Tag: Horror Movie

Bring Her Back (2025) Review

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Quick synopsis: A brother and sister are placed with a new foster mother; she’s a bit weird.

Sally Hawkins can do anything, can’t she? At no point during Bring Her Back do you think she’s English; she slips into her performance perfectly. The supporting cast also gives performances beyond their years, especially Billy Barratt, who gives a near-perfect performance of someone haunted by trauma but trying to stay strong. It’s also clear that the Philippou brothers are tremendous directors, with a real flair for understanding what makes certain visuals work.

I thought I’d start with that so I could move onto the negatives, as I really didn’t like this film. It’s not that I actively hated it; I just wasn’t impressed with it, at all. It tries so hard to matter, to be important, to deal with themes of grief and guilt, but does so far too unsubtly to the point of repetitiveness. It makes its points, then a few minutes later says the exact same thing again (a bit like I just did with the previous two sentences).

It is possible I just don’t like their stories, as I also wasn’t fond of their previous film, Talk To Me. Reading that review again (posted here), I have many of the same issues; it didn’t live up to its potential, a lot of scenes were needless, and it was a few tweaks away from being great.

BHB (pronounced Bah-haaab) isn’t sure whether its audience is comprised of geniuses or idiots. So it veers between “now to just make sure, we’re going to have this character explain this again” and “because f*ck you! that’s why that happened”. So watching it is akin to trying to do a kids crossword and a cryptic crossword on the same board.

As much as I love how the brothers create horror, I think BHB may have been better if it weren’t a horror movie. If they instead focused on the themes of grief and loss. Keep the possession angles, just dial down the “scares” back a bit. The cult interludes feel forced, and like they are just there to get creepy moments in. That’s a shame, as if we didn’t see those moments, then when we see her attempt to do it later, it would have more of an impact. At the moment, the cult videos are more disturbing than the main product. To put it in wrestling terms, it would be like starting a card with a match full of barbed wire baseball bats to the face, and then having the main event end with a single baseball bat to the back, and the person is knocked out for 10 minutes and taken to the hospital. If you’ve already seen something more devastating, it dilutes the payoff you’re looking for.

Cutting down on the horror would mean leaving out some of the deaths, but that’s no great loss, as the moment where two characters die has all the impact of a single raindrop on a swimming pool. They feel particularly mean-spirited and pointless. If you cut them from the script entirely, it would only require a 20-second scene to fix the hole that’s left. The deaths don’t cause any lasting trauma to the characters, don’t drive the story forward, and are pretty inconsequential. So either delete them, or make them have a purpose.

In summary, I’m going to end this with the exact quote I ended my review of Talk To Me.

It’s a shame as with a few tweaks this could have been among my favourite films of the year. But I sense that everything could have been better. 

Dangerous Animals (2025) Review

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Quick synopsis: A surfer is trapped on a boat with a serial killer intent on feeding her to sharks.

It may seem counterproductive to say so, but sometimes it can be counterproductive for a sitcom to be given more episodes or a new season. Not all sitcoms, but there are some sitcoms which have a definitive endpoint (think How I Met Your Mother), or a story arc that the series is based around (Ted Lasso). These things are normally planned meticulously in terms of timing, so it can be weird to have new episodes jammed into the middle, it forces writers to unnaturally extend things. If it’s a sitcom based around a relationship, that usually involves knocking the relationship status back a bit. This can be frustrating as an audience member because it can make you feel like there’s no progress being made.

It may seem weird to start a review of a horror movie with a paragraph about sitcoms, but there’s a reason. That elastic nature of storytelling, pulling characters back to the same position again and again, is my biggest issue with Dangerous Animals. I’m going to tell you about a scene:

The character tries to escape.

They manage to get out of the restraints and make their way to freedom.

JUST before the final hurdle, they’re stopped, and they wake up tied to the bed again.

That happens multiple times. The majority of this film is that scene repeated. As good as it is at times, Dangerous Animals suffers from having no idea how to fill its runtime. To be honest, I’m not sure how you could do it either. Two characters on a boat, one trying to kill the other? There’s very little you can do with that to fill 98 minutes.

