Dead Dudes in the House (1991)

Nothing fiercer than a possessed old lady

By: JWBM

What looks to be some lost and forgotten low-budget horror film that has all of the glaring attributes of the year—hairstyles and clothing included—and plays out to a one-by-one-they-die type of film... is, well, exactly that. If you were expecting less, you won't get it. If you were expecting more, you'll get it in different variations of the genre, rather than something profoundly off the charts. It's not new, per se, but somewhat innovative, and still comes with its own memorable personality. It plays on a formula that works, because it's fun, somewhat daring, and just plain ol' entertaining for one guilty pleasure or another. Take your pick.

The plot is fairly simple: a group of adults with nothing better to do help out one of their pals fix up a mansion in the middle of the woods. Things start out innocent enough, till one of them desecrates a head-stone: from there on out, it becomes a need-to-get-out, fight for survival. This comes with its own rules that don't apply outside of this film. Such as sound doesn't travel, the dead aren't really dead, and old women have the cunning of a vicious predator and the strength of Schwarzenegger in his prime. There's nothing more chilling than an all-too-calm hunched-back elderly lady with a talent for creative violence. Her voice goes from sweet innocence to might-as-well-dig-my-own-grave creepy by the time you see what she's capable of.

This shifts in and out of fairly amateur looking filmmaking—from the acting, story, setups—to other scenes that are somewhat impressive in how simple but effective they are. Often times with shoe-string budget features, you get a redundancy of certain aspects. One of the familiar trappings is forced drama between the group to create tension. In a rare move that does work in its own twisted way, this uses a guy who should rightfully be promoted to the kingpin of jerks. He's a professional smart-aleck that gets I-can't-believe-he-said-that-laughs from his off-the-cuff commentary, or his back-and-forth with the others who look annoying enough to deserve it.

The film wastes little time to step up the ante. In under 20 minutes, blood is already splattered on the walls. Like beaten and battered bowling pins just waiting to be knocked down, the characters get it in unique ways. However, the film does start to lose a little steam and become repetitive when it goes from a kind of haunted house/slasher to a sort of survival horror to give the audience a person to root for. This is the kind of experience that's best enjoyed with a group who can point out its pitfalls while simultaneously going along for the entertaining ride that is "Dead Dudes in the House."

Rating: 7/10

Director: James Riffel
Actors: Victor Verhaeghe
Info: IMDB link
Trailer: Youtube link

(Writer's note: the front DVD cover is cringe-worthy, showing six unrelated actors to the film and looking about as trendy and upbeat as an episode of "Saved by the bell." The much cooler looking VHS version, "The House on Tombstone Hill," grabs your attention over this eyesore. Troma needs to get up on showing the real dudes and dudettes involved. There's also conflicting dates: from IMDB's site with '89, Troma's site saying '91, and another version having '92.)

The Omen (1976)

Evil has a name

By: JWBM

"This calls for wisdom: let the one who has understanding calculate the number of the beast, for it is the number of a man, and his number is 666."

Looking back, certain films don't always capture the same glory and wide-eyed thrills as they did on, say, opening night or that year to follow. With time and talk, some movies lose their staying power and initial charm. Take the big reveal in "Soylent Green." It ended up being so iconic that the film is not the same experience viewed through fresh eyes. Then there are others with a dark twist—that you've probably heard of off-hand, or have seen imitated in later films—that still hold up even years later from not only being groundbreaking, but bringing to the table a careful measurement to go along. "The Omen" is one such film that can be put on for repeated viewings and still make you keep at least one light on before bed—maybe even going so far as to do a birth mark check on one of your friend's misbehaving kids. It has all of the shocking and sinister staples you'd expect, though this manages to turn an ordinary flame to a raging fire, drawing you closer in with face aghast to wonder the infernal possibilities.

What's great about "The Omen" is the pacing doesn't mess around. It dives right into the dark heart of it and stays persistent throughout. It plays out as a simple tale, but deals with larger subjects that paint a horrific picture of looming apocalypse. It uses deep-rooted fears and instincts related to our children, and combines that with ingrained morals and common-place symbology we'd see at the center of any town church. Throughout the film, Jerry Goldsmith's score manages to slowly creep and crawl, and then engulf the listener by crashing down from all sides. It effectively creates this sense of dire urgency as it all unfolds and goes deeper into the too-late-to-turn-around dark crevices and intricate folds of evil. What's unique, is Goldsmith takes your everyday, long-standing catholic mass and inverts it into a devilish Gregorian chanted black mass. With Latin infusions such as "Tolle Corpus Satani" and "Ave Versus Christus" one can't help but sign the cross and hope for protection.

"Then I saw another beast, coming out of the earth. It had two horns like a lamb, but it spoke like a dragon." 

A share of the story is seen through the eyes of Robert Thorn—played by Gregory Peck. He's your suit-and-tie, dignified U.S. ambassador to the U.K., with loving wife, energetic kid, fancy house, and security detail to keep it all in check. One could argue that his role isn't relatable, though I feel by making him morally sound and an example to look up to, it further demonstrates the breaking of tradition, routine, and shattering the everyday person's dreams and ambitions. If a guy at the top can't make it happen, or is threatened by something as just a "little boy," where's the hope for me as the guy at the bottom? Besides losing a child, the next worst feeling as a parent is to secretly suspect your little one is anything but a sweet peach. Thorn's son—Damien—comes with an innocent glint in his eye and smile: is it all mistake, or is there some truth to this looming threat who can handle a mean tricycle?

We know some children aren't forward thinking in their actions. We call it "growing up" or simply "bad behavior": what ensues is some kind of example or discipline till the child knows better. Though, what happens when a kid does something knowingly bad, bordering on outright maliciousness? "The Omen," like "The Exorcist" or "It's Alive," made us look at our shorter counterparts a little bit differently when considering the backbone of where behavior stems. It also brings to life the Book of Revelations—yep, the one and only book of books—in a way that made you ponder much uglier possibilities over your old woodcuts, stained glass, and paintings of the past going for carefully placed and detailed artistic merit. Not that there's anything wrong with that. But what's more likely to make the hairs stick up on the back of your neck, or look over your shoulder in a real sense of paranoia, but a living manifestation of something that can walk, breathe and strike from all sides and at any time. Maybe even from your own neighborhood... or home.

Rating: 9/10

Director: Richard Donner (Salt and Pepper, Lola)
Actors: Gregory Peck, Lee Remick, David Warner
Info: IMDB link
Trailer: Youtube trailer

Note from Black to Red: This marks the 200th review on this site!

