Movie Review: The Banshees of Inisherin (2022)

IT’S FINALLY HERE. God damn staggered release dates, WHY DO YOU EXIST!?

Ladies, gents, and non-binaries… “The Banshees of Inisherin”.

On the Irish island of Inisherin, a happy-go-lucky fella named Pádraic (Colin Farrell) finds his world flipped turned upside down when his longtime best friend (Brendan Gleeson) decides that he doesn’t want to be friends anymore. And so we follow the two as their rough spot start to escalate further and affect both them and everyone on the island. The storytelling here is absolutely phenomenal, creating an emotionally rich and surprisingly grounded web of ever evolving relationships and personal drama. Even as some situations are heightened to absurdist extremes, the emotional core behind those situations still feels nuanced and believable, leading to them leaving a stronger impact. What further makes the story hit home for me is the perfect balance between dark comedy and devastating drama, which further adds beautiful details to the rich tapestry being weaved before us, which really does help make for a truly compelling narrative that both made me cry from the tragedy, and laugh my ass off at the black, oft absurdist humor.

The characters in this are just absolutely stunning to follow, beautifully nuanced and flawed, having a way of feeling both heightened and very believable at the same time, making for some of the most colorful and instantly fascinating individuals I’ve ever experienced in a film. I won’t go in-depth with each and every one of them however, as I do think part of their impact lies in experiencing them for yourself. But I will say that everyone in the cast is absolutely fucking phenomenal. Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan, Gary Lydon, Pat Shortt, Sheila Flitton, and more, everyone in this cast absolutely excels in their respective roles.

The score for the movie was composed by Carter Burwell, and he has positively outdone himself with this one. It’s a fun and layered batch of tracks that beautifully uses a mix of traditional strings, along with some harp, chimes, along with some woodwind to create a score that can be jaunty, heart-wrenching, mysterious, and even terrifying at times, making for an absolutely stunning score that further elevated the beauitful story and characters.

“The Banshees of Inisherin” was written and directed by Martin McDonagh, a director whose previous work I’ve very much been a fan of. And once again he has delivered, even showing a lot of improvement as a visual storyteller. From his blocking, to the way he paces out a scene, McDonagh has very much improved his craft and made a stunningly crafted film. Further adding to this is the cinematography by Ben Davis, which is both general eye candy and stunningly considered, which adds to the visual storytelling in really interesting ways.

This movie’s been quite well received. On Rotten Tomatoes it has a 97% positive rating and a “Fresh” certification. On Metacritic it has a score of 87/100. And on imdb.com it has a score of 7.8/10. The movie’s also been nominated for 9 Oscars in the categories of Best Picture, Best Director, Best Original Screenplay, Best Actor (Farrell), Best Supporting Actress (Condon), Best Supporting Actor (Gleeson AND Keoghan), Best Music, and Best Editing.

So yeah, I absolutely adored “The Banshees of Inisherin”. It has a fantastic story, fantastic characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Ahem*. My final score for “The Banshees of Inisherin” is a 9.93/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The Banshees of Inisherin” is now completed.

McDonagh doesn’t miss.

Movie Review: The Pale Blue Eye (2023)

*inhale*. Can you smell that? First new release of the year. I’m excited.

Ladies, gents, and non-binaries… “The Pale Blue Eye”.

New York, 1830. When a young student at the West Point military academy is found dead, weary detective Augustus Landor (Christian Bale) is called in to investigate and hopefully figure out what happened. And to aid him in his quest, he secretly acquires the assistance of an enigmatic young man (Harry Melling) who goes to the academy. I find myself a tad conflicted when it comes to the story here. On one hand, I genuinely enjoy the murder mystery going on here, it has this dark and very pulpy feel to it that I love, and it does take some pretty interesting turns that build in engaging ways. But there are also aspects to the story where it can feel slightly unfocused, as it tries to not only be a pulpy detective thriller, but also explore various other dramatic avenues. And while that could be fine, the script never makes them feel truly cohesive or like they weave in and out of each other as well as they could. This unfocused nature can especially be felt towards the middle, where it almost felt like it dragged. The movie on the whole is a slow burn, but the middle section does feel kinda bogged down. But in the moments where it zeroes in on the desolate, isolated, almost claustrophobic mystery, that is when it shines. Those bits are genuinely compelling.