None of that is the fault of the performers. Hassie Harrison is as fun to watch as her name is to say. Jai Courtney is delightfully unhinged. When they’re together, it’s magic. Courtney’s maniacal terror meshes well with Harrison’s innocent yet determined nature. Their characters are fun to watch, especially when Zephyr is in full-on flirtation mode with Josh Heuston’s character. I liked the moments where she was safe; it really helped flesh her out and make her seem like an actual human. It could be argued that the two do fall in love too easily; maybe it would have been better if they were a couple at the start of the movie, or had at least started dating.

This is Sean Byrne’s third film as a director, but the first one he hasn’t written. Thankfully, there’s not a huge disconnect between the script and the directing. He makes the most of the setting, with the open sea providing some gorgeous shots, while also helping to emphasise the isolation. The script really should play up the isolation aspect more. The boat comes back to land far too often. It’s difficult to really FEEL the isolation Zephyr is going through when she’s constantly so close to land. Technically, you could argue that’s the point. That she’s always so close to freedom and society, but never quite able to reach it. If that was the aim, then it could just as well have all taken place in a basement or an abandoned factory. Part of the USP of Dangerous Animals is it takes place on a boat. So the terror comes from knowing that even if she escapes the room, getting off the boat wouldn’t help because she has no way of getting back to land.

It is probably not helped by the fact that it was released in the same year as Last Breath, which, while not a horror movie, was also a tense movie about someone out at sea, so used similar techniques to emphasise distance from civilisation.

This is all coming off very negatively, but it’s unintentional. I did enjoy Dangerous Animals. When it works, it’s tense as hell. The music choices are first class, and it’s a unique idea, I can’t do deny that. Also, a lot of it takes place in daylight, which I will always appreciate. It’s not overly bloody or gory, coming off as more of a tense thriller than a full-on horror. Compared to other recent shark-based movies, this is the best one I’ve seen since 47 Meters Down, 8 years ago. It does well with highlighting how, when sharks kill, it’s not based on anger or hatred, it’s food. It points out how sharks kill fewer people than mosquitoes, but are considered scarier (let’s face it, saying sharks aren’t that dangerous is a risky move in a film designed to make sharks an element of fear). It also points out how tourist boats that pour food into the ocean to attract sharks so people can swim with them lead to sharks associating those boats with food. It’s incredibly clever in how it approaches the creatures. It is a good movie, but I know it could have been great

Sinners (2025) Review

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Quick Synopsis: From Dusk Till Dawn, but as a 30’s gangster movie with a black cast.

I went into this after seeing the trailer, but forgot what the trailer was like. I saw a post on Facebook saying it was a vampire horror movie. For about 40 minutes, I wondered if I had seen a post about a different movie. It wasn’t a horror movie, it wasn’t a vampire movie, it was a gangster flick about two brothers using money stolen from Chicago mobs to start up a bar. It had interesting character work, a lot of subtle references to the brothers’ past misdeeds, and how they acquired the money. It asked a lot of questions that the audience will want answered; the main one being what led to the opening scene, where Sammie (played by Miles Caton in his screen debut) stumbles into his father’s church, battered and bloody, desperate for comfort, only to see his father use him as an example in a sermon. Just when I began to doubt my own memory, the vampires made their first appearance. It’s a great genre switch, reminded me of From Dusk Till Dawn, only with less scenes of the writer sucking on an actresses toes to fulfil their own fetish.

I think I preferred this to Dusk; it’s much slower, and that glacial pace will be divisive, putting off a lot of people. It’s also not as bloody, but it does do something that the aforementioned Dawn never manages; it wowed me. There’s a scene in Sinners where Sammie plays his song at the bar. The song is so powerful that it connects across space and time, with spirits of the past and future joining in; electric guitars played Hendrix style join in with music from hundreds of years ago, and dances from different cultures, showing how music connects everybody. I’ve already written its nomination for best scene in the end-of-year awards. From a storytelling perspective, from a technical perspective (it’s a LOOOONG mostly unbroken shot), from a musical perspective, it’s all brilliant. I hate people who talk at the cinema, but I couldn’t help let out a gasp of “that was fucking cinema” when I saw it. I’m so glad it’s not just me. I’ve seen a lot of people online mention how much they loved that moment, and if you see it, it’s easy to see why. The mass sing-along to “Rocky Road Of Dublin” (which I always assumed Dropkick Murphys wrote, obviously not) is a few steps below it in terms of quality, but is just as powerful, and MUCH more terrifying.