Looking Glass (2018)

A fresh start, a sour experience

By: JWBM

"Looking Glass" feels like the filmmakers switched places. Like a guitarist did a swap with the drummer, and the drummer is now singing. Music is produced, but something feels unnatural in how it all comes together. This attempts to go for a mystery-thriller vibe, but ends up coming with so little content—and then holding back that content to keep it mysterious—that its story feels thin, haphazard, and without artistic merit at times. It comes with little foreshadowing, character development, or bigger use of its setting. It plods to the point that, when something does happen, it feels like you're getting thrown a stale cookie for watching this long.

The movie in a nutshell: Need a change, so bought a motel. I cleaned and repaired stuff at my new motel. I'm an electrician after all! Guests come and go. Better with my hands than with small talk. I stay out late. The Sheriff pays a visit; he likes coffee. I stay in and watch people through a secret peep hole. Should I? The wife and I are hitting the sheets now. I still watch people. Should I? Let's see what happens. Someone threw a dead animal in the pool. I took care of it myself. I got a visit from the Sheriff; he switches to tea. I stay out late. Drama with the wife. Weird people. No more drama with the wife. The end. If you found that insufferable, consider saving yourself an hour and forty three minutes and thirty two seconds and skip this film.

The more you know the characters, the less you want to know them. Can't say it's solely the fault of the actors, but rather a faulty script, and even faultier directing and editing. The character of Ray—played by Nicolas Cage—has the personality of a no-frills, on-the-cheap Sears catalog lamp. Your choices are gray. Choose wisely. His wife—Robin Tunney, as Maggie—does little of anything exceptional or gravitating, except maybe exits the screen with different variations. There's an attempted backstory that simultaneously brings them closer but also creates a bridge between. However, one can't help but feel that it was cut and pasted in to create some forced tension. It eventually culminates into a heated moment to show off some potential acting skills; at that point it's a little too late. I could understand if this came with some building mood to keep it afloat. I mean, it made its attempts with the oddball locals with an undercurrent of... your guess is as good as mine, but it just ends up coming across as awkward in a let-me-position-my-index-finger-closer-to-the-stop-button kinda way.

Rating: 3.5/10

From Black to Red recommends instead: "Blue Velvet" to show how mystery, weirdness, and atmosphere coalesce into a memorable, intriguing, and exciting experience.

Director: Tim Hunter (The Far Side of Jericho, Control)
Actors: Nicolas Cage, Robin Tunney
Info: IMDB link
Trailer: Youtube link

In Darkness (2018)

A hitman and a blind woman walk into a coffee shop

By: JWBM

A professional musician, who's lost her sight as a little girl, lives alone in an apartment in London. As of late, there's been muffled commotion heard from the upstairs quarters where another woman, Veronique, lives. One night, the arguments culminate and Veronique ends up dead. Detectives arrive on scene to investigate and ask the blind woman, Sofia, if she has any information regarding Veronique's sudden death. Soon, Sofia gets slowly pulled into another world when it turns out Veronique may have had more than a few dark secrets.

This is a mystery-thriller that's all about that don't-look-back pacing and didn't-see-that-coming revelations. It's played out with more low-key jabs to earn points, rather than serving up a series of bigger blows. This starts out on a high: delivering pulsating, memorable music, a consistency of creative camera angles, and a certain atmosphere to cement itself as a murder-mystery. Natalie Dormer, as Sofia, comes with the most dynamic to her character. She plays a confident woman who takes on the world in one moment, and then in the next is overly hard on herself when taken down a peg by uncontrollable situations around her. She's a fighter and a survivor despite the odds—that's for sure—though there's a troubling underscore to her that one can't quite put their finger on.

The ultimate intention of "In Darkness" is to entertain. It's saddled between reality and a make-believe world never seen before, or possibly experienced again. It's full of tantalizing scenes and situations to keep your senses alive. Though think too hard on it, or go back for another viewing expecting deeper layers, and you might be disappointed. I mean, they pick a traumatic moment that makes little connection if paused and pondered on as to why that would have lined up the way it did. Instead of delving deeper, the characters just keep reimagining it in similar ways, as if that will make it more rooted as an event.

The main villain is a two-dimensional Jekyll and Hyde without the mental turmoil to solidify him: either doing the nice guy with a foreign accent bit, or the utterly evil guy who mysteriously preys on blind women, but nothing in between to cement him as a living, breathing person you may fear or respect through the barrier of the television set. There's also the go-between, soft-and-hard hitman, Marc—played by Ed Skrein—that's going for Mr. Charm. He has a light edge of danger, but is almost too safe and predictable in that he does exactly what you'd expect him to, and always shows up when needed.

What starts out on a high and with a share of great potential, winds down to a finale that doesn't materialize with stable legs once all of the smoke and mirrors clear. The film feels emotionally powerful at first, but ends up being just a flash, a bang, and ultimately a let-the-senses-go distraction for an on-the-fly, don't-look-back Thursday night.

Rating: 6/10

Director: Anthony Byrne (Short Order, How About You...)
Actors: Natalie Dormer, Ed Skrein, Jan Bijvoet, Joely Richardson
Info: IMDB link
Trailer: Youtube link

Atmosphere and horror films (article)

By: JWBM

The intention of this blog is to explore subjects that range from the dark, strange, controversial, to ones that create an outright bloody mess. To me, the layered or boundary-pushing features seem like the interesting ones, and often come with the most to dig into, or even reasoning why to shy away from due to missing the mark. Incidentally, a portion of films that fall into that scope are horror films.

Some time ago, it dawned on me that other folks are looking at horror a little differently. Which is great that we all have alternate view points and interpretations, though—since horror isn't something the normal person puts on everyday—I sometimes notice some people go in with the perspective of other genres. Comedy is self-explanatory: without a few laughs in the beginning, the rest of the feature is destined to decline. With action, the viewer only has so much patience till things start to heat up and move. Then there's drama: character to character interactions are a key component. However any of these might be interpreted is where the creativity or inspiration of the filmmaker comes in.

In my days of working in a video rental store, I used to recommend "Session 9" quite a bit. This being a popular rental chain, the shelves weren't littered with great, modern horror features, though that film felt an experience in itself and delivered in a way that took away the screen and put you right there in the chilling, walls-getting-smaller setting. One day two customers came back and said they didn't like it because the story wasn't original. They said it with a little bit of annoyance and dismissal. I gave them that. It was a simple setup after all that requires patience, just the right mood, and letting yourself go. But then I asked them, "Well, what about the mood and atmosphere? Creepy wasn't it?" Their response: "The what?" Their arms were crossed so hard they didn't allow themselves to escape and breathe the air of this other world that was painted with more intrigue and feeling than it was explained outright in pages of dialogue or action-packed scenes.

