I think it’s important to state that Us is not Get Out and that’s perfectly okay. Not every movie can be a Get Out, an experience that was so refreshing, socially relevant, wickedly fun and dynamic that I immediately wanted to see it again and tell everyone I know to join in. Writer/director Jordan Peele shed his funnyman past and flexed his impressive genre know-how to make a knockout of a movie with an amazingly structured story, allowing all of the pieces to snap together with clever precision. It was my own second favorite film of 2017 and I was highly looking forward to Peele’s follow-up in the realm of what goes bump in the night. Don’t go into Us expecting Get Out. It’s not quite the sum of its parts and has some storytelling shortcomings that limit the impact of its visceral thrills. It’s an engaging horror movie, but it’s far more allegorical and far less tidy and satisfying.
The Wilson family is spending their summer vacation at a rental home in Santa Cruz, California. Adelaide (Lupita Nyong’o) and her husband Gabe (Winston Duke) are trying to enjoy a getaway with their children, teenage daughter Zora (Shahadi Wright Joseph) and young son Jason (Evan Alex), when strange coincidences keep occurring. This is the same beach town where many years ago Adelaide had a traumatic childhood experience getting lost from her bickering parents. Then one night Jason informs his family that there’s another family standing in their driveway. The Wilson family is hounded by mysterious doppelgangers, each a cracked mirror version of themselves. This new family wants what the Wilsons have and will use any bloody means to see that they get it.
Us is more a straight horror film and has plenty of excellent, terrifying, and smartly directed scenes to make an audience squirm in their seat. Peele has established in two movies a strong instinct for horror and how to expertly stage a scene. His camera is judicious in what it does and does not show the audience, holding onto moments to escalate tension and providing no escape for an eager audience. The majority of the second act is a home invasion thriller and these scenes and subsequent chases and escapes can be nerve-wracking. Each character has their own opponent and each has their own method of trying to outsmart or out maneuver their downtrodden doppelganger. I was getting plenty of Funny Games vibes, a movie I downright despise, but what it could have been if the creator actually cared about the inhabitants. The family and their bonding is a strong empathetic anchor for the audience, so we watch each member of the family battle a literal incarnation of their inner demons. Peele also assembles an effective collection of spooky imagery, from caged rabbits, to the slice of golden scissors, to a carnival funhouse, to even the nature of that 80s social event, Hands Across America. You can sense Peele’s love of horror and the entertainment value horror movies afford. There’s a strong central mystery to guide the narrative and the sense of discovery from Act Two onward keeps things fresh as we learn more and more about these doubles.
From a technical craft standpoint, Us has the upper hand over Get Out. This is a movie that wants to scare you and Peele has devoted great consideration into his artistic elements to achieve that key principle. Peele knows exactly how to craft a particular mood and what genre elements to pepper in and to what amount for the right response. The photography by Mike Gioulakis (It Follows) is evocative and makes great use of limited light to capture an eerie and unsettling mood. The musical score by Michael Abels is also exceptional, making the most of each heightened scene and doing wonders with a dark, operatic version of the chill 90s song “I Got 5 On It” by Luniz. It makes for a fun, frightening, and favorable film experience in the moment-to-moment sequences of build and release.
The performances are another strength, with each member of the family getting extra range thanks to their dual roles. Nyong’o (Black Panther, 12 Years a Slave) is the standout and emotional center of the movie. Her double is the leader of her clan and the only one that has the ability to speak, except speaking isn’t quite the right word. It’s more like the words escape her throat, raspy and without intonation. It’s an remarkable commitment on her part and she tries a lot of weird character tics, most of them work, from her herky-jerky to robotically possessed physical movements, unblinking eyes, and then there’s that voice. Duke (Black Panther) finds his footing as a comedic foil, starting as a corny but loving dad and thrust into a family defender that gets more and more tired of the horror movie nonsense he endures. The kids all do solid, effective work with what they’re given, seizing their moments. Elizabeth Moss (The Handmaid’s Tale) plays a bourgeoisie friend and has a fantastic moment with lip gloss that made me horrified and entranced all at once.
