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

Dark Was the Night (2014)

What you can't see will hurt you

By: JWBM

Instead of being your typical, tongue-in-cheek creature-feature like you'd see on, say, the Syfy channel, the tone of the film comes across as a more serious "The X-Files" episode. Likewise, it does more analyzing of the situation, and also keeps its mysterious villain in the shadows instead of prancing it around town. The story centers around a small time Sheriff clouded by his emotions over the loss of one of his sons and the recent split from his wife. Meanwhile, the Sheriff is set to the task to investigate some odd occurrences around town that are slowly starting to escalate. There are whispers of a local Native American legend, leaving the tight-knit community a little uneasy to say the least.

The story keeps itself mostly restrained than going full throttle. It leans more on the drama side than the horror or action side like you'd typically see with a creature on the loose type of story. Its momentum and scares rely on a share of tight camera angles and sound effects. The what-you-can't-see-will-hurt-you kind of tricks. It seems better suited than its monster being fully in the spotlight. The effects, cinematography, script, and direction are kept to a basic minimum. It does have this unusual monochrome look to it that doesn't necessarily enhance or hinder the experience.

Little pops out here from the usual that's going to last with you after the first viewing—even its drama side is somewhat formulaic. Essentially: man feels he couldn't protect his family, but now has to overcome his fears and do the impossible to save the town. Then again, it also didn't over-extended its bounds to attempt to give you something and not back it up. It's a simple tale that delivers on its own terms and at its own pacing. Some might be bored by that if looking for a more intense experience such as "The Descent," while others might be delighted by the down-to-earth approach here over a slapstick one—e.g.: "Sharknado."

This gives room for the actors to shine and make themselves seem a little more believable than cardboard cut-outs for the writer to set up as just an excuse to obliterate when the time comes for some killings from its monster. Kevin Durand, as the Sheriff, plays a guy who's more action than words. He does what needs to be done, except there's a part of himself that fights back emotions until it gets the best of him. His portrayal is not going to win any awards any time soon, however it still brings a certain amount of effort and quality to the table by making his character more relatable than some over-the-top hero who the average guy couldn't step into his shoes. He's 6' 6" and Canadian to boot. Though looks six feet on camera and sounds like a Yankee. Sticking to original point.

"Dark Was the Night" is a movie for a quick distraction. It's not complex by any stretch, but it's also not trying to be.

Rating: 6/10

Director: Jack Heller ("Enter Nowhere")
Actors: Kevin Durand, Lukas Haas, Bianca Kajlich
Info: IMDB link
Trailer: Youtube link

Riki-Oh: The Story of Ricky (1991)

A hero with disregard for hierarchy

By: JWBM

This is the definition of perfectly-imperfect. It's the kind of film that is endlessly entertaining for all of its over-the-top and outlandishly excessive setups. It's like one of those friends that compulsively exaggerates everything they do enough that they grow a knack for it. You don't believe what you see or hear, but it fits the mood to be overlooked as another outlook. "Story of Ricky" knows no bounds, and has few limits to get a reaction and a rise from your senses. It's laughably cheesy and badly acted in every sense, but, man, is it inspiring in some far-out, demented kind of way. Some wish they could be him. Others wish they had him as a friend in grade school.

So who's Ricky? He's a buff, super-human, morally-steadfast guy in the near-future that gets locked up in a privately run prison for a crime he may have been justified for committing. Let's just say little is made in the way of looking like the future, but who's paying attention to intricate details here? He's surrounded by scum, and is incidentally a bully pulverizer with extraordinary strength they talked about in whispered legends to actually do something about it. I mean, going toe-to-toe with the Gang of Four—or Four Heavenly Kings in Chinese mythology—might be a statement in itself. He also cries for the lower man who can't help himself while throwing shadow punches at nothing in the rain. It's just the kinda complex being he is.

This has a simple set-up for any typical martial arts film to give an excuse to show off some fancy moves. Except this raises the bar not just a few notches, but makes a leap to the skies—which incidentally are pouring out red droplets in buckets. It's where Hong Kong kung-fu influence meets late '80s/early '90s Japanese levels of excess. Other manga source material has rivaled it in violence—think "Baoh," "Violence Jack," "Fist of the North Star"—though it's a one of a kind feature for being one of the goriest live action/martial arts movies out there. "The Street Fighter"—with Sonny Chiba, of course—gave it a push. "Story of Ricky" gives a shove down the most unforgiving of escalators and punches your head clean off for good measure.

