potential, I still found “Spiderhead” to be a decently enjoyable little thriller. It has an okay story, okay characters, great performances, good music, and really good direction. Time for my final score. *Ahem*. My final score for “Spiderhead” is a 6.32/10. So while flawed, it’s still worth watching.

My review of “Spiderhead” is now completed.

Can’t wait for the sequel, Scorpionbutt.

Movie Review: Boiling Point (2022)

No, this isn’t a movie about that one Rat Boy song that was in “Need For Speed: Payback”. WHAT? What do you mean that reference is too niche? *sigh*. Anyhow, let’s check into the kitchen.

Ladies, gents, and non-binaries… “Boiling Point”!

It’s christmas time, and Andy Jones (Stephen Graham), the head chef at a nice restaurant, has to try to keep himself and his staff in check on what seems to be the busiest night of the year. Much like the title suggests, the story of “Boiling Point” is a constant simmering tension that is on the cusp of shit going boom at any point. Right from frame one when we first see Andy walking into the restaurant, there is this uncomfortable tension, and it never really lets up, in fact it just gets more and more tense as the night goes on, and things in the restaurant start getting more and more strained and uncomfortable for Andy and the other employees, confronting both their personal flaws and the demands of the customers. So yeah, I think the story here is fucking great. A really tense and highly compelling narrative of people trying to survive walls closing in on all ends.

The characters in this, much like the story, I find utterly compelling. They all have this lived-in quality to them, making them feel like real people in this world, and not just characters who’ve been plonked in there for the sake of a story. And what I also like is that the movie puts their flaws on display first and foremost, making for some really strong drama and character development. What also helps is the cast, all of whom are just on point. Stephen Graham is an actor I’ve admired for several years now, and once again he knocked it out of the god damn park. But I also have to commend the rest of the cast, containing people like Vinette Robinson, Alice Feetham, Ray Panthaki, Hannah Walters, Malachi Kirby, and many more, all of whom are fucking spectacular.

The score for the movie was composed by David Ridley and Aaron May, and I will be frank… I have no memory of it. I watched it this evening, and I can’t recall any music of any kind, beyond the end credits song by Sam Fender (which is a good song). But the score itself, I sadly can’t comment on.

“Boiling Point” was directed and co-written by Philip Barantini, based on a short film he made a few years back (also starring Stephen Graham). And boy howdy, did he kill it. If you’re not aware, this movie was done in one long take, which is a gimmick we’ve seen in other movies, but I think “Boiling Point” uses it in a way that makes sense. It really helps capture the unrelenting pressure that is on the characters. There is no relief for them they’re constantly in the moment, and I think that’s beautifully captured through the tense direction, and Matthew Lewis’ impressive cinematography. It’s just incredibly well crafted.

This movie has been very well received. On Rotten Tomatoes it has a 99% positive rating and a “Fresh” certification. On Metacritic it has a score of 73/100. And on imdb.com it has a score of 7.5/10.

“Boiling Point” is a suspenseful and really compelling drama. It has a great story, great characters, fantastic performances, and fantastic direction and cinematography. Time for my final score. *Ahem*. My final score for “Boiling Point” is a 9.60/10. Which does mean that it gets the “SEAL OF APPROVAL!”.

My review of “Boiling Point” is now completed.

You know, I wasn’t set on becoming a chef before I saw this, but now I’m even less inclined to do it.

Movie Review: Unhinged (2020)

On the Crowe again, just can’t wait to watch Russ Crowe agai- Oh hi, didn’t see you there. Uuuuuhhhhh… let’s talk about Russell Crowe road movie.

Ladies, gents, and non-binaries… “Unhinged”.

After she has an altercation with a man (Russell Crowe) while in traffic, Rachel’s (Caren Pistorius) day turns into a living nightmare as the man begins stalking and terrorizing her. What I like about the story in “Unhinged” is that there’s no pretense of greatness here. At first glance it’s a popcorn thriller, and upon further inspection, still a popcorn thriller. And that is sort of the story’s biggest strength, as it’s just 80 minutes of relentless tension, Crowe chasing Pistorius around, wreaking havoc. It makes it a bit of  a breeze to watch.