To me, the number one feature of any horror movie is its atmosphere. No doubt the script, acting, cinematography, score, and effects are important features and can help amp up the experience in a number of fashions. But without a solid mood—however that may be done in the many dark shades lurking out there—you will not have a solid horror film. Look at the classic "Carnival of Souls." You couldn't quite put your finger on it as the whole experience felt surreal. Let's just say at times it had more mood than Dracula's castle at midnight on Friday the 13th in the month of October overlooking a windy cliff with an ocean view on a full moon night on the anniversary of something nostalgic. *exhales* From the moment of its setup to the closing credits, its grasp got tighter and tighter till those iconic organ melodies were still ringing in your head, and wherever you looked people lost their color and formed dark rings around their eyes. On the other hand, you could easily point out flaw after flaw. Plus it's old and didn't just come out last week, er, yesterday... now. For some, those imperfections could distract from the experience and take one out of the trance. But there's no denying the film had a unique atmosphere and presence that could influence the viewer in ways another slicker film isn't capable of encapsulating.

Some high ratings here have gone to films that you could tear the acting and effects apart. You could even find plot holes in the story. Though it's less common for me to give disparaging remarks to a horror movie that has a consistent, genuine, well-worked through mood to it, but did so badly at everything else that it bombed. Usually that doesn't go hand in hand. Then there are others—as I'm sure we all have—on our imaginary lists that are almost there but didn't quite do it for us. But, of course, everything deserves a case by case analysis and not just some strict rule to go by each time. Rules create walls; horror should be free to roam. What are your thoughts?

It Comes at Night (2017)

Ideals from a past world

By: JWBM

Post-apocalyptic films have typically been the result of nuclear warfare, climate change, disease, aliens, monsters, or even everyone's favorite brain eaters. These atrocities come in waves. There's the first wave that decimates the largest chunk of the population from catching everyone broadside. The second wave typically takes out the non-fighters and the wrong-place-at-the-wrong-time folks. Then there's the third wave that happens amongst those remaining who have pushed their emotions to the side and grew a sense of survival. It's in this stage—specifically where this story resides—that there comes a defining moment. Now, let me ask you, how does the end of humanity come about? Some might say it happens in a slow decline from the initial disaster, others might include it was in fact us, or some might simply add I did what I had to do and don't recognize that as a valid question. Tough to tell who you are till that moment comes.

"It Comes at Night" presents a simple premise about a man protecting his family in a world gone eerily silent. Instead of a fast-and-furious, blood-soaked feature like "28 Days Later," it comes across as something more along the lines of "The Road": where it's less about the disaster and more about the connections and day-to-day struggle. Something is making those still breathing have to wear gasmasks and arm themselves just in case. A family of five—husband, wife, teenage son, grandfather, and dog—are holed up in the thick of the woods in a barricaded cabin. They've already established a routine for safety, survival, and consistency's sake. Soon enough someone pays a visit looking for supplies. He has a family, he says, that he's trying to protect as well. At first, things look hopeful when everyone combines resources and attempts to break the monotony—though the trust between them never really settles in. 

This is a convincing horror film, though it can feel like an endurance test due to its one-moment-at-a-time pacing. Can you focus during simple, everyday things? Can you read what's on the character's face rather than what doesn't come out of their mouth? Can you keep up with its bleakness? Can you stomach it when the rug gets pulled out from under you time and again? It leaves non-stop action and jump-at-you scares for other features. Instead, it has a tendency to shoot a scene and let it soak in. Then there's the haunting music, grab-your-attention sound effects, and creative angles to capture this building mood that could pop at any moment. There are some basic, but powerful scenes in the house, such as the slow creep-up of the red door—which is the only exit to the outside—and what's frequently happening behind it.

A bulk of the story is captured through the perspective of the teenage boy who still has some emotional connection left to the world of the past. He can't sleep, and, when he does, has startling, drenched-in-sweat nightmares as to what happened, or what's to come from it all. Some of his dreams were unsettling and frightening to witness, even for the brief duration his mind manifested them. Experiencing this through the senses of the characters, on the one hand, keeps the viewer in the dark as to what is happening at large, or what is happening at all at times for that matter. But, on the other hand, it also makes it a little more terrifying as a result from walking around blind to the ominous surroundings without a stick for guidance. It, for sure, gets your brain to turn after the curtains come to a close to make a specific point. Though not sure how much staying power it will have on the second go considering, at heart, it's a simple plot that's mood driven and not filled with layer after layer.  

Rating: 7/10

Director: Trey Edward Shults ("Krisha")

Actors: Joel Edgerton, Kelvin Harrison Jr., Christopher Abbott

Info: IMDB link

Trailer: Youtube link

Curse of the Undead Yoma (1989)

To transcend oneself; to trample on others

By: JWBM

This is a story that deals with the ultimate line-up of cool: monsters, magic, and rival ninja clans. Though at the center of its dark heart is a story of friendship since childhood that has been strained by the complexities of external forces—that's putting it lightly—not to mention growing up into a war ravished time no longer innocent. It's as emotional a tale as it is blunt: you'll be treated equally by tragedy and sorrow, as well as violence and savagery in the next breath.

The tone comes across as an action/horror with an otherworldly vibe. As if you picked a more traditional time in Japan, and included overtly gloomy backdrops and mysterious beings into the mix to shake it up and make you more and more uneasy as time presses on. If you were expecting just plain old '80s ninjas doing routine ninja things on any other ninja-centric afternoon—think again.

Hikage—who's part of the Takeda clan—is sent to stop a friend and fellow ninja, Marou, from spreading word of their leader's recent death in order for the clan to save face. Even after circumstances change, Hikage still persists in his search of Marou: the man with take-over-the-world ambition that resonates through his long, life-of-their-own locks. This is broken into two parts, where the first half just sinks its claws in, and the second—set some years later—only goes deeper into the darkness with a land full of death and destruction. If you're lucky, some stay dead. If you're unlucky, they return as yoma: or undead monsters of various shapes and forms. Ginormous man-spiders are common-place and just as horrifying as they sound.

For its day, the animation comes with a share of dynamic. Such as some wide angle shots that paint the surroundings with eerie backdrops and foreboding shadows that drip with menace. There are also tight and flashy shots to increase the adrenaline of what hairy or perilous situation Hikage finds himself in next. It seems that anyone he runs into is a victim of some evil underboss that wrecks havoc on whatever village or area it gets its demonic hands on. The illustrations can be personable and help solidify what Hikage is torn up over, but is too afraid to show: giving off doses of symbolism and shreds of humanity that sheds light on the tattered ruins these towns have become.