Like an SNES or Genesis classic, such as "Final Fight" or "Streets of Rage," the film keeps you busy with an assortment of goons, gangs, and end-bosses. There's a hierarchy that should matter and is something you should be afraid of breaking. Though, this doesn't stop a guy who can literally punch holes in people and play tunes in key with nothing but a leaf. Instead of over-the-top Chuck Norris jokes, we should instead have them about Riki Oh: the man who's got the chiseled back muscles and high kicks to back it up.

The acting has that characteristic Hong Kong charm where we have to not only say what we're doing but over-gesture what we're doing as well. It's like they're trying to communicate with both the hearing and hearing impaired at the same time. Either purposely or by mistake, there's never a lulling point here. The filmmakers always seem to top themselves scene after scene. So much so, I haven't seen another film like it since. One could look at the story as one man's unconscious mission to clean up all the bad people in the world. They just happen to be locked up in one building trapped in there with him, not the other way around. Their do-anything-I-please egos—that got them in the slammer in the first place—are about to get checked in some of the most creatively violent ways. Break out the bleach and popcorn, because it's gonna be a messy, though entertaining ride.

Rating: 9/10

Director: Ngai Choi Lam
Actors: Siu-Wong Fan
Info: IMDB
Trailer: Youtube

Naked Blood (1996)

Blurring the lines of pain and pleasure

By : JWBM

"Naked Blood" in a way feels like a what-if scenario played out. It begins with its premise of a young, hopeful—though amateur—scientist that engineers a drug to make what was painful before, now feel a little too amazing. Just a pinch too much. Or a stab. You get the point. Then comes the setup of him giving it to a group of young ladies who think they're taking just an innocent contraceptive as part of a control group headed by his mother—who is also a scientist, but of the professional kind. This is low budget horror from Japan no less. There's carnage, weirdness, and some hidden symbolism thrown in for good measure. As you can imagine, this is not going to end well for anyone involved. That goes for the viewer, too. Some things you just can't unsee.

Is there such a thing as being in a state of pure elation? Pain and pleasure balance us, though steer it too much towards one or the other and a divide is broken. Too much pain and we lose our spirits; too much pleasure and we turn to simpletons who can't resist. The pacing sets up a slow escalation to create an obsessive atmosphere of eroticism, violence, and death. The film is littered with closest fetishes, not to mention odd interactions and reactions from character to character. That could also partly be the overall acting, which occasionally just gets by in a "We're just reading what's on the page and letting the story transport us from scene-to-scene" kind of way.

What the film does well is how it transitions to break down its boundaries. Bits of the story aren't always explained in depth. This just grazes the surface, which—in itself—keeps things abstract and as a surreal experience. There's also the other side of it that doesn't blink. The prosthetic effects and camera angles are full of close-up, gruesome shots and situations, where the viewpoint locks in tight and doesn't pull away till the last drop is spilled and someone is crying for more. With the home-video-like quality, it covers up some blemishes and makes them a little more realistic looking. It's creative and memorable with its gore and visuals. You'll never look at tempura, nipples, or even cactus the same again.

This begins as a tale of one young man's naive quest. As the journey is laid out, it looks like just an excuse to lure the viewer in to another exploitative dark alleyway full of dangerous characters and blood splattered walls. Though there ends up being some hidden messages written on the walls to the overall story arc that might be missed on the first viewing. I have my own theories, which can make it more of an entangling experience either way. It's not as out there as, say, "Tetsuo" as it starts out normal enough. Though by its finale, you still might keep the light on longer than normal pondering about what you just saw and how you're going to reason with it.

Rating: 7/10

Director: Hisayasu Sato
Actors: Sadao Abe, Misa Aika
Info: IMDB
Link: Youtube

Lights Out (2016)

An alternative to saving on your power bill

By: JWBM

As a child, what do you do if your mother is just a tad bit strange? The kind that has a tall, dark friend, talks to herself, and says it all with a charming, nothing's-wrong smile. Well, you've got your older sister to protect you. She grew up in the same household—and might be more towards the normal side—but is still not all the way caught up with the rest of society to be the best of role models.

"Lights Out" introduces you to a creature of sorts that thrives in the dark. Let in even a shred of light, and she disappears. Though that doesn't stop her from lingering on the edges of the shadows till just the right moment. In turn, the filmmakers use this to create more jump and scare theatrics than one can count on their razor sharp talons.

There's a dark family secret that threatens to tear everyone apart. Whether they had anything normal at any point, it's hard to say. This leads to an overcasting theme of trust issues: either between son to Mom, from Mom to Dad, from daughter to Mom, or from girlfriend to boyfriend. Plus the dark. Hard to trust that anymore after what they've seen, or felt with searing pain.