The characters in this are fine. Rachel, our leading lady hasn’t really been given much in terms of personality, but what little there is works well enough to make me root for her, and I think Caren Pistorius does a really good job with the material. Now, let’s talk about the man… that’s how he’s listed in the credits, so don’t blame me for the vagueness. Anyhow, Russell Crowe is fucking terrifying in this. Just an unhinged, surprisingly calculating psychopath that I never really knew what to make of. He’s just a mysterious agent of chaos, and Crowe’s performance is absolutely fantastic. Anytime he was on screen, he was electrifying. Supporting cast’s solid too, limited though their screentime may be. Gabriel Bateman, Jimmi Simpson, Austin P. McKenzie, Juliene Joyner, they’re all good.

Score for the movie was composed by David Buckley, and I really liked it. Nice mix of electronic sounds with a few regular instruments every now and then, helps to add nicely to the tension throughout. Sure, it’s not the most groundbreaking of scores, but it worked well for this movie. So yeah… good stuff.

“Unhinged” was directed by Derrick Borte, and I think he did a really good job behind the camera. Action scenes are well shot and feature some really gnarly stunts and even grisly violence at times that really add to the intensity of the movie, making the danger of the situation and Crowe’s character feel all the more visceral. Borte really knew how to make the most out of the premise and out of Carl Ellsworth’s script, crafting some really suspenseful scenes that never really let up until the credits.

This movie’s been pretty mixed in its reception. On Rotten Tomatoes it has a 48% positive rating. On Metacritic it has a score of 40/100. And on imdb.com it has a score of 6.0/10.

Is “Unhinged” one of the greatest movies ever? No. But if you’re like me and you like brisk, tense, pulpy thrillers right out of the 90s, then I can easily recommend it for a rainy afternoon. It has a fun story, okay-ish characters, great performances, really good music, and really good directing. Time for my final score. *Ahem*. My final score for “Unhinged” is a 7.88/10. So I’d say it’s worth a rental.

My review of “Unhinged” is now completed.

Vroomssel Crowe

The Fable: The Movies That I Really Like

Hey there, friends, been a while. I got no excuse for my absence, it just accidentally happened. But I wanted to get into the swing of things, so I thought I’d go with something a little less structured and more freeform than usual, and just talk about some stuff I watched during my brief blogging hiatus. So anyhow, let’s talk about some Japanese movies.

“The Fable” is a 2019 action-comedy based on a manga by Katsuhisa Minami, and it tells the story about a man known only as The Fable (played by Jun’ichi Okada). The Fable has been trained since childhood to become  a cold, ruthless, and highly skilled hitman. This bloody status quo comes to a halt however when his boss (Koichi Sato) tells him to lay low and not kill anyone for a while. And so he assumes the identity of Akira Sato, and moves with his partner-in-crime (Fumino Kimura) to Osaka to live a quiet life for the time being. But since this is a movie, troubles start to slowly crop up that may threaten Sato’s new, quiet life. It’s pacing can be a little ass-draggy at times, but “The Fable” is one hell of a fun time.
The setup in itself is a lot of fun and can lend itself to a lot of great comedy. Here’s this cold, matter of fact, calculating assassin, and he has to find something else to do in life, all while trying to keep his identity a secret. One way they play around with this is a scene pretty early in the movie where he gets into a scuffle with some local punks. The movie’s already established that he’s the biggest badass ever, so he could absolutely wreck them without any problem. But since he has to lay low, he not only takes the beating, but also calculates his reactions to sell the illusion to these douchebags. I know my explanation is very cut and dry, but that’s also because there is no way to sell the sheer creativity and comedy of the scene in words alone. Luckily, I won’t have to, as I found the scene on youtube. Sadly it has no English subtitles, but hopefully the visuals speak for themselves, so you get somewhat of an idea how of the film’s comedy and creativity.

But they of course play around with this as Sato tries to be a mundane man, trying to find a job, watching tv, making friends. But he also has his own unique quirks that add a few more layers to the humor. And it’s all done in really funny and unique ways that I just enjoy a lot. But the movie’s not all laughs, as it also flashes back to Sato’s youth a lot, showing what led to him being the way he is. And this helps build a lot of heart and genuinely interesting drama within the story.

I also love the action scenes in this. Kan Eguchi directed the movie, and he brings this really energetic flair to the action. Shootouts, close quarters fighting, the movie has a bit of most types of action, all of it incredibly creative and well choreographed.
The only point where the movie falls apart is the pacing. As previously mentioned, it does drag a bit in parts. Otherwise, it’s a really fun movie that I can happily recommend.