This is where the merits of the film start running into conflict with Peele’s muddled intentions and messy execution toward the finish. As I said, it’s far more allegorical in approach; meaning for the longest time it seems to be a film outside the bounds of literal interpretation. That’s fine since many horror films rely upon a heaping helping of metaphor for larger implications. I was prepared for Us to stay in this creative territory. Except Peele makes a late decision to squeeze his movie into a bizarre and distracting middle ground, where it feels like the metaphor is the real message, if you can decode it. Once you stand back and assess the full Us, it doesn’t hold together in allegory or explanation.
Even hours after seeing the movie, I cannot say whatsoever what the intended theme is for Us, and this really befuddles me since Get Out was laser-focused in this regard. Peele isn’t just cranking out fun, throwaway genre movies, he’s trying to make statements through horror and elevating the genre in artistic ways. Get Out postulated how being a black man in America was like living in a horror movie and a Stepford Wives-meets-Being John Malkovich commentary on the usurpation of minority agency and the commodification of black bodies. It’s not every day that a horror movie wins an Oscar for Best Original Screenplay, let alone deserves it, and Peele’s treatise on race relations was perfectly structured, each piece snapping together and better informing the whole, with setups and payoffs galore, and at its heart was its relevant message. With Us, I don’t really know what Peele is trying to say here. There’s a simple duality theme but that seems pretty weak and underdeveloped. There may be a have/have not inequality discussion but this gets into trouble in the final act (more on that below). I don’t think race even factors into the overall message, as a late turn reveals that the doppelgangers extend beyond our central African-American family. What is Peele trying to say with Us? I’m at a real loss and I’m trying to process that confusion and my own expectations.
This might have worked better had Peele not elected to supply a hasty sci-fi explanation for why things are the way they are, and in the process he strands his film in a contentious middle zone that tries to find a logical context to plant his allegory. I won’t get into what exactly the details of this explanation are but suffice to say it doesn’t really hold together and invites far more questions, each one picking apart the reality of the film, which disintegrates at an ever-increasing speed. How far-reaching is this conspiracy? What is the ultimate goal? How do these people think they will win? Why now? There’s also a big twist ending that should be obvious for anyone paying attention, but what makes this decision worse is not that it’s predictable but that it hardly sheds any new dimension to what came before. It doesn’t really change our reading of certain people because of the time it happened and so the big meaning is its existence as a twist. It doesn’t redefine the narrative in the way that great twists should. It might play into a larger thematic point except, as described above, that area is hard to ascertain. The last third of Us gives a sense of scope and rationale but the movie also loses its form, trading in dream logic and then trying to provide a new real world context that cannot hold.
Friends have already asked me whether Us is a good movie, and I’ve found myself saying, “Yes, but…” Peele’s follow-up left me with more questions than answers and a nagging sense of dissatisfaction that began to eat away at my otherwise good time in the theater. Us has some fantastic moments and tense scares but I cannot say what its muddled theme is, the hazy explanation doesn’t really work, and the overall intent left me perplexed. It’s an evocative horror movie with solid to great performances from a very game cast of characters. Given its more free-floating plot, it feels like the kind of movie that would hold together by a strong thematic core. I think most people will leave Us somewhat scratching their heads and wondering what it was all about, but not as an accessible puzzle to decode. It’s more a puzzle that doesn’t resemble the picture on the box and is frustratingly missing a few too many pieces to come together.
Nate’s Grade: B-
As a film critic, I feel compelled to write about Bird Box because, apparently, one third of the entire Internet is currently talking about this Netflix sci-fi horror movie. It’s about killer monsters that cause people to violently kill themselves upon sight. Netflix has reported that over 40 million customers have watched Bird Box in its first week of its streaming release, which basically means 35 million people likely fell asleep to Netflix and it started playing the new high-profile movie on auto play. I know people that love this movie. I know people that hate this movie. I know people who hate this movie with a passion and go into apoplexy trying to describe their disgust. Bird Box isn’t a movie worth strong feelings, both good and bad. It’s a fittingly entertaining movie with too many structural flaws, underdeveloped ideas, and diminished tension and stakes.
Malorie (Sandra Bullock) is trying to navigate the post-apocalyptic world of monsters. She’s traveling down river with her two children, all blindfolded. Meanwhile, she flashes back to the first few days of the monster outbreak when she found security in a stranger’s home until things went from bad to worse to murderous.