The writing attempted to go for a natural progression to feel out the characters. Though it has tendency to be noticeably restrained by sprinkling crumbs of the story throughout. It's to the point of not flowing smoothly from scene to scene and stretching itself out. Then at some point, the meat of it just falls into the lap of the daughter with all of the secrets to the past in one convenient package. Guess it's just another way of cutting right to the chase instead of the age ol' horror trope of a homeless person popping out of nowhere to shed light on all of the mysterious things afoot.

The vengeful, dark-past of a villain, Diana, seems interesting in the way they keep her half-in, half-out of the spotlight. However, the same can't be said about the other characters. The daughter has the looks, but doesn't come across as adept or adjusted to anything in particular to have her stand out. The boy is a token piece to play out some childhood fears, and feels more there to create drama between the Mom and daughter. The boyfriend says all of the right things at the right time to win the daughter over. Subtract his character and you're not missing much, except for maybe emotional support and a cool leather jacket. The story attempts to take on mental health issues, but then ends up not saying much if anything at all about them besides using it and an out of place antique looking house to act as a catalyst.

"Lights Out" isn't a bad film. Though it feels like the pacing has issues shifting between its gears without puttering from time to time. It attempted to do all of the right, little tricks, but didn't come together with a reasonable amount of fluidity. The writing feels somewhat formulaic without actually overcoming that with something that would stand out: such as an outstanding concept after the more intriguing short film with the same name; being more than an excuse to make you superficially jump; or actually being concerned with its own drama, than just being something to fill in the spaces between to show the more alluring villain. Even that is not enough to overall save this.

Rating: 5.5/10

Director: David F. Sandberg
Actors: Maria Bello, Teresa Palmer, Gabriel Bateman, Alexander DiPersia
Info: IMDB
Trailer: Youtube

Let's Scare Jessica to Death

Hippies, Ghouls, Poison, and Apples

By: Zach Castedo

Rich with gothic atmosphere and ambiguity, 1971’s Let’s Scare Jessica to Death is essential viewing for fans of eerie slow-burn horror. The film is a dread-soaked study of subjective reality through the eyes of an emotionally damaged woman. We are introduced to Jessica (Zohra Lampert) who has just finished a six-month stay at a psychiatric hospital.  Lampert creates one of the most sympathetic and fragile protagonists in horror cinema. Haunted, hunched, and barely clinging to her sanity, Jessica hopes to find peace and healing at her new home in the countryside. 

 

Jessica, her husband Duncan and their mellow pal Woody arrive at their own private Eden: a lush apple orchard surrounding a gothic farmhouse shrouded in fog.  From the opening scenes director John D. Hancock populates the film with powerful symbols of death: the black hearse the trio cruise into town in, Jessica’s morbid gravestone rubbings, and Duncan’s giant coffin-like black case. The film ties together the inevitability of death and the seeming inevitability of Jessica’s return to madness. 

Lampert plays Jessica with such hopeful, but vulnerable optimism. She is child-like and is often wearing a desperate smile as she struggles to maintain a persona of normalcy. The first fissure in her idyllic new life arrives in the form of the wandering hippie girl Emily. With her cold pale skin, eerie eyes, and red hair, Emily becomes a sort of unearthly shadow version of Jessica. She is easy going, confident, and seductive while Jessica feels inferior and is plagued with self-doubt. Emily is the lovely snake that infects their newfound paradise with poison. 

 As the film unfolds we are given strange threads of story that combine with Jessica’s increased paranoia and hallucinatory state of mind. Is their old farmhouse home to dark spirits? Is their guest Emily some kind of sinister undead being? The nearby town appears to be populated solely by ghoulish, leering old men with weird wounds on their flesh.  Are they simply small town folk who like to give hippies a hard time, or are they a horde of soul-hungry ghouls--possibly slaves to the queen demon Emily? As an audience, we know that Jessica has already suffered a horrific mental breakdown in the recent past, which adds an intriguing layer of ambiguity and doubt to all that she experiences. The ensuing ghostly events may be the beginnings of another spiral downward into psychosis.