The Sequel: The Movie That is Better Than the First?

In 2021 we got a sequel in the form of “The Fable: The Killer Who Doesn’t Kill”. Sato’s still laying low in Osaka, living with his “sister”, working his mundane job. His peaceful existence is once again threatened however when his past actions come back to haunt him.
As was very unsubtly hinted in the headline for this section, I like this more than the first. If the first one’s around an 8/10, this one’s a solid 9/10 for me. It takes a lot of the ideas set up in the first one and polishes them marvelously. The story is more intriguing and emotionally affecting, the character development is a bit stronger, the action is kinetic as hell and feels more confident than in the first one, and the comedy, while a bit toned down compared to what we got in the first, is still REALLY funny.

Despite how bright and colorful the poster is, this movie can actually get quite dark at times. The narrative largely centers around a young woman who has some past connection to Sato/The Fable. Her arc in this movie is tragic and uplifting in equal measure, and they manage to wring a lot of tension and emotional investment out of it. Her narrative is also connected to the film’s main antagonist (Shin’ichi Tsutsumi), who is an outwardly kind and delightful man, but who we quickly find out is a bit of a twat. Their personal arcs intersecting with that of Sato’s makes for some really strong dramatic storytelling, while still allowing a lot of room for action and shenanigans.

Let’s talk villain for a second. In the first one there were a few, but beyond two semi-memorable, half-joke characters, I really don’t remember anything, most were just kinda there. Here however, we have that guy I talked about before, a seemingly benevolent and affable businessman. He makes so much of the drama work here, which is partly done thanks to his excellent writing, but most of it due to the spectacular performance from Shin’ichi Tsutsumi, who has to convey a lot of different things throughout the movie, and just knocks it all out of the park.

While I did mention that the comedy is toned down in this one, that’s not to say that this isn’t a funny movie. You still get Sato’s quirks clashing a bit when in a social setting, you still get other characters being used for comedic beats, and there’s still the occasional funny visual gag. The movie is still funny as hell, even if the movie relies less on overt goofiness like the first movie did.

The action is also better, feeling way more confident and intense than in the first on, giving us some beautiful, exciting, and insanely fun fights and chases spread inbetween the compelling drama and funny comedy. It’s just good shit.

I guess I’m just trying to say that I really like “The Fable” and its sequel. They’re really fun action-comedies that also happen to feature some really good characters and stories. As for how you can watch them, I can not answer. Over here in Sweden I watched ’em through Netflix, but I’m not sure where you, my international friends, might be able to catch them. Hopefully you’ll be able to figure that out, because these movies are a ton of fun.

Have a good one.

Movie Review: Ikiru (1952)

If you’ve followed me for a somewhat extended period of time, you’d know that I covered several movies by this director last year. Well, now the distributor behind those have another box set out (technically it’s been out since last spring, but I digress), and I’m gonna be covering those movies every now and then. So you know… fun?

Ladies, gents, and non-binaries… “Ikiru”.

After he discovers he has terminal stomach cancer, aging bureaucrat Kanji (Takashi Shimura) begins to reflect both on his past, and on the very meaning of life. The story of “Ikiru” is one that is hard to describe, at least from a personal and emotional standpoint. Objectively, it’s a slowly burning, melancholic, yet still hopeful exploration of what it means to live, a tender and humanist look exploration into a man’s heart heart and soul. But I feel that any words I use to try to explain its effect on me aren’t enough. It broke my heart and put it together again in ways I didn’t think possible. It made me think about my own life, both the good and the bad parts. It’s a tragic and beautifully told tale that reached into my very soul and hit in a way I haven’t experienced in a while.

The characters in this all feel very… human, as if they weren’t just characters, but actual people who were simply being filmed, thanks to the sheer amount of love and nuance that they clearly had been written with. What also adds to this are the performances, none of which feel flashy or theatrical. In particular I want to mention Takashi Shimura, the man who plays our lead character. His performance is just utterly devastating and beautiful. We also get supporting work from people like Nobuo Kaneko, Shin’ichi Himori, Haruo Tanaka, Minoru Chiaki, and more, all doing very well in their respective roles.