"Curse of the Undead Yoma" is an atmospheric anime that finds itself smack dab between the senselessly violent kind, and at another point where there's some shred of meaning included to give it another angle and some emotional impact. It deals with choice, societal constraints, acceptance, power, and even suicide from lives thought lost. The first time I saw this—picked up as a random buy on VHS—admittedly I had little idea of what was going on, but was enthralled by the encapsulating tone, visuals, and morbid curiosity of it all. It does that well. They had me at, "All of my life is an illusion," as a guy's throat sprays out red in that iconic delayed effect seen in any good Japanese sword play feature.

The major pitfall of this is—that if you've seen it enough times—it has moments of being rough around the edges. It's not always consistently linear with its story or with character introductions—especially the second half—leading the viewer to coincidentally stumble into this, fall into that, be confused over here. In one instance, some powers build up to the sky, so to speak, and then—once all of the over-the-top animation is done—are taken down by basic means. I mean, to be fair, it has tendency to be more poetic and artful than it is trying to be thoroughly accurate or challenging. Plus, ninjas always have a card up their sleeve, right? It's using the medium to explore other avenues live action isn't capable of. For that, it is eye-opening and memorable, not to mention thoroughly entertaining for being capable of keeping your eyes glued to the screen as an overall experience.

Rating: 8/10

Info: IMDB link
Trailer: Youtube link
Other names: "Blood Reign: Curse of the Yoma" for its DVD release. It includes an English dub, and also with Japanese with English subtitles (I feel this is the better version). The VHS is in Japanese with English subtitles.

Man Bites Dog (1992)

Behaviorists take note; casual viewers be forewarned

By: JWBM

This is a loose combination of satire and comedy that's as dark as they come. Going in, one's skin should be impenetrable to the point of being armor plated. The main character candidly jokes about thievery and murder—kids, elderly, midgets—then goes out to celebrate after over a round of drinks. It's cold, it's savage, it's everything the 99% of the population doesn't want to grow up to be, though one can't pull their eyes and ears away for what mayhem and devastation happens next. I mean, take the title: the phrase was coined over a hundred years ago and still persists to this day as to what's favored on the local news. Death and destruction gives rise, it creates fear, it establishes an odd sensation that can become obsessive and replayed in loops. It begs the question: Is that what we want to see? It's what sells, right? I'm here writing about it and you're here reading about it. Consider this round on me.

"Man Bites Dog" comes as a cross between a mockumentary and reality TV episode before the popularity sunk in. Instead of listening to a pretty and practiced newsperson reporting the heinous crimes after the fact, you get to experience them one ugly moment at a time and with motivations to boot. A crew of three follows around a charming Belgium, French-speaking gentleman, who has a lovable mother and grandparents, but also happens to be a professional thief and remorseless serial killer. Benoit, or Ben, as his friends call him, is an anomaly: a sort of likable jerk that's looking for some relatability in acts that are ultimately unrelatable.

Benoit is openly caring and giving to those held closely to his dark heart, but also ruthless and blindly hateful to anyone else convenient enough to shoot or strangle. He's always dressed to perfection. This allows him to go undetected—going as far as taking out a postman in broad day light, and a lonely elderly women at your everyday apartment building. He's full of a strange wit, grab-your-attention anecdotes, and a certain code to it all. But like a spider who carefully places his web to the wind, he tends to control the situation and express bullying demands once someone gets snared.

A portion of "Man Bites Dog" feels structured, while the rest feels loosely improvised. The main actor—Benoit, who uses his real name like the rest of the actors—gives nuance to the character and truly pulls off the many moods of this dominating personality that envelopes those around him into a whirlwind of his unorthodox lifestyle. The rest of the cast, let's just say, are typically thrown in front of the camera and have their ups and downs. Like any candid feature, you get it all: whether it's being shocking or entertaining one moment, light-hearted the next, or just "is." To help solidify the mood of a documentary, it has this unrefined black and white quality, not to mention a share of the shots seem to be predominately real locations.

Once the lights are turned on you won't believe it happened, but with its strengths and imperfections combined, it has a certain swaying power while it pans out. It goes beyond just a simple gimmick to sell another video tape; it has a developed nature to it, and tends to innovate within itself. This is a truly unique venture that came and went with its black magic, but managed to leave a memorable mark behind still being transcribed to this day. It's depraved, it's eye-opening, it's hilarious, it's everything you shouldn't be admitting to being captivated by. But here we are basking in its dark aura. Another round, please. This one is on you.



Rating: 9/10

Director: Remy Belvaux, Andre Bonzel, Benoit Poelvoorde
Actors: Benoit Poelvoorde, Remy Belvaux, Jacqueline Poelvoorde-Pappaert
Info: IMDB link
Trailer: Youtube link

Wish Upon (2017)

Horror rule #192: If you find a mysterious box with ancient writing on it, put it back

By: JWBM

Everyone is standing around with quiet anticipation. A decorative cake and just the right amount of candles are set up for this one moment. The flames go out and boom: a wish is made. We all wonder what that wish could have been. I mean, it's bad luck to tell. But I am going to take a wild guess and say few out there are using their moment to silently end all violence, to cure all deadly diseases, or to simply end all pain. Heck, even an instant universal translator, or a small starter colony on an earth-like planet would be nice. Because those might be a tad convenient and useful for more than one person.

Take your average teenage girl and give her an old box with ancient Chinese characters on it. Sounds safe enough. Though this box turns out to be capable of making seven wishes come true. Sounds like a good deal. Though with everything, there's a catch. Each time a wish is fulfilled, someone surrounding her must die. Sounds like it's going to be terrible for everyone involved. Needless to say, "Wish Upon" isn't going to be a humanitarian effort to display a humble, selfless person that has everyone's aims and goals in mind. Then again, where's the entertainment in that?

The tone of this film is more drama than it is horror. It tends to play out more upbeat and trendy than it does consistently frightful. The story feels like it made a life's-little-problems teen drama out of something along the lines of "Final Destination" meets superstitious Asian horror. At least those had an earnest build up right up till the point someone got it. Or at least an unsettling and demanding message to it all compared to, here, worrying about minuscule squabbles and social media bickering.

"Wish Upon" is kind of restrained at points, making the temperature of the whole experience feel lukewarm than being capable of stepping up the heat to make you sweat around the collar. It's not a bad or offensive film. Just not an adventurous or memorable one either. It fills the spaces and engages your brain smoothly from point A to point B. Just nothing more or less. The formula is strong with this one, not to mention the themes to fall back on are presented predictably generic: be careful what you wish for; be true to yourself and those around you; don't be superficial by concentrating on material things or flirtatious love; and, most importantly, don't inadvertently kill those around you. Kind of important that last one.