Scenes like that, which show not only the power of music, but also the shared experiences between black and Irish immigrants (albeit, at two VASTLY different levels for most of American history) show just how smart Sinners is. The characters are just as smart. When a friend-turned-vampire starts asking for permission to enter the bar, the characters question why they suddenly need to ask permission. When they’re not sure who’s been bitten, they gather round and each eat a clove of garlic (in a scene very reminiscent of The Thing). The characters don’t die due to their own stupidity; they die because they’re overpowered, overmanned, and don’t know everything. Except for the klan members at the end, they die because they realised their blood can help the grass grow, and by dying they can actually provide some use for once in their pathetic fucking lives. I know, I’m anti-KKK, so controversial.

Sinners is not a perfect movie, but you have to be very picky to find those faults. It’s probably the best film I’ve seen this year. It’s not my favourite, but it is undoubtedly the most impressive, and the one closest to perfection. Cooglar is fantastic and cannot receive enough praise for the work he’s done, not just here, but throughout his whole career. Long may it continue.

The Woman In The Yard (2025) Review

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Quick synopsis: Grieving (and injured) widow Ramona lives on a dilapidated old farm in the middle of nowhere. They’re struggling financially when things are made worse by everyone’s biggest fear: a person nearby.

Long-time readers will know that I love horror movies, but when I don’t it’s usually due to one of two things: 1) Unlikeable characters. 2) Terrible ending. Usually, it’s specifically the final scene, where we find out the demon/ghost/haunted sandwich is still alive because the writers sacrificed ending the film on a scare over the narrative. Usually, that’s not enough to completely sink a film, but it will make a bad film even worse. I’ve yet to have a case where the final third has completely sunk my opinion of a film the way it did The Woman In The Yard (TWITY, pronounced “twit-tea”).

It cannot be overstated how much the final third absolutely torpedos any goodwill the rest of the film provides. For two-thirds of its runtime, TWITY is a tense, atmospheric family story set against the backdrop of a silent ghost; a tale of grief and guilt manifesting itself in unexpected ways. A display of the toll that motherhood can take, how it can seem like it takes over your entire life and leaves you feeling like you don’t have your own identity. I liked that film. I found it “spooky” without being silly, emotional without being overbearingly depressing, and slow-paced without being boring. It’s the kind of film I want to see more of, original and creative. It was up there in the top 50% of films this year.

Then the final third happened. Then it becomes the worst of Blumhouse, a visual and narrative mess which confuses deliberate confusion for scares, rapid cuts instead of tension, and a final shot “reveal” that doesn’t actually reveal anything going by online discourse which gives it two different meanings. It feels like the writer isn’t sure he’s going to get another shot at writing a horror film so crammed as many horror tropes and conventions as he could, regardless of whether it worked for the story he was trying to tell.

If they figured out a way to fix it, TWITY could be a classic. It has some truly great cinematography. Most horror movies utilise darkness, TWITY goes the other way, using intense sunshine and brightness to create mood. The shot of the woman just sitting there silently is unsettling as hell, and is PERFECT for marketing purposes. The performances are also good, Danielle Deadwyler is believable as a grieving mother who is trying to balance her grief and being a responsible mother to home-schooled children. Estella Kahiha sometimes falters, but she’s a child so that’s forgivable. I was really surprised by how good Peyton Jackson was. Jackson gives the kind of performance that you can imagine being looked back on in 10 years time and saying “THAT’S how it started, look at all the awards and acclaim he has now”. He’s the audience’s “in”, the level-headed character who points out how crazy the other characters are behaving, while trying to look after his younger sister. As such, a lot of the emotional labour of the narrative has to go through him, and with a lesser performer it would have sunk; Jackson does SO much with what he’s given; handling the role with a maturity beyond his years.

There’s also a lot to like about how damn good the opening two-thirds is. It sets up so many small details that pay off later. The titular woman is treated like existing folklore in terms of her actions and appearance, it would be easy to believe that in this world, the tale of The Woman In The Yard is told by teens at slumber parties and summer camps, a way to scare kids into behaving. The characters are believable, even when they do possibly abusive things. The setup is good too; we’re shown that the family are isolated and with their electricity cut off, so it really feels like they’re cut off from the rest of civilisation.