This is a film of rich visuals with vibrant costume colors contrasting against the aging neutrals of the interiors and the lush greens of the countryside. The actors look like real people: natural, imperfect, human--often with a sheen of sweat on their faces.  Many striking compositions punctuate the film, such as the opening shot of a silhouetted Jessica adrift in the rowboat in a pond of blazing orange and pink, or the carefully framed slow zoom shot of Mr. Dorker as he fishes. Jessica wears, and is often surrounded by, cool colors of purple and blue: her shirt, skirt, robe, and the memorable patterns of her bedroom pillows. Emily wears a bright red shirt throughout the film creating a visual link between her, the red apples, and the bright red tractor, which spreads poison around the farm. Emily, the seducing serpent, bewitches both Duncan and Woody while also creating scenes of sexual tension between her and Jessica. 

Much of the film is about desperate and failed attempts at human connection. It’s painful to watch Jessica’s relationship with Duncan become further strained as the movie progresses. Woody is left cold by his initial attempts at wooing Emily. Lampert is raw and deeply human in a scene where Jessica and Duncan lie in bed, their efforts to connect disintegrate horribly, leaving Jessica wailing in anguish. Brief moments of happiness seem denied to Jessica: she tries to eat an apple from one of her trees, but Duncan yells and stops her: “What are you doing? That’s poison!” At one point Emily seduces Woody when he comes back from a pesticide run. “I really should wash this stuff off” he says. Emily takes his hand and seems to suck the poison off of his skin, savoring it, before burying her teeth into his neck. 

Further crafting the unique texture of the film is the masterful use of sound. The music alternates between gentle, wandering guitar riffs and the pulsing menace of monstrous synths. Jessica seems to be followed by a bleak howl of wind whenever she wanders alone. Perhaps more than any film I have experienced, the use of voice over is a key part of the uncanny spell this film casts. Flashes of Jessica’s internal monologue become the strange poetry of her descent into self-doubt, suspicion, and terror. An otherworldly female voice invades her mind, ensuring her that there is no escape. Jessica holds a plate of meat oozing with red juices and the voice flashes through her mind: “It’s blood Jessica…”

The film is peppered with strange and memorable moments, which you won’t typically see in 21^st century horror. The foursome bathe in the lake, soaping and massaging each other, seeming to be free and happy, but darkness and tension looms beneath the surface. Emily tells a tale about a giant, monstrous cake that oozes into people’s windows and devours them like The Blob. Jessica spends a lingering moment gazing at a colorful antique lamp which the shop owner informs her is called ‘Flowers of Evil’. “How can something so beautiful be evil?” Jessica asks. This same question could refer to Emily, or her new home. The unearthly voice torments her: “I won’t go away Jessica…I’m in your blood”.

This is an abstract film of hazy, poetic logic. Nothing is spelled out, only suggested. How does Jessica—or, we, the audience--separate the supernatural from the machinations of the human mind? The film shows us that our minds are the source of all the phenomena we experience. Jessica’s unraveling psyche could make any evil possible. She ends the film broken, hopeless…adrift in a small rowboat…adrift in her mind. Maybe she is going insane; maybe she is the victim of dark supernatural forces. 

Is there any difference?

Cure (1997)

Who are we really?

By: JWBM

Day to day we see people make mistakes. Their thought process at that moment was off for any number of reasons. Sometimes the advice or suggestions of others comes to mind before we make our next action. What if there comes a time when said suggestion goes against all moral and common-sense judgment, yet you feel compelled to do it anyway? As we often find out, doing something is often easier than dealing with the repercussions. Though if it's grave enough—such as murder—we'll have to live with that short moment for the rest of our lives.

Detectives are baffled. A series of killings are springing up around town that look eerily similar, except for the fact that the person wielding the weapon of choice is different each time. Meanwhile, one of the most unassuming villains blends into crowds in broad daylight and leaves behind little trace. How do you stop a killer who's not your typical killer? Detective Takabe heads up the investigation to put the pieces together and attempts to make sense of something that might never make sense to the general public. Meanwhile his wife suffers from memory problems and possibly other psychological issues. The amount of stress on this man's plate is palpable. Due to his professional position and his unwritten cultural code, emotional outbursts are kept to when he can't take it anymore.

The story dabbles with the deep rooted causes for committing heinous acts, building tension between our day-to-day interactions with each other, along with mental health issues. It's simple in premise, but ultimately relatable. Other films might just use psychology and an overly dark looking mental health hospital as a backdrop to strike fear into the viewer. However, "Cure" takes on all of the mentioned with a different approach than your typical crime-thriller bordering on horror. This is by definition a slow burn. It's reminiscent of a throw back to the early '70s—minus the nostalgic sideburns and splash of colors—but before everything got all fast paced and went straight for the jugular. The director, Kiyoshi Kurosawa, has a knack for letting the camera sit and the viewer to ponder about the entire set, story, and characters' interactions. That includes mundane, everyday things that are often overlooked, but now spark memories of terror. As a result, the pacing is hypnotic. It starts out innocent enough, but after a period you may not notice that its influence goes from soothing, to an itch, to alarming pain.