The characters in this I find to actually be pretty interesting. most of them are generally presented with somewhat interesting personalities and it’s interesting to see how everyone interacts with each other or react to the vents unfolding. Christian Bale plays Augustus Landor, an aging and world-weary detective who’s gone through some rough times. He’s a compelling character that’s hard to describe since I don’t want to say too much. But he’s a solid protagonist and Bale is great as always. Next is Harry Melling as a young Edgar Allan Poe, a cadet at the academy and Bale’s secret assistant/confidant. He’s an enigmatic and talkative fella and I loved seeing both his personal arc and how his relationship to Bale’s Landor evolves. And Melling gives a fantastic performance in the role, this is so far a career best from him. Supporting cast is great too, containing people like Simon McBurney, Timothy Spall, Toby Jones, Gillian Anderson (a bit underused, IMO), Charlotte Gainsbourg (very underutilized), Lucy Boynton, and more, all giving damn solid performances.

The score for the movie was composed by Howard Shore and he killed it. Chilling strings, harsh brass, the man just brings an emotionally resonant score to proceedings that I could feel deep in my bones throughout the entire thing. It’s haunting and beautiful and I loved it.

Based on a novel by Louis Bayard, “The Pale Blue Eye” was recently released on Netflix, and was written and directed by Scott Cooper, and while his script could’ve had another look, I can’t deny what a good director he is. The pacing of scenes, the way he shows and/or hides things from the audience, the man brings his A-game in that regard. He also has a great way of making this movie feel cold, and I don’t strictly mean emotionally. Rarely do I see a movie set in a cold or snowy environment that genuinely makes me feel like I’m freezing, despite wearing knitwear in a relatively well heated room. And Cooper, together with cinematographer Masanobu Takayanagi masterfully makes that come across through the way they shoot the movie. Just thinking about some of these scenes makes me feel like I need a blanket.

This movie’s so far gotten a pretty mixed reception. On Rotten Tomatoes it has a 67% positive rating. On Metacritic it has a score of 56/100. And on imdb.com it has a score of 6.7/10.

While it doesn’t quite reach its potential, I still found “The Pale Blue Eye” to be a fairly enjoyable little mystery-thriller. It has a mixed story, pretty good characters, great performances, great music, and fantastic direction/cinematography. Time for my final score. *Ahem*. My final score for “The Pale Blue Eye” is a 7.44/10. So while it is flawed, I’d still say that it’s worth a watch.

My review of “The Pale Blue Eye” is now completed.

Linger ooooooon… your pale blue eyes…

Movie Review: Raymond & Ray (2022)

Hello there! First post of 2023. And I don’t know about you, but I am ready to get into a new year of blogging shenanigans. So let’s jump into the our first review of the year.

Ladies, gents, and non-binaries… “Raymond & Ray”.

When their estranged father dies, half-brothers Raymond (Ewan McGregor) and Ray (Ethan Hawke) reunite in order to bury the old man. And as they go through the motions associated with a funeral, the brothers begin to process their upbringing, along with learning about some of the stuff their father’s been up to in the years they’ve not seen him. On paper, I get what the story wants to do, and I think there’s a lot of great ideas found here, both in the bigger picture and in individual scenes. Sadly though, I never really found myself invested in any of it, something about the way it’s written just makes it feel like it never comes alive. I feels like the script could’ve used another pass or two. Not outright terrible, the ideas and even a few scarce moment are interesting, but the overall story feels undercooked.

The characters in this are fine. As with the story, they are the victims of a script that could’ve used more time in the oven. That said, they do still fare a little better. They feel a bit more defined, even if they never feel fully developed (despite the film’s best efforts). And then there’s the performances. On the whole, they’re generally pretty good. Ethan Hawke is great as always and just naturally slots into the role of Ray well, bringing him to life nicely. But then you have Ewan McGregor as Raymond, which I have mixed feelings on. I love McGregor as an actor, and he tries his best with his performance, but never did he feel like he fit the role. Whether it’s the dialogue or even a gaze, while his overall performance is technically good, I just never bought him as this character. Supporting cast is pretty good too, containing people like Todd Louiso (sidenote: where’s he been the last 15 years?), Sophie Okonedo, Maribel Verdú, Vondie Curtis-Hall, and a few more.