Part of the problem with Bird Box is that the monsters never feel that threatening because the hazy rules manage to defang them. Given the unknowable nature of monsters, I’m not expecting a textbook but some level of consistency that won’t rip me out of the film. The monsters are only a threat when you look at them, which is fine, except they cannot or choose to refrain from physically interacting with their human targets. I don’t know if this is a natural limitation, a choice, or simply anecdotal evidence that will be disproved. Just because the monsters haven’t done something yet doesn’t mean they might not be able to. Just because the monsters don’t attack anyone wearing a blue sweatshirt with a googly-eyed reindeer doesn’t mean this is standard. We see at one point the collateral movement of a monster chasing after Sandy and the kids, shoving trees and other forest vegetation aside. They do physically interact with the world; they just do not interact with our characters. This takes away much of the danger of these creatures. There’s one scene where a character is struggling to get indoors and, oh no, the garage door is opening. Look out; all he has to do is… continue not looking at the monsters as he was doing without effort. It makes me think of The Simpsons Halloween episode where the key to defeating killer mutant advertisements was not to look (it had Paul Anka’s guarantee).
The monsters also adopt the voices of loved ones, so survivors would start to learn from these experiences and begin to carry a deep skepticism about suddenly prevalent loved ones begging for blindfolds to be removed. Does this mean the monsters can psychically read the thoughts of human beings to know what voices to tap into? It made me think of The Bye Bye Man and its Bye Bye Man-induced hallucinations (“Is this cop’s face really oozing black blood through empty eye sockets, or is that you Bye Bye Man, you scamp?”). This is an interesting aspect that never feels fully developed, the mistrusting nature of the calls for help. Instead of adopting the voice of dead loved ones, I wish the monsters had chosen more judiciously. You could feature a sequence with someone genuinely calling for help and being left behind by Sandy because, in their blindfolded state, they cannot tell the difference in the authenticity of the speaker’s claims.
But what I kept coming back to is why can’t the monsters go indoors? This was a hurdle I could never fully get over because it cheapened the threat for me. As with any apocalyptic or viral outbreak, there is danger in having to leave the sanctuary, and there will be a need to gather supplies, but once you have a home base the monsters can’t enter, it loses a level of stakes. It makes me think of M. Night Shyamalan’s Signs where space aliens can travel the stars but cannot open a pantry door. Having limitations on your monsters is essential or else the threat will feel too overwhelming, but these limitations need to make consistent sense. The monsters in A Quiet Place had superior hearing but were essentially blind. The monsters in Bird Box are deadly to look at, will tempt you with auditory siren songs, but as long as one remains indoors and stays away from windows, you can live a happy and healthy albeit sheltered life of repose.
This is one reason why the story has to find a new threat that is allowed to venture into the safe spaces. There are certain people who seem immune to the suicidal impulses of the monsters. The screenplay by Eric Heisserer (Arrival) implies people who were crazy beforehand are unaffected, though what degree of crazy or mental instability is up to interpretation. These people worship the monsters and actively try to force others to look at them, to also be enlightened. This could have been an interesting addition to the world of Bird Box but it plays it too straight. These cultist people are just another obstacle, a group of standard movie crazy killers. I was hoping that the screenplay was playing coy with this subject and biding its time only to introduce this group in a more meaningful and manipulative fashion later. It never happens. They’re just crazy killers meant to enter buildings and pose a new indoors threat. Now you can’t trust anyone!
The structure of Bird Box constrains the overall impact of its story. The movie is divided almost equally between two different timelines, one shortly after the start of the monster attacks and one five years later. I was waiting for these two different storylines to inform one another, and they do in essentially superficial ways. We know in the future story that it’s only Sandy and the kids, so it’s only a matter of time before everyone in this house will end up dead. It also hurts that this segment is best described as “dime store Stephen King.” We’re stuck with a group of strangers who have all been given one note to play, therefore the extra time feels tedious because we don’t care about them or what happens to them next (sorry John Malkovich, Jacki Weaver, BD Wong, and others). Winnowing these extended flashbacks and sticking with the current day storyline would have improved the movie. There’s a more immediate threat and it presents a more intriguing scenario of being on the run and learning as we go about the monsters and the accrued survival tactics. I think learning on the run would be more exciting rather than conveniently finding refuge with a guy who explains everything because he was doing a book report on the supernatural and somehow knows the rules. This would also better hone the theme because the “before” of our before-and-after dynamic doesn’t establish Sandy enough as a disinterested mother.