In summary; I am so disappointed with this. I loved seeing the delicate narrative house of cards built up into a magnificent art piece, only to see it knocked over by a fart of flat writing.

Studio 666 (2022)

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Quick synopsis: The Foo Fighters move into a mansion steeped in grisly rock ‘n’ roll history to record an album. Spooky shit happens.

Horror is a strange genre, it’s incredibly self-referential and is a genre that really rewards people who are familiar with it. You occasionally get that with comedy as well, but not so much. And very rarely happens with dramas, you don’t often get homages to A Star Is Born in West Side Story, for example. But it’s encouraged in horror, and it can be a lot of fun.

This is definitely a film which rewards you if you’re a fan of the genre. It has so many references to old horror movies. Some might be accidental (is someone hanging themselves and crashing through a window a reference to The Omen or just a good visual?), but some definitely aren’t. The whole thing looks like it was a lot of fun to make.

Horror is a director’s medium, and you’d be forgiven for going into this with trepidation. Not just because it stars musicians, but the director (BJ McDonnell) has a history in documentaries and music videos, with his only horror directorial credit being Hatchet 3 back in 2013. He does a really good job here. There are issues with this film, but almost none of them are due to the directing. He has a great sense of when to use silence, and when to amp up the noise. This is actually a really solid film, much more so than the only film I can really compare it to, Punk Rock Holocaust, which you can really only enjoy if you’re a fan of the musicians involved. I’m not that big a fan of Foo Fighters tbh, I’ve liked some of their songs, but never really felt that appreciation for them over a whole album. Despite that, I still liked this film. Fans of the Foo Fighters will get a lot more out of it, but even those who don’t will still find a lot to enjoy about it, maybe not if they didn’t like horror films, actually definitely not if they don’t enjoy horror films.

Now onto the bad. It’s a bit weird they all know of Dream Widow (the band who all died at the start) but don’t know that they’re currently recording in the house they died in. Fans of Nirvana would know if they were recording in the house Kurt Cobain died in. Plus, let’s face it, if they were really touted as the next big thing, then that house wouldn’t be abandoned, it would be a tourist spot.

It tries to play off “Dave Grohl is the killer” as a reveal, but we already knew that, it was very obvious. In fact, most of the supposed twists were really obvious, to the point where they aren’t really twists. I mean, their manager said “oh, you want a place? I’ll find you a place”, makes a phone call to someone and says “send them there”, he obviously knows about the possessions etc. It’s weird the film treats us like we don’t. Also, the manager should have been in it more. He only appears at the beginning and the end. He should have been seen in cutaways during the film, phoning up the band to check on their progress.

The performances are pretty good throughout. Nothing special but not really many too awful. Considering most people in the film are musicians, it’s weird that the worst performer is Whitney Cummings, who has acting experience. It’s only really her performance that takes you out of the film. Well, that and some of the cameos, appreciated as they were. I mean, it was cool to see John Carpenter on film, he did a cracking job on the soundtrack btw, the music is creepy as hell. Very cool.

So in summary, quite good, but does feel like it’s a horror designed to be watched with friends while drinking rather than watching alone in the dark whilst terrified.

The Final Word: Day 2 (Final Destination 2)

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Yup, after doing Final Destination, we’re now doing Final Destination 2. Because we’re crazy and weird like that. This sequel was released 3 years after the original, which looking back on it was probably one of the last horror films to have a plane explode which wasn’t deemed “ooo, too soon” for a long time. In that three years the original had gained quite a cult following so a sequel was not so much hoped for but expected at this point. The franchise is lucky to be honest, as it has no definable villain except the general concept of death, so really it can go on indefinitely. It’s not like Nightmare On Elm Street where they have to defeat Freddy, and then think of a way to bring him back the next film (with varying degrees of believability). This is the only film in the franchise with a returning main character, so the ties to the original are incredibly obvious. Speaking of things which are incredibly obvious, let’s start my jokes.