The score for the movie was composed by Fumio Hayasaka, and much like the story and characters before it, it was just beautiful. A gorgeously melancholic, yet hopeful chain of melodies played on strings, brass, and some woodwind. It’s just great. There’s also one song not originally composed for this movie used here, and it’s used to perfection. This movie just has great music.

Partly based on “The Death of Ivan Ilyich” By Leo Tolstoy, “Ikiru” was directed and co-written by Akira Kurosawa. And he once again proved here what a master he was. Perfectly flowing shots, all lingering for the perfect amount of time, all finding the right way of adding to the emotion of the scene. And the cinematography by Asakazu Nakai is absolutely breathtaking, from framing, to lighting, it all just looks stunning and adds so much to the storytelling on display here. It’s just a terrifically assembled movie.

This movie has been incredibly well received. On Rotten Tomatoes it has a 98% positive rating with a “Fresh” certification. On Metacritic it has a score of 91/100. And on imdb.com it has a score of 8.3/10 and is ranked #100 on their “Top 250” list.

“Ikiru” affected me in a way that few movies have, it’s a stunningly beautiful exploration of what it means to live. It has a fantastic story, great characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “Ikiru” is a 9.95/10. Which means that it gets the “SEAL OF APPROVAL!”.

My review of “Ikiru” is now completed.

Just… wow.

Series Review: The North Water (2021)

I love British TV. I mean, most countries tend to have good TV, but British programming just has something special about them that makes them infinitely watchable and/or interesting. So with that said, let’s talk about one.

Ladies, gents, and non-binaries… “The North Water”.

The year is 1859. Former army surgeon Patrick Sumner (Jack O’Connell) finds himself taking a job on a whaling ship heading towards the arctic. And we follow him as he deals with working on this ship, struggling not just the elements, but his fellow crewmates as well. What I do find quite interesting about “The North Water” is that it’s not the most plot-driven show. It’s not about a MacGuffin, there’s no real goal to this journey. Instead it’s a dark exploration of how the trauma of a man’s past and present can change you, bring you closer to the darkness. It’s a somber, moody, and often disturbing deep dive into the damaged psyche of Patrick and a few of his fellow crewmates, and I found it absolutely riveting from start to end. The deliberately glacial (HA!) pace may throw some people off, but I personally think it added to the atmosphere, making any suspense and general sense of unease even greater, which helped make for one hell of an engaging narrative.

As I kind of implied, this show is very much more character-driven. And lucky for us, the characters in this are spectacular. All of them clearly damaged in some way, hiding either intentions or their own trauma, which led to me not really knowing who to trust, which adds a lot to the vibe of the show. What also helps is that there’s not a weak link in the cast. Jack O’Connell is fantastic as our lead, Sumner. Colin Farrell is unsettlingly fantastic as the enigmatic Henry Drax. Stephen Graham is terrific as the ship’s captain. And the rest of the cast, contining people like Roland Møller, Sam Spruell, Gary Lamont, Philip Hill-Pearson, Kieran Urquhart, and more, all delivering top notch work.

The score for the show was composed by Tim Hecker, and I think he did a terrific job with it. It’s a low-key, moody, almost horror-esque score, relying heavily rumbling strings, some subtle piano, and even occasional bit of synths to create an unsettling sound that fits really well with the setting and characters. It’s great stuff.

Based on the novel of the same name by Ian McGuire, all episodes of “The North Water” were written and directed by Andrew Haigh, and the man has just absolutely outdone himself. His direction really captures the feeling of helplessness and isolation that one might feel while going on this type of journey, making every moment of the journey feel uneasy. It doesn’t really matter if it’s a regular conversation, a flashback, or a scene of hunting being done, Haigh’s direction is tense and terrific. He also doesn’t shy away from showing us some grisly fucking stuff. The blood and violence in this show is quite disturbing, and at times even quite disgusting, and while I do think it works for the show and adds to the storytelling, I do think it could put some people off. So if you got a weak stomach or you generally just don’t like gruesome content… you have been warned. On a less icky note, the cinematography by Nicolas Bolduc is absolutely spectacular. The angles, the lighting, the colors, it all looks spectacular and works really well to elevate the storytelling even further. This show is just immaculately crafted.