The score for the movie was composed by Jeff Beal, and I really liked it. It has this really interesting sound to it, mixing elements of lounge jazz with some mild thriller droning, and it makes for a soundscape that sometimes elevates the various scenes it can be found in. It’s solid.

“Raymond & Ray” was written and directed by Rodrigo García, and while we’ve gone over that his script isn’t the best, I can say that his directing is pretty solid. Everything’s nicely paced and his framing is nice. And that’s about all I can say, it’s well done. Not amazing, not terrible, just good.

This movie has not been super well received. On Rotten Tomatoes it has a 47% positive rating. On Metacritic it has a score of 49/100. And on imdb.com it has a score of 6.2/10.

While I think it has some good ideas, “Raymond & Ray” ultimately ends up being fairly underwhelming. The story isn’t very interesting, the characters are underdeveloped, the performances are mostly good, the music’s good, and it’s pretty well directed. Time for my final score. *Ahem*. My final score for “Raymond & Ray” is a 4.44/10. So I’d personally recommend skipping this one.

My review of “Raymond & Ray” is now completed.

Some spacemen use rayguns. Others use raymondguns.

Movie Review: The Big Four (2022)

GUNS! EXPLOSIONS! INDONESIA! BUZZ WORDS! Let’s talk about a movie, shall we?

Ladies, gents, and non-binaries… “The Big Four”.

When her father is murdered, a police officer (Putri Marino) goes on a quest to track down a group of elite assassins to help her in finding her father’s killer, as these assassins seemingly had history with the old man. Right from the word go, “The Big Four” intrigues, setting up a dark, violent world, filled with assassins, evil organizations, and… slapstick? Yeah, the story here is a bit of a mishmash of tones, ideas, and inspirations. The main revenge mystery at the film’s is pretty intriguing on its own, giving us some really intriguing world building and escalating the drama pretty well. But then it further builds on itself and its characters with bombastic set pieces and a little bit of Stephen Chow-esque slapstick. Not quite “Kung Fu Hustle” levels of cartoony, but it did give me his kind of vibes at times. And while this hodgepodge mix of “The Night Comes For Us”, “John Wick”, and goofy farce could (and honestly should) end up a fucking mess, it all comes together incredibly well to make for a really fun and enjoyable narrative. And despite being nearly two and a half hours long, it’s really well paced, never was I bored. It’s an enjoyable, well told story.

The characters in this are wonderful, all being colorful, charming, and a ton of fun to watch. They’re also really well defined, their personalities standing out and balancing each other out really well. The one that arguably sticks out the least is Dina (the policewoman), but that’s also since she’s sort of the straight man in this scenario. And Putri Marino plays it really well, so I can’t complain. As for the rest of the cast, I won’t go too in depth, as I think their quirks are best left experienced. But they’re all fun, and I think the cast is brilliant too. Abimana Aryasatya, Arie Kriting, Lutesha, Kristo Immanuel, Marthino Lio, and everyone else just deliver some really solid performances.

The score for the movie was composed by Bembi Gusti, Tony Merle, and Aghi Narottama, and it was alright. Can’t remember much of it as I sit and write (its lack of availability online doesn’t help) beyond the feeling, which was generally “Yeah, this is alright”. There’s also a little bit of licensed music used throughout, and those tracks work quite well in their respective scenes.

“The Big Four” was (at the time of writing) recently released on Netflix, and was directed and co-written by Timo Tjahjanto, and the dude absolutely brought his A-game with this. As a fan of some of his previous action movies, I knew the dude knew how to shoot action scenes. But once again, he managed to blow me away just with the sheer intensity, creativity, and brutality on display. It’s been slightly recontextualized from his previous, more serious work, to fit the goofier tone, but it still carries everything we can expect Indo action at this point… AKA intense camera movements, gorgeous wides that clearly show what’s going on, and some of the goriest violence in film. And it’s all a blast to watch, delivering all the well choreographed, blood-soaked carnage you can ask for.