This feels more show than tell at times. They leave you with enough for some explanations and possible angles, though it tends to play out more naturally. For instance, in everyday life we don't always get to see or hear behind every wall or door. Instead we go by the tone of the situation and feel things out. Even the score mostly goes for eerie, droning sounds that linger or grow in intensity in the background. It also includes some less common upbeat music when the atmosphere isn't walking with its head down in the shadows.

This is a film of patience. I can imagine it's not going to be for everyone, or even every situation when considering throwing on a movie. "Cure" presents an intriguing concept, and it delivers when the moment calls for it, that's for sure. Though it's like watching a pass to the touchdown zone in super slow motion. You've had enough time to know that the guy about to catch the ball has mismatched socks on, and the grass he's standing on might need a touch of fertilizer to maintain its bright green hue. The more time that gets stacked on, the more the story grows on you. It makes you that much more involved, and it makes your brain turn over several times to ponder the implications of the situation. By the time it builds up to its climax, this simple tale turns to paramount importance. Not to mention has a tendency to stick with you afterwards.


Rating: 8/10

Director: Kiyoshi Kurosawa
Actors: Koji Yakusho, Masato Hagiwara
Info: IMDB
Trailer: Youtube

Truth or Dare (2018)

Choices: there's only two that matter these days

By: JWBM

Spring break, Mexico: friends, beaches, drinking, sex, and a game of truth or dare at a local abandoned church. How could that go wrong? Soon enough, this group of pals and lovers with a penchant for booze and free time find out how serious this little game will be.

One of the most important aspects of any horror movie is its setup. It's like a comedian that doesn't get you to laugh in the first few minutes, how well do you think the rest of the experience is going to end up? "Truth or Dare" is a perfect example of a film that grazes over this key element in order to try and pick up the pieces later. This not only throws off the pacing, but it never fully recovers. It's like expecting to have the audience cheer for you at the end of the race, but starting out with your shoes untied. The story is far-fetched enough to begin with, though give this better direction and the audience might be right there with you to believe this supernatural force is attempting to make this group of adult-age friends play a deadly game of truth or dare. Instead it feels borderline silly, with odd CGI grins from the villains to put the final nail in the coffin.

The tone of the film is all over the place. It feels pieced together at times and somewhat erratic for where you're going to be taken. One moment they're attempting drama, to a forced scare, to some drum-roll worthy joke all in one scene. It makes all of this bickering between the two best friends over a guy not only abrupt, but nauseating to listen to. The plot at some point explains itself and then re-explains itself in simpler terms at a later point. Didn't we already have that conversation? As if they wanted to make sure your wavering attention span is still with them. Then this turns amateur, 21st century Scooby-Doo, where they must search out clues on Google and Facebook after their friends start dying left and right. Makes this feel like a simple TV movie, and not something you'd see on the big screen. It's like the writers weren't quite sure how to piece it all together. That or went back and attempted to edit the story by trying to appease everyone at the same time, while not actually appeasing anyone that well.

There are worse horror movies out there. This isn't the bottom of the barrel. But "Truth or Dare" is still mostly a waste of time. There are moments where the filmmakers catch your interest with a certain set up, plot point, or at another moment where one of the actors is giving this their best. But they are few and far between.

Rating: 4/10

Recommended instead: "Get Out," and "It Follows"

Director: Jeff Wadlow ("Never Back Down," "Kick-ass 2")
Actors: Lucy Hale, Violett Beane, Tyler Posey
Info: IMDB
Trailer: Youtube


And a bonus, things I learned from "Truth or Dare": 

7. You can easily just drove over to Mexico and back again.
6. Pretty young 20-somethings have ample time to do ample sleuthing.
5. It's never a bad time to say a joke or two.
4. Always pick truth.
3. Whenever a plot is re-explained, it's the editor's way of knowing their pacing is messed up.
2. Never go from drinking at a safe public place to a non-safe abandoned church, unless you're a licensed exorcist.
1. Alcohol is a catalyst for bad choices.

It Follows (2014)

A persistent, unshakable strangeness afoot

By: JWBM

Dreams have been written about since man first learned to jot down his first words. We try to interpret them, and even attempt to use them as motivation or inspiration. Some bring about good feelings, while others bring about bad when they warp our day-to-day reality. We always have that option to reset and wake up. What happens, though, when something in your life feels so strange it resembles a dream even when you open your eyes? You lay your head down, you wake up, and that odd sensation persists to the point of actually losing sleep. Or is it never actually waking up?