Much of this could be forgiven or mitigated if the suspense sequences were engaging and smartly developed. I can forgive any nagging plot quibble with A Quiet Place (Why don’t they live closer to the waterfall? Why don’t they have a sound system to draw away monsters?) because the suspense sequences were brilliantly executed and highly unnerving. This just isn’t the case with Bird Box. There is one clever sequence that seems to capitalize on the possibilities of its sight-challenged premise. During the house half, the gang climbs into a car and uses its motion sensors and GPS to navigate a trip to the local grocery store for a supply run. It’s fun and decently staged. The inclusion of caged birds being a monster alarm is interesting until it starts to become more ridiculous. People never seem to listen to these birds and pay the price. The initial outbreak in the opening, with cars flipping and people flipping out, has a nice escalation into madness and chaos. The movie never quite recovers that same tense feeling. Watching people wander with blindfolds doesn’t make for great visual tension unless we see what they do not and dread what’s to come. Bird Box settles into a generic paranoia thriller about who can be trusted, and that’s even before the crazy cultists come knocking. Outside in the woods, the final act involves running to sanctuary, but without the killer cultists, it’s only running away from a thing that can’t touch them. It makes for a curiously inept climax and a sentimental resolution that feels unearned.
The arc of the movie is about Sandra Bullock’s character accepting motherhood and attachment to others but this theme is murky. She named her children “Girl” and “Boy” because she didn’t want to think of them as her own. This is the kind of thing that seems more symbolic and meaningful in theory than practice. She tells the children that in order to survive in this brave new world that they must be ready to cut another person loose at any moment. Attachments to others will get you killed, or so Sandy argues but not in deed. Because this storyline covers half of the film, the relationship she has with the kids feels underdeveloped but not by Sandy’s choice, by the filmmakers. If Sandy’s character arc was going to end at the destination of her realizing love is not a detriment even in a horrible, terrifying world, then we needed more time spent on this emotional journey, which is another reason why we could have used more time in the present-day storyline. A degree of self-sacrifice feels missing to better signify the theme of attachment and the emotional stakes.
I reiterate that Bird Box is not worth the strong feelings of love or hate. It’s got a wobbly structure where either half fails to better inform the other, the limitations of the monsters guts too much of the tension and stakes, and the actors deserve better. Bullock delivers a strong central performance and serves as our entertainment anchor. She makes the movie more watchable and does her best with some less-than-stellar expository dialogue. It’s enough to make you wish this movie was better and better realized with its spooky premise.
Nate’s Grade: C
Coming ten years too late, the inane sequel to The Strangers is a home invasion thriller that was so bad that I had to stop it five separate times to collect myself. It’s about a boring family that takes a vacation (?) to a trailer park (?) and is terrorized by mask-wearing strangers who insist on killing set to diegetic 80s pop music (?). Seriously, the music is part of the scene and these imbecilic killers almost have an OCD-level compulsion to have to listen to their kickin’ tunes when they’re kicking in heads. One killer literally won’t leave a car radio until he gets that exact right soundtrack. This is the only aspect of note in what is otherwise a thoroughly rote slasher film. At one point one of the killers is going to be unmasked and the film plays it up as great reveal? Who could it be? Oh, it’s nobody, because the anonymity is the point but the movie forgot. I paused this movie to give myself a break and only 20 minutes had passed! Here’s another example of the bad plotting: we have a teen girl kicked out of school for some rebellious, disciplinary action. Surely, you would assume, that in the final act, she will make use of this same skill to save herself, you know attaching a payoff to a setup. This never happens. It’s just one poorly executed attack sequence after another with nothing to offer but forced irony. It feels like random scenes that just stretch and stretch and it’s hard to even bother paying attention. The kills are lame, the suspense set pieces are dumb, and the attackers are boring. How the hell do these people get the jump on everybody? It’s like they can choose to make sound or not. Listen for the looming 80s soundtrack as a giveaway, people. The Strangers: Prey at Night is worth burying in the past.
A group of college friends spend Spring Break south of the border and stumble into a deadly game of… truth or dare? Blumhouse has spun gold out of just about any high-concept horror property but can it make Truth or Dare work? Here’s the truth: nope.