  • We start off with a recap of the events of the first film, done via news broadcast. I don’t mind that, it’s a clever way to do it, and it’s better than just playing flashbacks.
  • It’s talking about how everyone died soon after the events of the plane crash (well, it took over six months to get two of them, so stretching the definition of soon, also it wasn’t a crash, it was an explosion), speaking of the event as the starting incident in people realising “oh wait, death has a plan”. Now, spoilers, a future movie in the franchise (but I won’t tell you which one) is a prequel to the first one, and ends with the main characters on the plane from the first movie. A really good twist, but why is that situation never mentioned until that film? Nobody speaks about how “these people died in the plane crash also JUST avoided death in a tragic incident a few months before”. THAT should have been the main incident, not the plane crash. In a large event like that, newspapers would have picked up on that, surely?
  • “so I’m surrounded by death?” yeah I feel like that when I go outside at the moment too, you ain’t special.
  • “when Alex took the other survivors off that plane, it screwed up deaths plan”. But deaths plan was already screwed up by having two people on the plane who shouldn’t have been alive in the first place. So who would have died in their place? Damn, that future prequel opens up A LOT of questions.
  • “there were so many weird random things about the way they died, it just didn’t make sense”. Okay, WE know that as an audience, does the world know that? As far as they’re concerned all that happened was: a suicide, a bus accident, a house fire etc. Okay, some of them were creepy, but some were set up to look relatively mundane.
  • Oh, this is all taking place on a TV screen in a room of someone who is asleep and conveniently wakes up just at the correct moment to hear plot-relevant points.
  • “dad, it’s Daytona, not Somalia” Well done movie, you just lost the lucrative Somalia audience.
  • So what song starts off this horror movie? If you said “euro-pop dance” you were correct. Great song though
  • Main character in this is Kimberly, heading on a trip with her friends Shaina, Dano, and Frankie. Dano and Frankie are the kind of guys who call women “honey’s”, so you already hope they die.
  • The car radio plays news about a memorial to the plane crash, then Highway To Hell, the characters find this a bit of a creepy coincidence because they know they’re in a horror movie. Seriously, most of the “creepy” set ups in this franchise only work because the characters know they’re in a horror movie. If you turned on the radio and heard “Highway To Hell” on a road trip, would you find that creepy or symbolic? Nope, just strange.
  • Anyway, they change it, and get the exact same band as they listened to when they started the trip (another great song), I’d find that creepier than AC/DC to be honest.
  • A guy who looks like he’s called “Brad” or another similar dude-bro name drives past them and creepily stares at them, for no other reason than this film needs to make us aware of him for later.
  • She gets a phone call from her dad telling her the car is leaking transmission fluid. She has a car phone, and has driven to pick up two dick-havers, and only NOW is he phoning her? Damn that’s cold.
  • Biker boobs. This series gets much more tit-orientated as it goes on, so beware of that.
  • We’re introduced to the rest of the cast by watching them driving. We get nothing about their personalities or names, but we know they can drive.
  • Cop is driving with coffee near his lap, because the NY police budget doesn’t extend to cupholders. The obvious happens and he spills the coffee.
  • A logging truck chain breaks, forcing a big log (lol) to fall off and bounce through the cop guys window. Reports that Trump called the wood an “Antifa BLM agent” have been made up by me, but are still probably accurate. Great kill though, still lingers with me whenever I’m behind a logging truck.
  • He dead. Which causes a guy on a motorbike to fall off and smash into a piece of wood, before getting crushed by his own bike.
  • A car containing a stoner dick flips over and lands safely. Yay. Before getting hit by a truck. Boo.
  • Cars flip and go boom. I’m really underselling it, this is probably my favourite disaster in the franchise. It looks incredible and I think part of that is because of how much of it is practical. The logs were fake as they didn’t bounce properly, and they used it for things like removing wires and putting an actors face on a dummy. It looks so great, and compared to how fake they look in some (especially the fourth one, spoilers)
  • Someone gets stuck in a car and burns to death in a horrific death, he literally screams as he’s burned alive, its awful and great.
  • Everybody dies.
  • But they don’t. Because Kimberly pulls over. The log truck drives past and we get enough time for Kimberly to say “that’s the truck that’s going to kill everyone, why won’t you listen to me?” before the crash happens. Ignore the fact that the deaths actually took place about 5 minutes later, and much MUCH further down the road, because we can still see the crash from their viewpoint, the timing of these have always been wrong. But still, everyone survives, right? Wrong! Only Kimberly gets out the car, the rest stay in there until they get hit by a truck which didn’t stop for some reason. Also, she parked the car on an on-ramp and blocks it so nobody can gets past. Yet the car was hit by the truck in the middle of the freeway. How did it move there?
  • “I knew something bad was going to happen”, yeah I have that too. It’s called high level anxiety.
  • “it’s like that 180 flight that happened one year ago today”. I’m sorry, are we saying death observes anniversaries?