This movie’s gotten some mixed reception. On Rotten Tomatoes it has an 86% positive rating. And on imdb.com it has a score of 6.1/10.

While its strange blend of tones, lengthy runtime, and gory violence might not be for everyone, I had an absolute blast with “The Big Four”. It has a fun story, great characters, really good performances, pretty good music, and fantastic directiong/action. Time for my final score. *Ahem*. My final score for “The Big Four” is a 8.44/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The Big Four” is now completed.

“Big Four”, my ass. Couldn’t see Metallica anywhere…

Along with the Gods: The Two Movies

Hi there. So this won’t be a typical review style post of mine (though it shares minor aspects of those). Instead it’ll be more like my post on the Fable movies (AHEM AHEM), loosely rambling about them in a bundled post. I should mention that both movies will from here on out simply be referred to by their subtitle, as it’d be too long and clunky to use the full title each time. So anyhow… let’s go.

The Two Worlds

After perishing in the line of duty, a firefighter (Cha Tae-Hyun) finds himself in the company of three spirit guides (Ha Jung-woo, Ju Ji-Hoon, Kim Hyang-gi) who have been tasked with guiding him through the afterlife in order for him to potentially earn the right to reincarnate. Based on a webtoon by Ju Ho-min, “The Two Worlds” is an interesting blend of inspirations and tones. Most noticeably, it uses Buddhist philosophy as a springboard to tell an interesting and really fun fantasy adventure story, a morality tale that also happens to have some really fun VFX-driven action and colorful characters. Taking us through visually distinct environments to tell a nuanced fantasy story.
As we follow the firefighter’s journey through the afterlife, we get to know him more and more, seeing what led him to the initial incident. We see why he does what he does, we get to know the deepest inner workings of his soul, and finding out just how complex even the most seemingly good people are. And the way that affects the events of the movie, the ways his guides have to assist him, it makes for some compelling drama and some surprising suspense. So when we get to the climactic trials that are crucial in determining his fate, it put me on the edge of my seat, and also may have caused the waterworks to begin operating. Because while someone might come to this for the spectacular VFX, fun action scenes, or extremely good looking cast, soon enough they’ll also find that this movie has a strong emotional core as well. I am not ashamed in admitting that this movie made me cry. It’s one of those flashy action flicks that also happens to have some truly compelling characters and drama. But it can also be quite funny at times, especially with the quips and general demeanor of Ju Ji-Hoon as the delightful Haewonmaek.
What else is there to say? It’s a big popcorn flick with a great story, plenty of heart, a wonderful cast of characters, and some mesmerizing visuals. I loved it.

The Last 49 Days

Released a year later, “The Last 49 Days” sees our favorite spirit guides as they take on the task of helping a new soul towards reincarnation, all while also trying their damndest in trying to retrieve a fellow guardian (Ma Dong-seok) who’s been living on Earth for a long time. “The Last 49 Days” is once again a blend of things. Fantasy action, historical epic, domestic dramedy, and I think all these individual pieces are great… but together they don’t flow super well. I get that you need all the bits together to tell the complete story, take one piece out and the tower comes crashing down, but there is a whole lotta movie to this movie. And I’m not just talking about runtime, as it’s really only like 5 minutes longer than the first one, but rather it’s how much is crammed into it. There’s an exhausting amount of narrative threads going on at any one time, and while I found all of them pretty compelling on their own, their flow is just almost non-existent. It’s especially horrid near the middle of the movie, where things really begin to drag. You know that deep sigh you make when you’re bored? Yeah, that happened here. It’s just an exhausting drag at times.
So while the story is a mess, the characters do get some really interesting extra depth, which also leads to the actors getting more to chew on. The cast was great in the first one, but they really get to flex their acting chops here, and I think they give terrific performances here. And it’s just nice to have Ma Dong-seok be part of proceedings, the man just slots in flawlessly and brings such a unique charisma.
Action scenes are once again a lot of fun, not quite as flashy as what we saw in the first one, but definitely still highly enjoyable. Effects are still top notch (bar one or two obvious green screens), costumes and makeup are solid, and there’s some really fun cuts and transitions spread throughout. It’s just stellar on a technical level.
So while nowhere near as strong as its predecessor, I can’t say that I disliked “The Last 49 Days”. It still has some great stuff to it. If the first one’s a strong 9/10 for me, then this is maybe a weak 7/10. Hurt by its poor pacing, but still has a lot to admire.