This is a powerfully dumb movie that caused me to yell at the screen several times, shake my head even more, and contemplate my own life choices. The entertainment level is related to every befuddling choice this movie makes, and it makes many of them. Take basic dramatic opportunities that it weirdly pushes aside. One character is gay and hasn’t come out to his father yet, so the demon-inhabited game dares him to come out. Rather than watch this genuinely dramatic moment play out, Truth or Dare has it all take place entirely off-screen. Hilariously, the gay student comes back and recaps the audience what they missed (“Yeah, I came out to my dad, and he said some things, and we’re good now.”). Imagine if an action movie did something similar (“Hey, yeah, so I jumped out of a flaming helicopter onto that skyscraper and then scaled down only using my pants as a makeshift rope”). That’s bad writing no matter the genre. Take another scene where Olivia (Lucy Hale) tracks down the old Mexican lady who supposedly started the curse. She gets there but is told by the granddaughter to wait outside. So she does. Then we cut to a later scene where the granddaughter says, “She has agreed to see you.” Why did we need that first scene denying them entry? If all it does it kill mere seconds in the running time, why is it even included? This scene also involves the granddaughter being coy when Olivia asks to speak to the old lady. She cut out her tongue long ago and the granddaughter knows this but is just being a jerk. These are basic storytelling miscues that Truth or Dare doesn’t seem capable of overcoming.
We must talk about these silly demonically possessed faces. Oh the faces. It looks like a bad Snapchat filter promotion. I am convinced some studio exec saw a Snapchat filter and said, “Hey, we can make a horror movie based on that” (Look out for the upcoming dogface filter horror movie in 2019). The faces are so dumb. They pinch into pained rictuses, big eyes, and triangular, pointy chins. It’s not a creepy image at all. It’s like a bad special effect trying to turn the cast into caricature. Then they even directly address it, as one character literally cites the look as a “Snapchat filter.” Don’t hang a lampshade on it, movie, and make us all realize that even you know how dumb and derivative you are. The accompanying scary modulated voice is also worth a hoot. The end credits even end on the demonic voice challenging the audience to a game of truth or dare. Joke’s on you, movie, because nobody stuck around for the end credits of this one (except for me). The faces are never scary, are always goofy, and always funny looking, and that’s all we get.
The scariest thing in Truth or Dare is the uproariously bad dialogue. These are actual lines of dialogue spoken in the movie: “The game followed us home from Mexico.” Oh? “We’re not playing the game, it’s playing us.” Uh huh. “I dare you to get on the pool table and show everyone your pool cue.” Oh, PG-13 movie, how naughty of you. “I know things have been a little Bette and Joan since Mexico.” No, movie, you do not earn referencing Bette Davis and Joan Crawford or even Bettie and Joan from Mad Men.
The characters might be as bad as the cringe-inducing, laughable dialogue. Our protagonist is kind of a terrible human being (spoilers to follow). Olivia is obviously in love with her best friend Markie’s (Violett Beane) boyfriend Lucas (Tyler Posey), blurts out her best friend’s cheating ways to the whole world, will eventually sleep with the best friend’s boyfriend (more on that later), and then also reveals a painful secret regarding her best friend’s deceased father, namely she is indirectly responsible for his death, suggesting he kill himself after he tried to sexually assault her. All of these abuses are targeted at her best friend, and yet she constantly keeps trying to say, “You have to trust me,” as if these cruel torments should be waved away. It’s so one-sided and directed at one person, her ostensible best friend, that it becomes comical. At one point Markie has a gun to her head and screams she has nothing left. “You have me,” Olivia says, and I wanted Markie to pull the trigger right then because this was after Olivia told her everything. Hale (TV’s Pretty Little Liars) has a fixed expression of confusion with her large doe eyes, which don’t require that much in the way of adjustment for the Snapchat filter face. I don’t think we’re supposed to care about any of these characters, including our eventual Final Girl played by Hale. I was rooting for the demon to bump them off in bulk.
The mysteries of Truth or Dare are exasperating and demand further analysis, which I will ably try and perform for you, dear reader. First off, the rules of this game are very sketchy and feel rather arbitrary. A demon will jump around participants but needs more contestants, like the Ring cursed videotape. Eventually more players will be roped in but the old players are still part of the game, I guess, which means there’s no escape. This all started because some demon was released from its containment pot at an abandoned monastery, and it just so happened there was a group of teens playing truth or dare. So the evil demonic spirit said, “Hey, why not?” and adopted the game as its own? What if they had been playing spin the bottle or “Head’s up 7 UP”? I am almost certain, given the cannibalization of the horror genre, there has to be an evil spin the bottle movie somewhere (a cursory Internet search found a 2011 film with the premise). I feel like the other demons at Hell High pick on this particular demon and with good cause.