  • “you must have read about that kid who had a dream about the plane blowing up?” no, but I read about the kid before that who had a dream about another accident and saved people from that, who then died on that plane crash. Seriously, one of the films being a prequel REALLY fucks up this franchise.
  • “A month goes by, everything seems cool”, because nothing is cooler than dead people.
  • “death was stalking them”, well he got one of them in the shower, bit creepy.
  • “did mum ever have any weird feelings about anything?” Well she always had a funny turn when Joan Jett was on TV, but i think that was mainly the leather.
  • “Did she have any premonitions?” are you asking if she was a witch? Because you’re the one who died in a fire but not really.
  • We’re now at the house of blonde douche. A guy called Evan who won the lottery yet still lives in a shitty flat. He used his winnings to buy new computer etc. Which is stupid, if he spent it on house THEN got laptop he’d have less to carry. Also, him winning the lottery has NO effect on the plot except he has voice messages from people trying to hook up with him.
  • A fire starts as he’s got his hand stuck in garbage disposal. Something which wouldn’t have happened if HE MOVED OUT.
  • He tries to escape but all the windows slam shut and seem to lock because magic death powers. The magic death powers aren’t enough to stop him breaking the window and climbing out though.
  • His fire-escape ladder gets stuck and his flat explodes (something which seemingly affects nobody else in the block of flats somehow).
  • He hits the floor then slips on some spaghetti (not joking), the ladder THEN slides down nearly impaling him in the eye but stopping at the last moment. He then lies completely still until it does fall down and kill him. His death would have been stopped if he just rolled to the side like a regular person. It’s not a satisfying death because of how stupid it is. The make-up looks great though.
  • The cop is investigating the plane crashes and looks up reports of the deaths, where we get the worst picture/caption ever.
Tod in bathtub. Caption "a nice shot before the coroner
  • Seriously that is such a staged picture, he’s obviously posing. And who put that caption there? That’s not me, that’s in the film. What the hell?
  • We then find out how Alex died, he got hit by a falling brick. Obviously all the media attention never got him a helmet.
  • “a semi comes” I normally can’t do that until I get a full one.
  • Everyone is watching the news about the crash when a report comes up about the death of Evan. Now, none of the characters ever interacted with Evan, he was specifically shown as not being interviewed at the same time as everyone else, he was watching through a two way mirror. So why are they creeped out by this? They don’t know he nearly died. They would just see it as another death.
  • We see Tim, a 15 year old who survived the crash alongside his mum, and who is weirdly written. He’s 15, yet his mum comes into his room and kisses him goodnight like he’s 5.
  • Kimberly does more research into Flight 180, because what this film needed was more people sitting at computers.
  • I don’t know why she’s worried though, she’s got the Infinity Gems in her damn lamp.
  • See, she’s basically Thanos.
  • Kimberly then goes to the mental institution where Clear is, the next day. Not as though there’s an emergency or anything, take your time.
  • “at the request of the patient you will relinquish [stuff here], pocket knives, poisons”. What kind of place is this that they have to specifically request “no poison”?
  • Wooo Clear is back. In a room designed to keep her safe with lots of pictures on the wall and a TV. She’s risking a tv explosion or multiple paper cuts.
  • “all my friends are dead”, but you mentioned in the previous film that you didn’t know any of them that well, so not as though you were besties. At most it’s “my acquaintances are dead”
  • “don’t worry, once death gets the others it will come back for you” oh okay, that’s reassuring.
  • Kimberly see’s a reflection of pigeons flying and panics thinking they’re near her, despite not feeling them, not being able to see them outside of the reflection, or not hearing them (and it was a lot of pigeons) she still asks “did you see them?” to someone who had his back to the window.
  • Tim goes to the dentist, where pigeons (oh no!) fly into the window and nearly break it. Also a fish tank leaks into an electrical circuit, but we know that won’t do anything as we’ve already established pigeons will cause death.
  • Somehow nobody notices the electric sparks from the plug socket, or the water on the floor (despite a character nearly slipping on it).
  • A fish-mobile above the dentists chair (perfectly normal in a dentist that works on people over the age of 5) breaks and a fish falls into Tim’s mouth, he looks he will nearly die but the dental assistant comes and saves him. Not quite sure that room would be left unattended but movie gonna movie.
  • He survives and comes out the building, no complains about almost dying and runs into a flock of pigeons to scare them, again, he’s 15, not 5. This triggers a crane operator to drop a sheet of glass on him killing him.
  • A brutal death, but another one in which adequate health and safety regulations would have stopped. The crane shouldn’t have been holding a load like that in a public area in case it accidentally goes off. (and trust me, I know something about accidentally letting a large load go).
  • Wooo it’s Bludworth again being creepy and disturbing, seemingly walking out of fire. Clear argues with him saying “death’s design is flawed and can be beaten”, which begs the question if she thinks that then why was she hiding away? Nothing has changed on her end to change her mind.