So yeah, I watched and generally liked the “Along with the Gods” movies. Basically if you like big spectacle with plenty of heart and don’t mind reading subtitles, then I can easily recommend them. And apparently there’s a third and fourth one coming at some point… so I’ll be cautiously looking forward to those.

Have a good one.

Movie Review: Don’t Worry Darling (2022)

Alright, after a short break (that ended up longer than intended, oops) following the Month of Spooks, I am back, ready to write about non-spooky stuff again. So let’s go!

Ladies, gents, and non-binaries… “Don’t Worry Darling”.

Living in a seemingly utopian 1950s suburbia, Alice (Florence Pugh) seems to lead a wonderful life with her husband (Harry Styles). But this bliss is soon tested when Alice discovers that this seemingly perfect suburbia may hold some dark secrets. On paper, I love pretty much everything about the narrative, there are so many cool ideas for an effective psychological thriller here. In terms of execution though, I find it a bit lacking. Not outright bad, and never boring, but I never got that “Oh yeah, I’m really into this movie” click. Something about the way the story unfurls, the way that the narrative expands just doesn’t entirely come together for me. It’s undercooked and a bit messy that way, but I also can’t say that I disliked it. It’s… eh.

The characters in this are a mixed bag. One or two I find pretty compelling, like there’s something interesting about them. The rest of them on the other hand show shades of being intriguing, but their arcs don’t really go far enough to be truly compelling. I’ll say, our lead character Alice is pretty compelling, it’s interesting to see how she reacts to the various events and revelations of the story, she’s a fairly dynamic and interesting character. And Florence Pugh is absolutely fantastic in the role, as she always is. Harry Styles plays her husband, and he’s… fine. He’s not terrible, but he’s not great either… just fine. Then we also have people like Chris Pine, Olivia Wilde, KiKi Layne, Gemma Chan, Nick Kroll, Kate Berlant, and more rounding out the cast, and they all deliver really solid performances. It’s generally speaking a really good cast.

The score for the movie was composed by John Powell, and I thought it was great. It’s this strange mix of more typical thriller droning and some basic orchestrations with colorful and really eerie vocalizations, with some interesting piano and percussion. It’s one of the more unique scores I’ve heard in a while, and I kinda loved it. There’s also a lot of licensed songs from the 50s that are used throughout, and they work pretty well in setting a mood in their respective scenes. So yeah, this movie has some great music.

“Don’t Worry Darling” was directed by Olivia Wilde, and I think she did a pretty solid job with it. She has a good grip of how to try to build tension in a scene, she shows how to have a good flow to her scenes. Her talent behind the camera does help elevate some of the less than stellar writing a bit. And when you combine her directing with Matthew Libatique’s frankly stunning cinematography, you get a movie that, on a technical level, is quite stunning.

This movie’s gotten some mixed reception. On Rotten Tomatoes it has a 38% positive rating. On Metacritic it has a score of 48/100. And on imdb.com it has a score of 6.2/10.

While it isn’t as emotionally engaging as it could’ve been, I’d still say that “Don’t Worry Darling” is fine. It has a meh story, okay characters, great performances, great music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Don’t Worry Darling” is a 6.57/10. So I’d say it’s still worth renting.

My review of “Don’t Worry Darling” is now completed.

I didn’t worry… so now what do I do or do not do?

Movie Review: Tremors (1990)

Friends, we’ve reached the end. The final Month of Spooks review of the year. So if you’re tired of me rambling about horror, then you’re about to get a well earned break. And if you wish you could get only horror content from me all year, then tough luck… go watch Dead Meat or Ryan Hollinger on youtube, they provide excellent spooky content all year round. Anyhow, with further ado… let’s finish this.