Rating: 5.5/10

Director: John R. Leonetti (Mortal Kombat: Annihilation, Annabelle)
Actors: Joey King, Ryan Phillippe, Ki Hong Lee
Info: IMDB link
Trailer: Youtube link

John Dies at the End (2012)

The soy sauce chooses you

By: JWBM

This is based on one of those over-the-top, all-over-the-place books that looks to be unfilmable. Leave it to Don Coscarelli—who spearheaded the "Phantasm" films—to dive into the challenge of taking on this strange world that's full of more story arcs and changes in tone than one can safely type in one sentence... or ten. Though there's a playful consistency to it all that once it starts, you have the urge to see it till the end—and then hope for more.

"John Dies at the End" is a film that explores all of the generally deemed "crazy" ideas that you commonly and not-so-commonly hear thrown about. It's a tale that doesn't believe in normality, coincidences, or space-time for that matter. Instead it delves into the thought-I-saw-somethings, unexplainables that haunt us, what's-in-the-cards theories, or anything fantastical that defies the little you know about this plane of existence. It's "Fear and Loathing in Las Vegas" had a mutated baby with "The Evil Dead" and threw in some other inherent traits of its own for good measure. Hard to say who did it first. I mean, time as you know it doesn't exist, right?

David Wong—the white guy with an Asian name, who also has the same name as the real author that is also a white guy with an Asian name—has a friend named John who one night decides to take some "soy sauce" given to him at a party by a wannabe Jamaican looking guy calling himself "Robert Marley" of all things. David—the more responsible of the slackers—gets mixed up with said stuff after John calls him in a desperate panic from the experience being unlike any other drug he's taken. It's the kinda chemical that doesn't carry a warning label or approval from any organization you've heard of. Did I mention a giant bug was crawling on the wall, a random dude appears in his back seat that wasn't there before, and the dog suddenly starts to talk and can drive a car? Soon enough, trouble finds David and John and they evolve into a sort of tag team of paranormal guys with a penchant for just shrugging off all the weirdness. Just think if "Ghostbusters" downsized the quality and mentality of the team, and then stepped up the strangeness and maturity levels of the content.

This is a diverting experience that throws earthy behaviors, mannerisms, and normal ways of life into a washing machine that didn't separate its colors. The film is tongue-in-cheek and self-deprecating. It takes itself seriously, then in the next instant slaps you and itself in the face like another Stooge rose from the grave to freak everyone out. It's just a wild, zany ride of good, weird fun that can be watched on repeated occasions for not losing that magic touch of insanity. This is out-there, but far from challenging. The plethora of information does a pass-by of your brain, rather than stops and gets processed further. In its favor are endless surprises that are ultimately unpredictable. If you find it to be, you might be on the sauce yourself.

Rating: 8/10

Director: Don Coscarelli (The Beastmaster, Bubba Ho-Tep)
Actors: Chase Williamson, Rob Mayes, Paul Giamatti
Info: IMDB link
Trailer: Youtube link

The Exorcist III (1990)

I believe in pain, death, injustice, and inhumanity

By: JWBM

Some come into this world with the intention of making a comfortable place or establishing a name for themselves. Others come into this world with the intention of destroying those same hopes and dreams. Some civilized folk form a fragile life for themselves of family, bond, and love. This thing of the shadows shatters all sense of security and spits on anything resembling value or sensibility. We're dealing with an entity void of emotion, compassion, forgiveness, or any shred of what's conceived as "good." It's the antithesis of holy, and filled with a raging fire to make every action come with a personal brand of hate and loathing. It might take someone who's numb and cynical to it all: someone who hasn't gone weak in the stomach, or isn't shy about seeing the world for what it really is to have a chance to fight back.

A lieutenant, William Kinderman, is investigating a series of meticulous murders that make even the most notorious serial killer look like a sloppy amateur. The crime scenes radiate with an ice cold cruelty; as if there's a higher predatory intellect toying with them. This is a story that's the equivalent of staring evil in the face and having it stare back with tormented, unflinching eyes. If you've ever stayed up late pondering what lurks out there waiting for your guard to be down, you will find it here crawling on the ceiling or standing behind you with razor sharp shears. This is evil of the purist kind. Unabashedly profane and blasphemous in every sense: there is no balance to this kind of wretchedness. It's at the far end of the spectrum where your surroundings are pitch black except for glowing red eyes and a dangerous means to expunge any morals in the world. Grab your cross tightly and don't let go, because this is the stuff people question their faith over, not to mention what the most hellish of nightmares are written about.

This could be looked at as a story of black versus white. Though traditional holy tactics don't always work here, nor do all of the staples that unholy means fall back on. It gives it more dynamic than a you're-only-on-the-left-side, and you're-only-on-the-right-side kind of story. Some of us often wonder what the battle of heaven and hell would look like. Visually it's been occasionally depicted as organized chaos. A busy scene of art that is as glorious as it is eye-opening. Each sword finds its mark and each person knows their place and purpose. One aspect these depictions sometimes lack is that real aspect of fear, grit, and cold-blooded savagery that weighs on the back of someone going to war. This film is entertaining first and foremost, though it's also capable of making you look over your shoulder and clench your teeth from a side never before seen or imagined. It's also chillingly relatable: some may recognize the streets here, the familiar language and mannerisms, or even just everyday mundane aspects now looked at as a little jaded. This is your home town. Where else would the battle of battles take place? But to the familiar places we experience.

"The Exorcist III" found itself in a unique position. It's a sequel for one, that came out after a poor excuse for a second movie at that. The first film was groundbreaking in every sense. The second was a pitiful cash grab that failed in more than one way. The author, William Peter Blatty, however, decided to take back control of his creative work and write a sequel to his 1971 book. "The Exorcist III" is based on the novel "Legion" from 1983, and is the true sequel to the first. Admittedly, when I caught this film after the fact in the 2000s I wasn't sure what to expect, but was then blown away at how effective of a horror experience this was. Especially coming out a good 17 years after the first. I've read both books. The first book is on par with the film. Though, with the second book, I feel the movie ended up being more powerful for its sense of putting you in the moment instead of the constant ramblings from Kinderman that were ultimately distracting. In the film they seem to be more balanced out.