  • Also, Bludworth uses pliers to pull out a nipple piercing from a body. Bit gross, but could be grosser.
  • Essentially new life can cause deaths plan to be cancelled. So basically if you nearly die, fuck everybody you can in the hope of starting new life. Of course this might mean you now die of an STD.
  • Kimberly gets another vision, this time of a van crashing into a lake. She says she can see it happening and could almost taste the water, but the vision wasn’t from her point of view. Which brings me up to another point: how does she know in which order the deaths were supposed to happen in the crash? We saw them all, but she would have a very limited POV, if she saw them from the same places we were that would have effected how realistic she thought they were, and at some point she would have noticed “oh wait, I seem to be watching things from the angle of someone floating 2 inches in front of a strangers car”. The death in the first film was in a confined space and had an ignition source so Alex could trace it like that. But in this? What would she have actually seen in the vision? She might not have even seen the log fall off.
  • Drug guy who’s name I can’t be bothered finding out goes into a lift with a dodgy door, putting his dog-shit shoe in someone’s face, because he’s a dick.
  • The group is all together, and one of them is nearly killed by a falling canoe indoors.
  • They find out Nora (Tim’s mum, who has had almost zero characterisation) is next to die, and will probably involve a hookhand. Sadly not Candyman, but a random old white guy with prosthetic limbs. Her hair gets caught in one of them which leads to her head being trapped in the lift doors (why she couldn’t stay in the lift and untangle them is a mystery to me). What follows is a brutal death where she’s begging not to die. Unsuccessfully as she gets decapitated, her head ending up in the lift, her body on the outside.
  • Now we get the weirdly brilliant part of this story; we find out how all these people nearly died earlier on, but were saved by incidents in the first film. Eugene was a teacher who had to replace Ms. Lewton after she died in the first film. His replacement was stabbed. I question that one because if she died in the plane explosion, wouldn’t she still need to have been replaced? And at pretty much the same time too. So either way she would have had a replacement. And there’s no reason to suspect it wouldn’t have been him, that’s on death, not him.
  • The cop nearly died from the train decapitation. He was supposed to go investigate it but someone else did instead, who then died in a shootout. A shootout, at a car crash site. Probably a train employee stopping the police asking questions about why the fuck didn’t the train stop after hitting a car.
  • A woman with lego hair avoided going to a hotel with a gas leak because the bus she was on was the one that ran someone over in first film. I mean, she could have just caught the next bus and still made it.
  • Druggy dickhead survived a theatre fire because he was busy staring at the sign falling down at the end of the first film. He was on LSD so he would have been too distracted by the bright lights anyway.
  • Kimberly survived death because she was busy watching a news report on Tod’s death so she didn’t go outside to meet her mum, who got shot outside waiting for her. “how can you strangle yourself in a bathtub?” Well I often choke a chicken in there.
  • Also, is this film saying that the car crash deaths were caused by people surviving deaths related to flight 180? Because that’s like 26 people who nearly died but didn’t because of the effects of the plane explosion. All of them. All of them were death tying up loose ends. Bullshit.
  • Another car crash. Injures almost everybody in the car. Eugene is severely injured and taken to hospital. Lego hair is stuck in the vehicle, pinned down by another log.
  • A small child (well, teen) is almost hit by a van and is saved by stoner dickhead. Now, he dies later in the film after a bbq explodes and it turns out he was supposed to die at this moment. But how? Like what was the original plan? The accident here wouldn’t have happened if the original car crash was survived, and that wouldn’t have happened if the plane explosion wasn’t survived. How many damn loose ends is there in this film?
  • Lego hair dies when her airbag deploys, forcing her head against a pipe which goes through her head. Great make-up effects here and a shocking death. This causes her to drop her cigarette, which ignites a trail of gas, causing an explosion which causes wire fencing to be shot over to stoner dick, trifurcating him in a great death, albeit one that is just a bit stupid if you think about it.
  • Kimberly has another vision about being choked by a nurse, I’ve often had dreams about that happening to me. *wistful sigh*
  • Kimberly, Cop, and Clear rush to the hospital. They are somehow very far behind Eugene who is not only there but has been checked in and hooked up to machines in the 4 minutes headstart he had.
  • Fire happens, and Kimberly realises that she needs to crash a van into a river, die, and come back to life. Oh yeah, Claire have died in an explosion. Very boring deaths, especially considering how important a character Clear was in these movies.
  • She dies, but comes back to life, this resets deaths plan. I think. See, the kid I mentioned earlier dies. So obviously not everybody is safe. So is it just Kimberly that is safe? Or is the cop safe too because it was the same accident? I don’t know! And neither does the film. Good death though.
  • I never do this but the ending credits to this are not great. I don’t know if it’s the transfer to DVD or not but they’re incredibly jerky, every few seconds they go weird. And they’re REALLY blurry. Weird.