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

Welcome to Perfection, a small backwater town in the middle of god damn nowhere. They’re in for the experience of a lifetime when a group of giant, underground worms start killing people and animals around the area. So it’s up to a group of locals, led by best friends Val (Kevin Bacon) and Earl (Fred Ward), to find a way of surviving this nightmare situation. The story of “Tremors”, on paper, would be absolutely fucking terrifying. Giant worms that kill everything they come into contact with? That can collapse buildings? Horrifying. The movie plays it a little more light however. While the Graboids (as they’re known nowadays) are given the intimidating power and reverence they deserve, the movie isn’t afraid of also being a bit goofy. The town of Perfection is filled with colorful, eccentric people, and they’re used to great effect in creating scenarios that are equal parts intense and funny. Had the movie played it all completely straight, then I doubt the story would’ve been as enjoyable. It is that generally lighthearted and campy tone, along with some really creative set pieces, that makes it so much fun to watch. Not necessarily THE most fun ever, but I can’t deny that I had a fun time with it.

As alluded to in the story paragraph (storagraph?), the characters in are a so insanely colorful and a million flavors of fun. From a pair of slightly dim good ol’ boys, to mildly crazed survivalists, to smart grad students, we’ve got all sorts in this here dust bowl of a town. And holy cow, the cast is just wonderful. Kevin Bacon, Fred Ward, Michael Gross, Reba McEntire, Finn Carter, Victor Wong, and more, all delivering delightful performances.

The score for the movie was composed by Ernest Troost, with a few tracks being done by an uncredited Robert Folk, and I think their music here is a lot of fun. While it’s sad that some of Troost’s music got replaced (without him knowing, mind you), I do think that Folk’s additions still work within the context of the movie. How to tell them apart? If it’s fun and a little country-ish, Troost. If it’s more typical serious orchestral movie score, Folk. Either way, the music in this movie is solid. There’s even a really fun song during the end credits sung by Reba McEntire, which is nice.

“Tremors” was directed by Ron Underwood, and I think he did a really good job. The man has a good way of making the action and Graboid attacks feel big and intense, while also creating this intimate tension with the unknown surrounding when and where the Graboids will pop out next. Speaking of which, the creatures themselves were created by Amalgamated Dynamics, the VFX company of living legends Tom Woodruff Jr. and Alec Gillis, and the creatures look awesome. The designs are super fun, and the overall effects work is so good, really making them feel alive. It’s just a really well made movie.

This movie’s been pretty well received. On Rotten Tomatoes it has an 88% positive rating and a “Fresh” certification. On Metacritic it has a score of 65/100. And on imdb.com it has a score of 7.1/100.

Yeah, “Tremors” is a good time. A fun monster flick. It has a good story, really good characters, great performances, really good music, and great directing/effects. Time for my final score. *Ahem*. My final score for “Tremors” is an 8.77/10. So yeah, I’d definitely say that it’s worth buying.

My review of “Tremors” is now completed.

Aaaaand that’s it for the Month of Spooks this year, good night, everybody!

Movie Review: X (2022)

X gon’ give it to ya… wait, that doesn’t work. Umm… X marks the spot? Nonono… Xpertly I crafted a dumb intro before moving onto the review. Nailed it!

Ladies, gents, and non-binaries… “X”.

1979. A group of young, aspiring filmmakers travel to a farm in rural Texas with the intention of using the rustic setting as a backdrop for a porno they plan on making. But as soon as they arrive and begin working (bow chicka bow wow), sinister things start brewing around them. “X” has a distinctly old school feel, hearkening back to a lot of 70s horror, opting for that sort of grungy slow burn tension, with “The Texas Chainsaw Massacre” being one of the clearest influences on this. And I think that works pretty well for “X”, it gives its story a vibe that’s been all but lost in today’s movie environment. As for the story in general, I thought it was alright. Nothing bad about it, and I do really appreciate the dark, slightly off-kilter sense of humor that shows up throughout, but in terms of general enjoyment it didn’t do much more than passable enjoyment for me. Like I said, the tone is fun, the slower pace is pretty engaging, and some of the events and reveals I did enjoy. But on the whole I just didn’t love it as much as some others have. It’s a passably enjoyable story for me.

The characters in this are pretty good. Again, not really amongst my favorites ever, but the movie still does a decent enough job of establishing who they all are and finding way to make them fairly likable and decently interesting. The cast is also pretty stacked, containing people like Mia Goth, Jenna Ortega, Brittany Snow, Martin Henderson, Kid Cudi, Owen Campbell, Stephen Ure, and a few more, all delivering damn good performances. Mia Goth especially is an absolute standout here, she’s terrific.