This film is incredibly ambiguous and also incredibly simple by design. It's not outright said, but it essentially feels like a rough outline of a nightmare of sorts. Though not as vague in premise as "Eraserhead," but also not as complex as "Nightmare Detective" concerning dreams. It shares characteristics of "The Broken" with its sense of paranoia and uncanniness. In a nutshell, a pretty, young woman is lured into having a curse overshadow her like a dark rain cloud that never goes away. It only drifts closer and closer—like a slow, inevitable shuffle—and eventually unleashes its fury with little to no warning or coverage in sight.

"It Follows" is chock full of atmosphere—and then some. Where it lacks the kind of enriching
dialogue and layer upon layer of story of other films, it makes up for in ambiance of the actual cool but creepy kind. You'll get treated with an abundance of these gorgeous wide-angle shots, to this feeling-the-moment style of soundtrack that uses anything from jarring sounds, to soothing electronic rhythms. The sets have a share of things purposely laid about from bygone years over anything outright from 2014. The way the villains are introduced—with some can't-shake-that-horrific-image-from-memory visuals—not only evokes terror for the character, but it seems to resonate to the viewer, too. With everything combined, the tone is effective enough to get under your skin and possibly end up in a dream or three of your own.

This isn't a thinking man's movie, but rather a tale that breathes more icy breath than it does enlightening words. It's subtle in how it plays on your senses in the moment-to-moment. It has a narrow vision, but a steadfast purpose; it slowly hooks you in to the point of everything else beginning to seem too far away to see or grasp onto. The tick-tock of the wall clock goes away, outside traffic ceases, and you're left with this growing, unexplainable presence all around you that keeps sucking you in to its strangeness. The experience is like having your senses kidnapped, then returned in a more horrible state than they were left in.

'I knew I had a few screws loose before, but my brain was a little less warped than that.'

There's violence at times, but "It Follows" isn't a blood filled movie. It's horror that plays on your nerves with a dash of paranoia thrown in for good measure. What's great about this setup, is normal, everyday things can't always protect you or make you feel safe. Such as sex, daylight, the police, being surrounded by friends, or even in the comfort of your own living room watching the tube on the ol' couch. The film takes relatable features, then inverts them into a weird, out-of-body experience. I've got to tip my hat to the filmmakers for their patience at setting their pacing up just right--or, oh so wrong, oh so wrong.

This didn't exactly re-invent the wheel. There's bits and pieces of past horror influences all over the place here. Though the mechanics of it are pieced together so well that it deserves a watch or two over some original pieces that tried and didn't live up to their own formula. It's tried and true and delivers the goods that the horror genre demands. Actually, some of the details are kept to a more hazy and round-about way, which I think works best here. It keeps the surface at a consistent atmospheric level, than having to hold the audience's hand for every minute detail, or even jeopardizing the flow with too many twists and turns. Next time you hear the scrape of feet too close, or see someone familiar that doesn't look all together there, you can thank "It Follows." That's their plainly wrapped, inconspicuous gift to you that may have a surprise waiting...

Rating: 8/10

Director: David Robert Mitchell
Actors: Maika Monroe, Keir Gilchrist, Lili Sepe
Info: IMDB
Trailer: Youtube

Happy Death Day (2017)

Nobody likes Mondays

By: JWBM

This is a tale about a normal day that turns deadly for a young, carefree college gal. For anyone else, they would be resting peacefully in the afterlife with an extra hole or two in their previous body. Though there comes the catch. She gets a reset: body back to normal; mind not the same. From there on out, that day—that initially started out like any other mundane Monday—turns into a battle to escape this recurring daymare.

"Happy Death Day" is not set up to be grab-my-heart scary, but instead plays out as fun and energetic. It's like a gateway film for someone who doesn't outright like the kind of horror that keeps you up at night, but doesn't mind a safe mix of mystery and suspense to take the reins. The film has a tendency to flirt with different tones throughout, whether that be light jokes, horseplay, or even venturing to light drama about reconciling. It's not a comedy like "Shaun of the Dead," but it's also not in league with balls-to-the-wall horror such as "Martyrs." It finds its home somewhere in a comfortable, don't-worry-about-the doors-being-unlocked middle ground. It's a well-packed feature that dabbles in the heres and theres without overly concentrating or being outright outstanding in either.