When given a choice between answering a question and doing some dangerous dare the choice seems obvious. The game seems to know this as well, which is why halfway through the characters are not allowed to choose “truth” any longer. This seems like cheating. The game is called “truth or dare” and not “…or dare.” By removing the choice it stops becoming a game. Admittedly, most human beings will tap out of horrible truths to reveal after a while unless you happen to be a politician. After a while it will just resort to making people talk about their Internet search histories. When these people have to blurt out painful truths, why do they scream them? Could not whispering achieve the same results? There’s the question of what constitutes finishing a dare as well. Since one’s life is on the line, it’s important to see the dare through. There’s one scene where the game dares Olivia to have sex with her best friend’s boyfriend. I don’t know about you, but if somebody said, “an evil force says I must have sex with you or else I’ll die” it would be a real mood killer. Regardless, they strip off their clothes and take the wanton opportunity given to them (Her: “You’re just doing this because you have to” Him: “No, you do. I’m doing this because I want to”). Except in the middle of their coitus the dare demon returns and possesses Olivia, challenging Lucas to pick next. Has Olivia finished fulfilling her dare? What constitutes “finishing” when it comes to sexual congress? The dares also escalate to an arbitrary degree, often robbing the player of a real chance to see it through. When the demon dares you to kill one of two people and the previous dare was far less significant, then it feels like the movie is compensating for a lack of developing thrills. If I go, “I dare you to eat that cheese,” and then next, “I dare you to rip it out of your intestines,” it feels like too much too soon. Alas, demon party games and pacing.
Then there’s the would-be solution, which as you could assume also doesn’t make much in the way of logical sense. They can rope the demon itself into the game if they reach the hallowed spot where the game began and time things right. the demon has the ability to alter your vision and hearing, so it can already alter your reality to its whims to whatever ends it wants. When the rules are arbitrary and you’re dealing with a supernatural presence that flouts mortality, what good is any of this going to do? It’s like the kids from a Final Destination movie scheming to have Death killed by Death. This isn’t the only movie to offer false hope as far as defeating a supernatural curse, like with The Ring and It Follows. Actually a lot of the plot is similar to It Follows. Just watch It Follows.
Truth or Dare is a thoroughly entertaining and thoroughly bad movie. It’s not scary and it’s not effectively dramatic. It’s confusing and capricious and hilarious. And yet, it does find that ineffable groove to come across as something in the “so bad it’s good” echelon, something I wouldn’t mind watching again with a group of friends and some adult beverages at hand. Truth or Dare is this year’s Bye Bye Man. I dare you to watch it.
Nate’s Grade: D
I cannot overstate how much I simply hate this movie’s title, Blue My Mind. It bothers me so much. I have an antipathy toward puns as humor in general, but to name your movie a pun is a startlingly bad decision. Who let this happen? Who let a horror movie, without any sense of humor, have a pun-laden title? Whoever did this should be fired, and if it’s writer/director Lisa Bruhlmann, then she should have her final grade revoked (the finished film served as her thesis work for her film school). Blue My Mind is another in the burgeoning sub-genre of pubescent transformative features. The Canadians struck rich gory glory with the Ginger Snaps series where young women turned into werewolves. This Swiss movie replaces the werewolf story with a mermaid, which brings to mind an unsettling re-creation of Splash as bizarre body horror. It’s too bad that Blue My Mind feels like the first draft of its freaky concept and proves ultimately unsatisfying.
Mia (Luna Wedler) is 15 years old, the new girl at a new school, and anxious to fit in with the cool kids, chiefly the mean queen Gianna (Zoe Pastelle Holthuizen). Mia is also undergoing some very radical changes. She’s craving salt water, eating the fish out of her parent’s fish tank, and noticing that her toes are starting to merge together with webbing. She’s confused and angry and desperate to hide her secret from her friends and family.