The score for the movie was composed by Tyler Bates and Chelsea Wolfe, and I think they did a damn good job with it. Low key spooky strings, some synths, piano, occasional choir voices, some droning noises. It has a weirdly old school feel that works really well for the movie and helps build a bit of an unsettling atmosphere. There’s also a handful of licensed songs used throughout, and I think they work well in their respective scenes. There’s one track in particular, which I won’t spoil, but it’s a song I adore, and the way a particular section of it comes crashing in during a certain event is just fucking spectacular, and an absolute standout moment. But yeah, this movie has good music.

“X” was written and directed by Ti West, which sees him making his return to movies since 2016. And I think he did a damn good job with his directing. West has an excellent way of utilizing space to build a bit of tension or add impact to an action, and it’s just done marvelously here. And when combined with Eliot Rockett’s old school, grimy, beautifully blocked/framed cinematography, you get a movie that just oozes charm, grit, and a confidence that is quite fun.

This movie’s been pretty well received. On Rotten Tomatoes it has a 94% positive rating and a “Fresh” certification. On Metacritic it has a score of 79/100. And on imdb.com it has a score of 6.6/10.

While I don’t really love it like many others seem to, I still enjoyed “X”. It has an okay story, pretty good characters, great performances, really good music, and really good directing/cinematography. Time for my final score. *BOO*. My final score for “X” is a 7.43/10. So while flawed, I’d certainly say that it’s worth renting.

My review of “X” is now completed.

What letter’s the best for cutting down trees? The X.

Movie Review: The Night House (2021)

Spooky goings-on are happening on this here blog. I mean, it has through this entire month, but it’s happening once again. So let’s see what kind of spooks we’re dealing with this time.

Ladies, gents, and non-binaries… “The Night House”.

Following the recent death of her husband, a grieving Beth (Rebecca Hall) slowly starts finding out that he may have been keeping some dark secrets from her, all while strange things start happening in her house. “The Night House” is a slow burn of a movie, a psychological horror that over the course of its runtime mess with the viewer. Sure, there are more in-your-face scare-scares too, and those are used to great effect, but the biggest strength is how it uses themes of trauma and grief to create an otherworldly atmosphere that made me question everything I was watching. And this uneasiness kept me on edge right from the word go, deeply unsettling me while also handling its themes in heartbreaking and deeply resonant ways. It’s a scary and beautifully told story that I absolutely adored following.

What I like about the characters in this is how real they feel, while still allowing for a fair bit of the theatricality that can be found in movies. Even as weird shit happens, there’s something that makes these people feel grounded in some sort of reality, which makes them really compelling to watch. And that’s as far as I’ll go in terms of characterization, as revealing any more could/may take any impact away. Anyhow, holy fuck, Rebecca Hall is amazing in this. I’ve been a fan of hers for quite a while now, but I will never cease to be astonished by how well she plays these sorts of characters. There’s so much going through her character’s mind at any given moment, and Hall just nails it masterfully. The supporting cast is great too, featuring people like Sarah Goldberg, Vondie Curtis-Hall, Evan Jonigkeit, Stacy Martin, and more, all giving stellar performances.

The score for the movie was composed by Ben Lovett, and I thought it was pretty great. Sure, some of it does devolve into the typical crescendo-ing horror droning, but then there are also some really interesting tracks utilizing strings amongst other things to create a brooding and quite spooky atmosphere, that also has this underlying sadness to it. It creates a sonically interesting and emotionally rich soundscape that I found quite compelling to listen to. There’s also some licensed music used throughout, and it works pretty well too. This movie has good music.

“The Night House” was directed by David Bruckner, and I think did a stellar job here. His directing style is fairly slick, without being overly flashy, creatively using space, blocking, and light/darkness to create visually striking shots that also work well to tell the story or just scare me. Combine this with Elisha Christian’s stunning cinematography, and you get one of the most visually intriguing horror movies I’ve seen in recent years. There’s also some clever and interesting visual effects here that work really well for this movie, they’re not super in-your-face, but when they’re there, they are just so cool.