When this isn't being a homage to late '90s slashers with an emotionless, unwavering killer on the
loose with a memorable mask, the other side of this horror tale is a mystery. It uses the backdrop of "Groundhog Day" to replay clues to pick up on. This will make some repeating moments instantly annoying, while others—that are initially overlooked—turn out to be significant pieces to the story. It gives an element of attention to the film that would have otherwise just been a pretty girl being chased by a homely killer. The lead character, Tree—played by Jessica Rothe—does a decent job at carrying the many emotional shifts and turns this film takes the viewer through. She starts out as self-centered and unlikable—from signature eye rolls and sarcasm—to growing and adapting to the experience. It's very much a reactionary movie. One of those root-for-the-character films: the kind you could talk over and yell at the screen with a few rowdy friends.

"Happy Death Day" is an amusing, shameless movie that may get watched once and lost to the yesteryear. But that's the point. This is a slick Hollywood horror film that has all of the bells and whistles without bringing anything necessarily new to the table. The locations and shots are mostly on point. There's no grit or outright savage moments like you'd see in a typical pulse-pounding slasher. One scene easily and gracefully flows to the next. The movie is mostly safe, and you can count on it to be consistent throughout. There's a glaring formula, yes, but a formula that feels tight and worked through. If you're looking for something new that's more playful than it is challenging, this might be up your alley.

Rating: 6.5/10

Director: Christopher Landon ("Scouts Guide to the Zombie Apocalypse")
Actors: Jessica Rothe, Israel Broussard, Ruby Modine, Rachel Matthews
Info: IMDB
Trailer: Youtube

Death Sentence (2007)

Nothing more ferocious than a father with rage

By: JWBM

What we build up in this world is a fragile balance. We set up safe-guards, and make it our constant goal to maintain what we have built up for ourselves. As flesh and blood we are vulnerable. When we let our guard down, we're capable of being free and happy, but at the same time we leave ourselves open to danger and potential physical or emotional harm. When we're overly cautious, mistrusting or paranoid, we stand a better chance at being protected, but at the same time we are just existing till the next moment.

Being a loose adaptation to the second book of "Death Wish"—yep, the one made into a film with Charles Bronson all those years ago—the story and pacing doesn't waste much time breaking into it. I guess, the filmmakers—James Wan of "Saw" infamy—realized you've had years and years of sequels and similar spin-offs in the meantime to not trick you into thinking this is a new concept. What happens to this man's son is senseless and tragic no doubt, though the story doesn't dwell for long after said incident. Its main intention from the get-go is to break into some energetic action sequences where one seems to top the next. Kevin Bacon—playing the enraged father—doesn't get a chance to express a full range of drama, but gets down and dirty for a share of dynamic, high-octane scenes. What makes them unique is their sense of putting you in the moment. For instance, after years of getting spoiled with Hong Kong action flicks where the camera doesn't blink, the choreography is more important than the dialogue, and the actors don't shy away from a few bruised knees and broken arms, I get tired of seeing pieced together shots of other films with a gazillion takes. I'm looking squarely at you "Bourne Identity." Especially when the budget is through the roof.

"Death Sentence" is more a simple tale of revenge than going for the more complex, the-law-can't-help me route. It's essentially the emotional progression of grief turned to anger turned to blind rage. It's relatable in that it's what happens when we sit around and can't listen to anymore of our own thoughts and must seek out some kind of external answers through action. What happens after is purely cinematic, of course. Though what the character finds from this progression opens up a door to another shadowy world full of further grave possibilities that he may not have bargained for. Can the average man prepare himself for that compared to gang members that are practically born into it? Or police that are mentally and physically trained for it? He is a tad bit angry, which might help.

The story of "Death Sentence" is somewhat formulaic and straightforward. If you had more time to think during this white-knuckle, hair-blowing-everywhere ride, you might be bothered that the filmmakers just used the set up to get the gears greased with blood, while not actually outright saying anything profound on the subject after this many years. But don't let that stop you from checking this out though. It works in other ways. It delivers the goods either fast enough or stylish enough to set aside the thinking cap for another film that moves at a snail's pace. It's one of those tales where you need to suspend your disbelief from time to time. I mean, guy goes from behind-the-desk warrior to knife-in-teeth commando in no time. Police are practically no where to be found when needed and are always conveniently showing up after the fact. These are also your stereotypical bad guys, except that they look cool on screen with their knack for neat outfits and sweet rides. John Goodman plays a kingpin of sorts, who's health looks like it's on its last leg. He's an unlikable guy whose sole motivation is moola, and lots of it.