There are certain conveniences here to piece together some scenes. That might be the innocence of author-turned-director William Peter Blatty. Though there are so many scenes that lead up to something memorable, not to mention how effective the overall mood is, that I often overlook them. While the film is no doubt littered with atmosphere and symbolism, there is a certain type of dry humor sprinkled in to lighten up the dark portions. Guess it's to make it so your nightmares are a little more cheery than all-out harsh. Kinderman has a thick skin and a sense of sarcasm from being unshielded to the ugliness of the world on a daily basis. If not for his ability to compartmentalize, it makes you wonder how or why he decided to establish a family in this world.

Another aspect that deserves an award in itself is the use of sound effects and suggestions. It's so effective that I have false memories of this being more violent and visually disturbing than what was actually shown. The direction is also daring in that it's not afraid to go there. I mean, other horror films typically have a certain truce or a pause that gives balance, while this makes it so recognizably safe havens are now filled with looming shadows and memories of terror. Anywhere from a church confessional, a hospital, to even your own kitchen after a day's hard work.

The performances by both George C. Scott and Brad Dourif where simply amazing. Some horror films out there are held together or lopsided by the direction, cinematography, effects, settings, or the soundtrack. While this does the same to enhance the experience and fill in the gaps, it also finds itself in a unique position of having excellent acting by the two leads. Scott, as Lt. Kinderman, isn't spewing line after line, though he brings a certain presence and command to the role each time he's on screen. As if he could turn towards the viewer and be commanding enough for them to get up off the couch and do it. Dourif—as the Gemini killer—on the other hand, is nothing but lines, but delivers them with unique emphasis on syllables and with the tone of his voice that it seems to bypass making the little hairs stick up, and dig deeper to chill your bones.

This is a horror film that I wish I made. It's a film that some other films wish they could have been. It broke down a barrier from some '80s films that had shameless, on-purpose trends and what-was-happening moments, to usher in a wave of horror that felt genuinely horrifying. Recommended in every sense for a truly frightening, enveloping experience that is sure to stick with you afterwards.

Rating: 9.5/10

Director: William Peter Blatty
Actors: George C. Scott, Brad Dourif
Info: IMDB link
Trailer: Youtube link

Regression (2015)

Satanic cults and dream-like sequences

By: JWBM

Hoyer, Minnesota: 1990. A father walks into the local police station claiming "he did it" and that "his daughter never lies" to the chief and lead detective. He's not exactly father of the year material, but his memory is a little fuzzy to say the least. His confession is related to an accusation his daughter made recently about being raped. She's shaken up enough to stay at the local church under the wing of the town priest till her dark and disturbing allegations come to light. This makes for a complex story that goes deeper and gets stranger as the more time presses on. It presents an "inspired by real events" scenario of satanic ritual abuse in the modern day that's linked to what happened. What you're about to see and experience took a town and part of a nation by storm reminiscent to the real-life—though controversial—book "Michelle Remembers" from 1980.

I have to admit, describing this movie in a general sense is going to come across as cartoonish. It's a story that's a tough sell in that it needs to be expanded on, rather than briefly summarized. However, talking around spoilers is another feat in itself. If you step back and take an overview, it's essentially what hysteria looks like. It's what separates the rational from the irrational. It's where facts start to fade and gaps are filled with loose interpretations and in-the-moment perceptions. The story has concrete aspects to it, no doubt, but it also has some abstract ideas as well that are better left played out like you were there yourself. That's the power of the direction here from Alejandro Amenábar ("The Others," "Open Your Eyes"). It could have easily fumbled out of the gate, or had your eyes rolling before the timer went off for the popcorn in the microwave. Though it managed to put you in the moment by moment to see what they see, and feel what they feel. Something like this doesn't happen in an instant, but in a series of instances.

This is mainly a crime-mystery with remnants of drama and shreds of horror. It presents itself as a who-dunnit with a snappy pacing: like you slowly pressed a hot poker to step up the heat. The revelations and situations come one after the other, and increasingly more paranoid and helter-skelter as it steps up the level of tension. There's aspects of crime, religion, and psychology that are mixed into a chaotic and ambiguous reality. It uses these unique flash backs and dream sequences that come across as downright chilling and creepy. The funny part is they feel more effective than outright horror movies that are actually trying to be scary. The amount of emotional uproar at times from the cast here concerning the confusing and conflicting circumstances lends credence to it all. From Ethan Hawke's transformation as the lead detective; to the grief-stricken and tormented dad; and even the son and his inexplicable denial and anger.

"Regression" is a tale that causes the mind to spiral out of control from the seemingly impossible and illogical. 'Could this all be happening right under our noses?' Our brain tries to rationalize through bits and pieces of evidence and stimuli: whether that be from the sensationalist media reports on TV; to how someone interpreted a trauma in an interview; to just a simple stare from a stranger in public, or a phone call with no one on the other end of the line. It keeps you on your toes and guessing as a viewer. There's no shortage. However, for a portion of the film, it gets to be a little bewildering and ungrounded at points in how ambiguous the tone is, along with the amount of subjects and circumstances thrown at you. It took me two different viewings to get my review straight. It presents a double-edged sword. You get plenty of grab-you-by-the-collar-of-your-shirt atmosphere and great performances out of the actors as a result, but you're somewhat grasping at the air at times till it decides to suddenly switch gears and wrap up its loose ends in a more stream-lined approach.

If you're looking for something to not only distract your mind but to make the heart race with some memorable, out-there moments, then this might be up your alley.

Rating: 7.5/10

Director: Alejandro Amenábar ("Thesis," "The Sea Inside," "Agora")
Actors: Ethan Hawke, Emma Watson, David Thewlis, David Dencik
Info: IMDB link
Trailer: Youtube link

Additional info: The book in this story, "In Satan's Name," feels like an inspiration from the real life book "Michelle Remembers" that details a young woman's account of satanic ritual abuse.

Columbine: Understanding Why (A & E documentary - 2002)

A tale of two; a tale of many

By: JWBM

Back in April of '99, I was at the tail end of middle school—about to start the intimidating leap to high school—when the news came on about the horrendous shooting in Columbine, Colorado. I was nowhere near that state, but it still seemed to hit home after finding out it was just two suburban high school age seniors that massacred fellow classmates and injured many more. A year prior, one of my teachers had addressed a shooting at a middle school in Arkansas where two kids armed themselves to the teeth and then pulled the fire alarm to draw everyone out. Then after, we had to wait for the principal to confirm over the intercom that it was a legitimate drill till we could file out of the classroom safe and sound.

To hear of another the next year seemed a little much. Afterwards the fences went up, security got amped up, and everyone—adults and students alike—were touchy about anything said or done. Back then, not everything was as minute by minute as it is today with instant information at the touch of your fingertips. So, there were times where bits and pieces of the story were only heard and then passed on, which only added to the fear and misinformation that these two incidentally generated on that dark day. No one was in a playing around mood. Since, things have never been the same.