So yeah, that’s day two over. Tomorrow is Final Destination 3, because of course it is.

Scary Stories To Tell In The Dark (2019)

On By troubledproductionsIn ReviewLeave a comment

I saw a trailer for this months ago (I think was about March), and as such, I had forgotten some things about. Mainly, how violent it was. For some reason, in my head, it was like Goosebumps (a severely underrated film btw). You know, not “scary”, but “spooky”, the kind of thing schools would show at Halloween. Yeah, I’m a f*cking idiot. The director, Andre Ovredal, previously directed the Autopsy Of Jane Doe, and is currently working on a film version of a Stephen King novel. So that’s a good indication that this film is not for kids. It’s not exactly aimed at die-hard horror fans either though. It’s aimed at that middle ground. It’s not quite “My First Horror Movie”, but it is like the third or fourth one you watch to help establish yourself to the genre once you realise you like it and want to find more.

This won’t end up in my list of scariest stories of the year, but I will still highly recommend it. The first story (about Harold the Scarecrow) is a truly disturbing piece of body horror, but it’s just too restrained to be truly effective. I’m not asking for full gore, but a little bit more would have helped it a bit. Considering the limitations, Ovredal did a fantastic job here. An uneasy sense of dread hangs over the entire film (kind of reminds of the film Ghost Stories from a few years ago). Even within slightly comedic moments, that sense of fear never leaves the screen. The effects on the “monsters” are also remarkable, genuinely creepy. I’ve looked at some of the illustrations in the book some of the stories are based on, and he nailed it, especially the Pale Lady. I’m not that familiar with the series as a whole, but I can’t help but feel fans of it will be pleased by what they say.

The acting, now horror movies aren’t known for great performances, but they’re getting better. This is towards the higher end of the talented performances spectrum. There’s one performance I wasn’t a particular fan of as it just annoyed me, but looking at reviews and comments I seem to be the only one as a lot of people considered this character a highlight, so what do I know? Zoe Colletti is a revelation as the lead, even if she did remind me of someone I know for a lot of the film. Michael Garza has the potential to be a great obnoxious anti-hero in a family-friendly television series.

I saw this the same day I saw IT: Chapter 2. They’re kind of similar films, young kids in a bygone America fighting evil (for parts of Chapter 2 anyway), as such it would be easy for this to look weak by comparison, especially since it’s going towards a younger audience. I loved IT, and I will say that this film stands proudly alongside it