Could this kinda thing happen in its entirety? Probably not anytime soon. But it's at least entertaining till the last guy falls and someone has to clean up the mess.

Rating: 7/10

Director: James Wan (Saw, Dead Silence)
Actors: Kevin Bacon, Kelly Preston, John Goodman
Info: IMDB
Trailer: Youtube

The Road (2009)

We're more than the things we surround ourselves with

By: JWBM

In essence, our life can be broken down into a series of moments and stages. The situation now is just a state of time. It can define us, it can strengthen or weaken us; that, or it may even enlighten us, depending on what we're capable of, or how much power we have to persevere. The transitions from one stage into the next are the most challenging aspects we go through. One moment we have both hands free to kiss our loved ones, while at other times we have both hands behind our back and a splinter in our eye to see fully ahead.

In everyday life we are surrounded by other people and opportunities. The sun rises and sets, we can get jobs, and go to the supermarkets on the way home. When something upsets that balance, we must battle our minds still stuck in the previous stage to move ahead. Now, imagine you're in the worst of the worst situation that anyone will ever experience. The World as we know it is slowly crumbling. You look outside and uncertainty for humanity is on the horizon. Who do you turn to? How do you put one worn and unstable foot in front of the other? There's no crutch out there that will fully balance out your next journey. But here we are to live out our next—or last—days.

Over the years, I've seen my fair share of post-apocalyptic films. Even hung around with buddies and talked about how neat the what-ifs would be. "Dawn of the Dead," for instance, made abandoned buildings, brain eaters, and broken dreams kinda cool. It was scary and intense at moments, but you were free, you could shoot off guns, and life was a strange, new adventure. Once the credits finished, you could go back to normal. "Mad Max" had the awesome rides, plus the outfits you could never get away with wearing—well, that is until things turn into a free-for-all. You could be a hero, or join a gang. Both equally cool.

"The Road," however struck me in a different way during and after. It's genuinely bleak, it's nearly hopeless, it's not something you want to happen, even in playful thoughts at the back of your mind. It plays out more in a, "Wow, so that's what it would really be like?" kinda way. You want to vigorously shake the filmmakers and original author by the shoulders and ask them why they took this genre to this extreme. The movie does have some other qualities to it—more grave and serious thoughts to ponder on versus the typical backbone of an entertaining experience.

The premise is simple: a man and his boy hit the roads. Their hazy plan is to head south to get away from the cold, search for food and shelter along the way, and carry a bullet or two just in case they encounter someone who's not one of the "good guys." Hard to tell these days. This takes place when shit has hit the fan, and then trucks with reenforcement shit have shown up to pile it on more. There's also crazed lunatics that are saying screw the fan and just throwing it everywhere. But, guess, what? Who cares anymore? Who's to stop them? It's the equivalent of taking your average family and making them a seasoned homeless person for life with shopping cart and all. The only people left are those that are willing to do just about anything to survive. Anyone who's comfort level, such as the my-food-is-too-cold crowd, did not make it. Anyone who hesitates or puts their guard down for even a few seconds, did not make it, or will not make it for long.

Where the film excels, is it does a great job at self-reflection of what you have and where you're going. It's not outright said, but I couldn't help but feel that way. It's an odd experience watching it unravel as you look around and have adequate shelter, food/water, and security. Take it all away and what's left to fight for? Most of the story is about as depressing as a once happy family dog on its last leg, that just gets worse and worse, and you watch with pity and helplessness as all of the good memories start to fade and are replaced with the present deterioration. The man—as he's plainly called—still reminds the boy, "We have to just keep carrying the fire... The fire inside you."

This is humanity at its darkest hour: from loneliness, depression, murder, suicide, to cannibalism. It's not for the faint of heart. Though sometimes it takes some ugliness to see and appreciate the light. "The Road" has a certain dark poetry to it: from the actors that breathe life into these beaten down characters to the point of seeing them as none other than—Mortensen, as the Man, replaces the dimple-chin charm with a bearded, broken man in tatters—to the cinematography, which expertly shows settings that were once full of people and purpose, but are now just a series of lifeless machinery and wasting away material things. As humans we're more than the things we surround ourselves with. Some of us give up, others take the easy route, but the film—as dark as it is—seems to inspire a sense of near impossible challenge that few other stories come close to.

Rating: 9/10

Directed by: John Hillcoat (The Proposition)
Starring: Viggo Mortensen, Charlize Theron, Kodi Smit-McPhee
Info: IMDB
Trailer: Youtube