A group of forensic scientists called "Threat Assessment Group," or T.A.G.— that consists of a psychiatrist, violence prevention expert, former FBI profiler, a psychologist, and doctoral candidate—take on the task of a psychiatric autopsy of the two shooters. Being three years after the fact—not to mention the amount of litigation stemming to the parents, to the Sheriff's department, to the school—it was a tough sell to get interviews or even all of the evidence they needed. They approached nearly 200 people with calls and letters, but got only 19 on camera, and another 31 off. Not all of these you get to see. In fact, you only get to see a few brief interview segments in the documentary's under-an-hour run time. Some are vague at that and are only translated second hand from the group. The leader of the group—psychiatrist Park Dietz—developed 12 warning signs of mass murderers that they attempt to line up to the pair. The rest of the documentary focuses on the duo's motivations concerning why they stormed into Columbine High School with the intent of taking as many innocent lives as possible.

One interesting aspect talked about is their fascination with filming and documenting the entire planning process. They made home videos together, and then wrote in separate journals of their detailed thoughts outlining the plan. Being inspired by the Oklahoma City Bombings of a few years earlier, they knew that the media would pick up on it to dissect each shred of evidence. They'd be infamous. It goes to show that they were self-aware at what they were doing and the choices they were going to make. It wasn't an impulsive action that they dreamed up shortly beforehand. They mentally and physically prepared themselves for this. Predictably the media did run with it and there were copycats.

There were snippets of warning signs spread about that other people noticed as abnormal, but no single person put it all together that either of the two were deeply troubled enough to do anything on this scale. They kept their ideas in a closed loop. Similar to how a cult can operate with morally questionable practices and how people can go along with it. Each idea this pair had was repeated and reinforced enough that bad ideas became good ideas without an outside influence to offset their one track mind. Both were suicidal and filled with growing rage. They were described from an early age as being gifted in academics and over-achievers. They redirected their intelligence towards getting away with petty crimes at first, then planning a massacre instead of towards normal goals related to school, or even life after. Their attitude reflected that they were above it all and everyone else around them. They needed someone to blame for their inexplainable inner turmoil. Which, you can imagine, to a short-sighted 17/18 year old is their high school that they attended for the last 4 years. To them, this established a needed purpose and direction as misguided and morally questionable as that was. One could say, 'Guys, you'll be out in a month or two and be free to become bosses to spit on those that spit on you.' But to them, this was their World. The rest was too far off.

This short documentary shed light on some aspects, while other areas are applied to educated guesses. Some specials that have come out since have filled in other pieces of the puzzle a little better. It would ultimately take several books from several angles to unravel all of the intricacies involved. Though it was informational for its time to getting a loose grasp of the duo without being as reactionary as the initial reports in 1999. People were ready to point a finger at anyone and everyone. But I feel that is the problem with some of those involved beforehand. The T.A.G. group—while a little rocky with dissecting new forms of media such as "Doom" and "Natural Born Killers"—looked at it more clinically. They were not just self-destructive, but outwardly as well. They demanded respect, power, and control without actually setting up proper steps to earn those, or how to improve on themselves. Granted, saying that after the fact and off the cuff is wishful thinking. But it's ultimately what got them to walk down this dark path of no return in the first place. Unfortunately, some of the victims and witnesses will have to live with that for the rest of their lives, while others never got a chance.

The Lobotomist (PBS documentary - 2008)

An over-looked portion of history for mental health

By: JWBM

There have been significant cures and groundbreaking treatments in the history of the medical field. Some of them stumbled on by accident, while others took years and years of research with a collective team till a breakthrough occurred. Lobotomy, on the other hand, is something that started out as one man's hopeful popularization of a procedure to alleviate country-wide mental health issues that were in a state of desperation, to coming with tragic consequences and repercussions for a share of those involved.

Back in the mid-20s, the state of affairs of mental hospitals were hopeless for extreme cases ranging from agitated depression to psychosis. It was a common practice to hold people with debilitating mental disorders behind locked doors—or even strapped down—in these massive state run quarters away from the general public. It was a means to an end due to few changes being made to help alleviate the overall situation. Dr. Walter Freeman made such a visit to one hospital during this period and it affected him enough to want to take the bull by the horns. His maternal grandfather, William Keen, was a pioneer brain surgeon in the 1800s. Being a fresh, young doctor, Freeman also felt that he was destined to do something great from then on out.

Back in the 30s and 40s, it was considered in bad taste to question another doctor in the public eye. Instead of asking for advice or going through the proper channels, Freeman bypassed the red tape of his peers by going straight to the press to sell them a form of a miracle with lobotomy. It's a complex story with reasonings coming from all sides that reveal it may have been what some needed at that particular moment. According to a "Life" magazine article from 1946, mental hospitals were "a shame and a disgrace." These hospitals were overcrowded, underfunded, and understaffed. There were cases where the staff resorted to beatings to keep people in line. Some patients resorted to suicide from not being able to cope with their mental condition and their surroundings. However, the catch of Freeman's transorbital lobotomy was that it was a one-size-fits all procedure that didn't address the nuances of every patient and their specific state. Being a respected doctor at that time and walking through the door of a poor or segregated hospital meant there were no questions asked or even release forms signed. There's also no going back from the brain damage that it caused. Truth be told: it was never a good temporary fix, nor a successful permanent one either.

This is also a story about his obsession with this procedure being successful to the point of being blind to its pitfalls. He went from having a neurosurgeon and an anesthesiologist present, to then using an on-the-fly, cost-effective method where he held the patient down and tapped an ice pick into their frontal lobe with a hammer by way of their eye socket. This wasn't a practiced, well-defined medical procedure. It was essentially a roll of the dice that relied on some luck that things would be okay in the years to come. The mid-50s saw the first antipsychotic drug marketed. Then after, the medical community—that once lauded Freeman—were turning their backs on the man who now looks like nothing but a clean up henchman in a snazzy white coat.

This documentary is as tragic as it is informative. This sheds some light with different perspectives on not only this doctor's tale of success to failure, but also the state of mental health for the earlier part of the 20th century. Those looking for the entire history won't get it in the 50 minute run time, but that doesn't stop the documentary from delivering enough interviews and footage to put you there in some pivotal moments it was happening.