This show’s been quite well received. On Rotten Tomatoes it has a 95% positive rating. On Metacritic it has a score of 74/100. And on imdb.com it has a score of 7.6/10.

“The North Water” is one of the best shows I’ve seen in recent years. It has a great story, great characters, fantastic performances, great music, and fantastic direction/cinematography. Time for my final score. *Ahem*. My final score for “The North Water” is a 9.88/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The North Water” is now completed.

Interesting to think that something so dark and disturbing can come from the same director as the tender and warm “Weekend”.

Movie Review: Hotel Artemis (2018)

At last, first review of the year not featuring a movie starring Ghostface. Don’t get me wrong, I loved going through the “Scream” movies, but a bit of variety doesn’t hurt, you know. So with that out of the way, let’s do this.

Ladies, gents, and non-binaries, let’s check in at… “Hotel Artemis”.

Los Angeles, 2028. The city has been torn to shreds by constant riots. In the middle of this chaos is Artemis, a hotel/hospital dedicated to treating criminals, run by a woman known as The Nurse (Jodie Foster). And we follow her on what might be the most hectic night in the establishment’s history. I mostly enjoyed the story here. When it focuses on the lean, colorful contained thriller aspect, it’s a lot of fun. Where it does falter though is when it tries to go for a more serious tone, developing the backstories of the characters. Wanting to add more nuance and emotional depth to the narrative isn’t an inherently bad thing, but the writing isn’t really strong enough for it to feel successful, which does make those sections feel like a bit of a drag. Luckily, those parts aren’t the main focus of the movie, so for the most part it’s an enjoyable story… bar those select few sections, I mean.

The characters in this are decent, all stand out enough from each other, and work well for the story. But what does elevate them beyond just being passable are the actors. Jodie Foster, Sterling K. Brown, Sophia Boutella, Dave Bautista, Charlie Day, Jeff Goldblum, Brian Tyree Henry, Zachary Quinto, and more appear in this movie, and there’s not a weak link within the cast.

The score for the movie was composed by Cliff Martinez, and I think he did an okay job with it. As with most of his work, it’s based heavily in synths, and I think it fits with the neon-soaked, dingy style of the movie. It’s not Martinez’s best or most memorable score, but it worked fine for the movie. There’s also a few licensed songs used throughout, and they work well in their respective scenes.

“Hotel Artemis” was written and directed by Drew Pearce, and I think he did a pretty good job. His style does have this fun, almost comic book-ish charm that really keeps each scene feeling fun and charming. His action scenes are also pretty well handled. Not perfect, but they’re generally well made and fun. What also adds to the overall quality of the craft is the cinematography by Chung-hoon Chung, which is beautiful and really adds to the feel of the movie, making each scene even more engaging.

This movie’s not been super well received. On Rotten Tomatoes it has a 58% positive rating. On Metacritic it has a score of 58/100. And on imdb.com it has a score of 6.1/10.

While it does falter a bit when trying to be more serious, “Hotel Artemis” is an enjoyable contained thriller. It has a pretty good story, okay characters, great performances, okay music, good directing, and great cinematography. Time for my final score. *Ahem*. My final score for “Hotel Artemis” is a 7.23/10. So while it is flawed, I’d still say that it’s worth renting.

My review of “Hotel Artemis” is now completed.

Welcome to the Hotel Artemis, such a dingy place, such a dingy place…

Movie Review: Scream (2022)

My friends, it is finally here. The reason for my content output the last two weeks. It’s finally here and I can talk about it. And after this, you’ll be free of me rambling about this franchise… until the next inevitable one in 5-10 years. But for now, this is the last one you’ll hear me talk about. So let’s see if it’s another worthy entry in this franchise.

Ladies, gents, and non-binaries… “Scream”, which is also “Scream 5”.

25 years after the original Woodsboro murders, everything is seemingly nice and quiet in the small California town. But this peace is brought to a halt when a new masked murderer starts stalking a group of teens, seemingly with the intention of drawing out the town’s darkest secrets. The story of “5cream” is really strong, and talking about it is difficult. Of course we see a lot of the familiar meta/characters aware of horror tropes stuff come back, but it doesn’t just feel like a retread of what’s come before. While it’s here to poke that sort of fun at horror tropes, it also takes its time to satirize lovingly legacy movies and so-called “elevated horror”, while als taking some absolutely brutal stabs at toxic fandoms. And all of that helps make for a strong, pertinent, funny, tragic, and quite well written satire narrative, while still of course also indulging in a bit of violent carnage. It’s a damn good story that I liked from start to end, but can tell will piss some people off.