This movie has been mixed to positively received. On Rotten Tomatoes it has an 87% positive rating and a “Fresh” certification. On Metacritic it has a score of 68/100. And on imdb.com it has a score of 6.5/10.

“The Night House” unsettled me in a way no movie has before. Sure, others have deeply scared and unsettled me, but this movie does it in a unique way I can’t fully explain. It has a great story, great characters, fantastic performances, great music, and fantastic directing/cinematography. Time for my final score. *Deep inhale*. My final score for “The Night House” is a 9.89/10. So it gets the “SEAL OF APPROVAL!”.

My review of “The Night House” is now completed.

Can we get Rebecca Hall a nice movie? Between this and “Christine” and probably something else, she plays a lot of characters who get put through the wringer, and it’d be nice to see her just have a nice day for once.

Movie Review: Underwater (2020)

Amongst other things, we’ve dealt with the horrors of vampires, possession, and small town Oregon, so now it’s time to switch it up a bit, going for the ultimate horror… liquid.

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

In a research base located in the Mariana Trench, a group of scientists must fight for their survival when a mysterious earthquake suddenly erupts, destroying part of the facility. So now the team have to find a way to get out and maybe also find out what the hell is going on. In some ways, this story is “Alien”, in some ways it is “The Abyss”, and in a lot of ways it is just okay. I like some of the reveals that happen, and I wouldn’t say I was ever bored with what was going on, but I wasn’t super invested either. It was just sort of a passable sci-fi/horror story that quickly went by. And I guess that might be a bit of an issue. Not just that there’s little of a dramatic hook, but also the borderline breakneck pace. On occasion that can work, and I get that they want to have some perpetual intensity going thanks to that, but I think they could’ve benefitted from slowing down, building some dread, let us get to know the place and people a bit more. It’s still mildly entertaining, but it sadly never fully hooked me.

The characters in this are… eh? Again, they feel vastly underdeveloped. They try to throw in quick things every now and then to add some characterization, but it’s never enough to truly make me care… but I also didn’t outright dislike them, they sort of exist in this weird bubble of being watchable and occasionally likable, but never compelling, it’s weird. What I can say however is that I generally like the cast in this, most of the performances in this are really good. Kristen Stewart, Vincent Cassel, Mamoudou Athie, Jessica Henwick, John Gallagher Jr (always nice to see him), Gunner Wright, they’re all good. There is also the heavy presence of a certain horrible person that shall not be named. But taking his horrible shit aside for two seconds, he just doesn’t work in this movie. They try to make him the comic relief, and none of his jokes land, along with the performance being not great. So that’s a big, annoying stain on the otherwise really good cast.

The score for the movie was composed by Marco Beltrami and Brandon Roberts, and finally there’s something I can just outright praise. This score is great, mixing traditional orchestration with electronics and synths to create a mesmerizing and fun soundscape that fully captures the strange, almost alien sensation of being stuck so deep beneath the ocean’s surface. It’s just great stuff that actually manages to elevate certain moments of the movie. So that’s nice.

“Underwater” was directed by William Eubank, and I think he did a really good job here. His direction is slick, stylish, and scool… okay, that didn’t work, but you get the point. His direction just helps the otherwise underdeveloped script come to life more, as he really does bring the deep sea station and ocean floor sections to life. Combine his direction with Bojan Bazelli’s frankly gorgeous cinematography, and you get a really cool looking movie. Furthermore, the effects in this are stellar and there’s some great sets as well. On the whole it’s just really well crafted.

This movie has not been super well received. On Rotten Tomatoes it has a 48% positive rating. On Metacritic it has a score of 48/100. And on imdb.com it has a score of 5.8/10.

While it is very underdeveloped in the script department, I can’t say that I disliked “Underwater”. It’s an okay survival thriller. It has an okay-ish story, meh characters, really good performances, great music, and really good directing/cinematography. Time for my final score. *Blub blub*. My final score for “Underwater” is a 6.21/10. So while very flawed, I’d say that it can still be worth renting.

My review of “Underwater” is now completed.

I love water, but there’s no fucking way you’ll see me in an underwater base. I value my sanity and not-being-at-constant-risk-of-drowning status too much.