Info: IMDB link
Trailer: Youtube link

Fallen (1998)

Some things aren't meant to be noticed

By: JWBM

Many of us have seen or heard of some bad things in our time—often dabbling with revolving questions as to the whys or hows. As terrible and backwards as these actions may seem, there is always some kind of motive or basis. However, fewer have encountered pure evil, or outright morally reprehensible actions that defy general reason or logic. The head scratchers: till your head starts to bleed from its nightmarish implications. These actions are predatory and purposeful, and executed by a higher than average intellect than your typical goon. As if a lion grew a conscious outside of basic instincts and started to look at anything beneath him as an object to toy with. When these dark and questionable things occur, we wonder how any human-being could have been behind them. Is that individual actually flesh and blood like you or I? You'd think this was primarily a question for a priest, but many detectives lay witness to scenes that the average person's eyes would come unglued from.

Detective John Hobbes is feeling on top of the world. He's done caught and bagged the infamous serial killer Edgar Reese, and is now about to watch his execution with a smug grin. Except soon afterwards more murders start to crop up that look suspiciously close to Reese's handiwork. At this point, nothing makes logical sense when the connections or evidence doesn't line up. The detective soon finds out that he may be in over his head when it deals with a power far beyond what he's capable of stopping as just a mortal man with a badge and gun.

The film employs a voice over narrative to give some further thoughts from Hobbes. At times it gives perspective, but at other times they should have scaled back and did a little more show than tell. Denzel Washington—as John Hobbes—gives the role some command and a natural flow in how he delivers his lines in real-speak. He's not just going for what's on the page, but brings to the table little subtleties to make the character feel like a real guy with an on-screen presence each time the camera is fixed on him. He portrays him as a man who was on top of the world—ready to take on any challenge—until he's slowly pulled down by its weight. Though not willingly. Elias Koteas gives a short, but memorable role as Edgar Reese: the emotionally disturbed man about to be executed, but has the enthusiasm of someone who just won a weekend trip to Disneyland for serial killers.

"Fallen" is a thriller bordering on horror that mixes a little bit of "The Exorcist III," "The Prophecy," and "Seven" with its own flair. It does a great job at balancing down-to-earth subject matters with others that may be normally looked at as far-fetched or out there. Those into "The X-Files"-like themes, might make a smooth transition into this story likewise from the '90s. "Fallen" takes them in stride and examines them one moment at a time. By keeping it basic, it flows with some finesse even after 20 years of hitting the big screen. The movie does add some dynamic to its pacing by sprinkling in bits of mystery, drama, and suspense. Though there are times where the film plods along; versus keeping your mind searching, or capable of examining deeper ideas beyond the ones shown. Then again, the story doesn't have the intention of being a race to the finish or biting off more than it can chew. Take that for what it's worth.

This makes for a simple tale, but a well-deserving experience due to the natural interactions between the characters, the real life looking settings, the memorable tones of the soundtrack, and the cinematography that gives another perspective besides what would normally be right in front of your eyes.

Rating: 7/10

Director: Gregory Hoblit ("NYPD Blue," "Primal Fear")
Actors: Denzel Washington, John Goodman, Donald Sutherland, James Gandolfini, Elias Koteas
Info: IMDB link
Trailer: Youtube link

Winchester (2018)

Things that go pop in the chest 

By: JWBM

It's 1906: Sarah Winchester has earned herself a reputation as not only the richest woman in the country, but as an eccentric person that might not be all there. She's inherited millions from the Winchester rifle company after her husband passed away some years back. She used said money to build herself a lavish mansion out west—which in real life today is something of a legendary tourist trap in San Jose, California. Dr. Eric Price—who is an unorthodox doctor of sorts and has a troubled history himself—is hired by the board of the rifle company to see if she is in fact fit to control half of the company. Price takes on the job and stays with the family in the mansion. He soon notices things might be off—not necessarily all concentrated to Mrs. Winchester—but also with the house and those that visit it.


The mansion is full of oddities that make little sense to practicality or logic: such as doors, cabinets, or staircases that lead to nowhere in particular to the naked eye or casual observer. The story attempts to piece together certain missing aspects about this real-life enigmatic woman and her extravagant home in a dark and mysterious way. At times, the movie feels more interesting than it does frightening. It's centered on being a drama that decided it needed some scares inserted at random points to add some thrills. It builds up to one big finale, but before that it's sprinkled with CGI centered pop-and-jump scares—not to mention let-me-be-curious-about-that-weird-noise kinda thrills—that feel a little cheap. It's like their way of saying, 'Hey we're still partly a horror movie and not just a loose, fantasy-like biopic.' It's not as genuinely spine-tingling as, say, "The Devil's Backbone," or even "The Others," where you were transported to the same room and felt the cold, responsive chills from those capable of crossing between planes of existence.

The acting is surprisingly well done for what the characters are given. Jason Clarke, who plays Dr. Price, delivers his lines naturally and has a wide range of emotions on his face and in his mannerisms. Price comes across as a sharp mind ready to figure out the situation. Though, he seems to do more snooping around than he does actually getting to know Mrs. Winchester's personality at first. It comes across as uncharacteristic of his role and more there to be used as a means for someone familiar in the cast to explore this sprawling labyrinth they're residing in. Then after, it's like he gets a reset and goes back to a more studious mode. Helen Mirren, who plays Mrs. Winchester, also gives this some feeling behind her lines. She transitions from the mysterious widower to a misunderstood person with a backbone of strength and willpower. Those around her respond with a sizable amount of respect instead of resentment towards a stereotypical rich boss with odd tastes and demands.

This purposely starts out light and flows with a natural progression to get to know the characters and surrounding situation of it all. It has its moments and is not going to be a yawning tale surrounding the Winchester estate. Though the tone and story is delivered in a noticeably slick and smooth way. Almost too much so. It's not completely tame, but it's missing the kind of coarse grain and splintered surface that will scrape or prick your finger if you get too close. With as many challenging themes the film presents—such as fear, death, loss, and medicine versus the supernatural—it doesn't always feel that challenging in that regard either due to time constraints to fully flesh them out, and then having to squeeze them in between other scenes. The juggling act of mixing genres and an array of themes didn't come together as seamlessly as intended. Though it's not say they didn't give it their best go, or that it didn't have its own memorable or standout moments.

What's disappointing to me is "Winchester" could have been more powerful of a film. It should have had the potential to be something to return to from time to time. Though it does so much leg work for you that your brain stops searching for different hidden avenues to explore, or even the implications of it all. Still recommend it for a go, but probably not a second.

Rating: 6.5/10

Director: Michael Spierig, Peter Spierig (Undead, Daybreakers, Predestination)
Actors: Jason Clarke, Helen Mirren, Sarah Snook
Info: IMDB link
Trailer: Youtube link