The characters in this are all pretty good. Do I think all of them carry the same memorability as some of the cast from the older movies, not quite. But out of the core cast, there’s none that felt like they didn’t belong or like they were outright poorly written. And as for the actors, there’s not a weak link. Of course you have the old trio of Arquette, Campbell, and Cox coming back, all slipping beautifully back into these roles, once again delivering top notch performances. And within the new cast you have people like Melissa Barrera, Jenna Ortega, Jack Quaid, Dylan Minnette, Jasmin Savoy Brown, Mikey Madison, and more, all great in their respective roles.

This is the first one in the series not to be composed by Marco Beltrami, with Brian Tyler instead taking on that task. And lucky for us, Tyler killed it. His score hearkens back to Beltrami’s scores with a lot of similar musical tricks and stylings, without ever feel like he’s just rehashing what came before. From brash, intense brass to more subtle, emotional tracks, it’s all here, and it all works wonderfully. There’s also a handful of licensed songs used throughout, and those work well in the movie too.

Unlike previous ones, “Scream 5: The Fifth Screaming” wasn’t written by Kevin Williamson or directed by Wes Craven (R.I.P). Instead writing duties fell on James Vanderbilt and Guy Busick, with direction being handled by Matt Bettinelli-Olpin and Tyler Gillett (who also gave us the wonderful “Ready or Not”). Aaaaand, they knocked it out of the park. The direction here is really suspenseful and intense, never really letting the viewer feel at ease, even during seemingly safe scenes. This really helps keep the whodunnit element relevant and exciting, while also making sure that when Ghostface appears, it actually feels scary. Speaking of the ol’ mouthgaper, Jesus Christ, the kills in this are savage. Not that the other killers in the series weren’t violent psychos, but there’s something about the violence in this that just feels extra mean-spirited and brutal, which does fit with the story and tone of this movie, and helps make el spookerino feel like more of a threat than ever. So yeah… this movie’s well crafted.

At the time of writing, this movie been pretty well received. On Rotten Tomatoes it has a 76% positive rating. On Metacritic it has a score of 60/100. And on imdb.com it has a score of 7.4/10.

I think it’s pretty clear that I think “Scream: Another Scream” is another fit for the franchise. It has a great story, really good characters, great performances, great music, and fantastic direction. Time for my final score. *Ooga booga*. My final score for “Scream” is a 9.76/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Scream the Fifth” is now completed.

Let’s end this on a classic question, because it’s fun and I genuinely wanna know… What’s your favorite scary movie?

Movie Review: Scream 4 (2011)

My friends, this is it. The final movie in this franchise… until I see the new one on Saturday. But for now, this is the final “Scream” movie. I’m finally caught up (woo!). So without further ado, let’s talk about it and see if it’s a good one.

Ladies, gents, and non-binaries… “Scream 4”!

15 years have passed since the Woodsboro murders, and we see Sidney (Neve Campbell) return to her old hometown as the first stop on her book tour. However, what should be a simple visit soon turns into a complex nightmare when people start getting murdered by another masked killer. Right from the get-go, “Scre4m” shows that it’s not fucking around, giving us arguably the most clever and expectation-subverting opening in the series. And from that point on, it doesn’t let up with its meta nature. The entire series has had a very meta approach to telling its stories, but this one leans into it the most, while also being a surprisingly prescient takedown of fame and social media, all while subverting and indulging in slasher tropes to great effect (as it has in the past), creating possibly the most intense, fun, and clever narrative in the series. Yeah, I really liked the story here.

The characters in this are all really solid, either through being well written and nuanced, or through being fun and colorful. But what does also help is that they all have some level of self-awareness, perfectly befitting the story told, which does also make it really tricky to identify who can be trusted and who can’t, keeping me on my toes from start to end. And the entire cast is terrific, featuring returning people like Neve Campbell, David Arquette, and Courteney Cox, along with newcomers like Emma Roberts, Rory Culkin, Roger Jackson, Alison Brie, Hayden Panettiere, Marley Shelton, Erik Knudsen, Adam Brody, and more.

For the fourth time in a row, Marco Beltrami came in to do the score, and once again he did a damn good job. You get some familiar note progressions, some more typical horror stings, and some subtle, creeping tracks. It’s a solid score that works really well for the movie. There’s also a few licensed songs used throughout, and they work well in their respective scenes. It is a bit of a shame to not have “Red Right Hand” back in this one, but it doesn’t completely ruin it for me.

“Scream 4” saw Kevin Williamson come back as screenwriter, with Wes Craven once again directing (THE DREAM TEAM IS BACK, BAYBEEEE!). And the craft behind it is once again top tier. Intense, creepy direction once again manages to build a fair bit of suspense, it’s Craven at the height of his powers. Also, there’s a lot of really intense violence and gore in this. And while I don’t necessarily think more gore = scarier, I do think it adds a certain unrelenting intensity to this movie that makes it a bit more disturbing and scary. It’s just really well made.

This movie’s gotten a bit of a mixed reception. On Rotten Tomatoes it has a 61% positive rating. On Metacritic it has a score of 52/100. And on imdb.com it has a score of 6.2/10.

I might get severely shamed by people for this, but “Scream 4” might be my favorite of the bunch. It has a great story, really good characters, great performances, great music, and fantastic direction. Time for my final score.  *AAAAAAAAAH*. My final score for “Scream 4” is a 9.80/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Scream 4” is now completed.

Alright… let’s hope the Radio Silence dudes can do this franchise justice.

Movie Review: Scream 3 (2000)

We’re 75% through this little journey, my friends… or well, 60% if we count the new one that’s not even out ye- fuck it, we’re only counting the old(er) ones for now. And without further ado, let’s get into the review itself!

Ladies, gents, and non-binaries… “Scream 3”.

A few years have passed since the murders at Windsor College, and Sidney (Neve Campbell) has moved to a remote new place somewhere in California. Meanwhile, a third movie in the “Stab” franchise is being made, which prompts another killer to come forth and kill people involved with the production. “Scream 3” had the perfect setup for a deep cut satire about Hollywood and filmmaking and such, but sadly falls flat and completely misses in that regard, largely due to it not being written by series mainstay Kevin Williamson. That said, I don’t hate the story here. Yes, it’s more convoluted than it needs to be. Yes, it does lack the satirical edge that made the first two movies as good as they were. Yes, it makes some baffling decisions at a few points. But it’s still a decently fun horror story that at times has some nice suspense or a good joke. So yeah, not as good in terms of actual storytelling, but it’s stil. decently enjoyable.

The characters in this can be a bit of a mixed bag. The returning ones remain the highlight, with their relationships and personalities developed further, and with Arquette, Campbell, and Cox once again delivering damn good performances. As for newcomers, some of the characters are a decent bit of fun, and some are just kinda meh, with one in particular falling really flat due to the convoluted narrative. At least the supporting cast are all solid in their roles, featuring actors like Parker Posey, Patrick Dempsey, Scott Foley, Deon Richmond, Jenny McCarthy, Emily Mortimer, Lance Henriksen, and more.

For the third time in a row, Marco Beltrami came in to do the music, and once again he’s polished his style even further, leading to arguably my favorite score in the series so far. It does have some of the loud brass and such again, but it’s still surprisingly subdued, making for a pretty eerie score that manages to elevate the movie, even when the script stumbles. As for licensed music, there’s a little bit of that used throughout, and it’s all pretty good. This movie has good music, yo.

As I previously stated, Kevin Williamson didn’t come back to write this (boo), but at least Wes Craven stayed on as director, and once again he did a really good job. He could manage to wring a lot of energy and suspense out of a scene, making it very watchable, even if the event itself isn’t super interesting.

This movie’s gotten some mixed reception. On Rotten Tomatoes it has a 41% positive rating and a “Fresh” certification. On Metacritic it has a score of 56/100. And on imdb.com it has a score of 5.6/10.

While its let down by a weak script, I still had a decently fun time with “Scream 3”. It has a meh story, okay characters, great performances, great music, and really good direction. Time for my final score. *Ahem*. My final score for “Scream 3” is a 6.97/10. So while it’s flawed, I’d still say that it’s worth renting.

My review of “Scream 3” is now completed.

One more to go…