In a movie built upon the concept of girl-turns-into-mermaid, you would think there would be a lot of creepy and fascinating body horror episodes. It would be the primary conflict and primary secret. For far too long with Blue My Mind, the mermaid transformation is kept as an afterthought to a docu-drama approach to rebellious adolescence more akin to a Thirteen than David Cronenberg. Horror has long been parlayed as a metaphor for the strange and confusing time of puberty, having one’s body morph and change against your will, feeling like an outsider, a freak. The coming-of-age model also works as a vehicle for some unconventional urges, as demonstrated as recently as last year in the visceral French horror film Raw, about a young woman finding her sense of self awaken with cannibalistic desires. Both Raw and Blue My Mind (the title still makes me hurt on the inside) function as sexual awakenings linked to monstrous appetites, both literal and figurative, that the women don’t know how to control or if they should even attempt to. The genre dabbing is what separates both movies from their ilk. This is what makes Blue My Mind all the more frustrating because the mermaid aspects are poorly integrated until the final 20 minutes, and even then it’s sadly too late. It’s like the filmmakers decided that their one unique element wasn’t so special after all.
The majority of this movie is Mia acting out to try and fit in with her new pals. They smoke, they skip school, they shoplift; they’re your classic bad influences that a typical bourgeois family would disapprove. Mia’s parents don’t understand why she’s acting out and what has happened to their little girl. There’s some tension over whether Mia is their biological child considering what she’s undergoing. This curiosity pushes Mia to investigate her family’s history but it too is left incomplete, another dangling interesting idea unattended. A solid hour of this movie is simply Mia sneaking behind her parents back, experimenting with her new friends, and testing her boundaries. It’s effective, though there are moments that hint at something more that’s never developed, like her sexual predilections that take on an extreme variety. There’s a scene where the girls trade choking each other out for an oxygen-deprived euphoric high. If I was being generous, I’d say it was connected to Mia learning to enjoy not breathing through her lungs and setting up a transformation for gills. But I’m not that generous. It comes across as a dangerous kink that tempts Mia but then is forgotten. Much of this hour hinges on the audience caring about the relationship forming between Mia and Gianna, and I couldn’t because I think the film was too indecisive on what Gianna represented. She’s not a terribly complex character but what does she mean to Mia? Is she a genuine friend, a figure of sexual desire, a cautionary tale, a rival? Blue My Mind seems to emphasize a sexual awakening for Mia and attaches Gianna as the recipient of those confused feelings. If these two were meant to serve as the key for audience empathy, we needed more scenes with them developing as characters rather than repeating rote rebellious teen hijinks.
When Bruhlmann does focus on the mermaid transformation, the film is inherently fascinating and consequently aggravating, as you imagine what a better version of this premise could have afforded. There is some wonderful makeup prosthetics to reveal Mia’s skin peeling from her legs, leaving behind shiny black gamines that reminded me of Under the Skin. When the boys catch a glimpse of her hidden physical afflictions, they assume she has some STD and slut shame her. She takes scissors and personally slices the membranes fusing her toes together, and I had to cover my eyes it was so squirm inducing. The final transformation is a bit underwhelming until you remember that this was a student film that managed to get an international release. The technical specs are very professional, especially the sun-dappled cinematography by Gabriel Lobos. Bruhlmann captures the internal feelings of her characters very well in a visual medium, relying upon Wedler to do a lot of heavy lifting that the screenplay refuses to perform. You feel her revulsion with herself and yearning for connectivity, something universal for every teenager struggling to claim their sense of self in an indifferent world. Fortunately Wedler is an impressive young actress that might break your heart, if only her character was allowed to open up to the audience better. It’s a movie that toys with ideas, moods, and purpose.
Blue My Mind is a story about a young girl turning into a mermaid against her will and the movie decides that this is a secondary story element. The implementation of metaphor in horror is a common storytelling device to communicate the horrors of the everyday. Throw in the coming-of-age self-discovery angle, as well as a sexual awakening, and it’s tailor-made for some strange transformations that excite and terrify the protagonist. It’s just that Blue My Mind takes its metaphor a little too absentmindedly. By putting the mermaid body horror in the background rather than the driving force, the film mistakes our interest and pushes forward a group of characters not ready to handle that level of scrutiny. I feel like Blue My Mind wastes the potential of its premise and the acumen of its actors. This movie could have been better and instead it settles for the familiar even amidst the weird and fantastic. Blue My Mind isn’t as bad as its painful title but it certainly won’t blue you away.
Nate’s Grade: C+
The idea of remaking Dario Argento’s horror classic Suspiria seems like movie heresy. How could any filmmaker attempt to come close to the Italian master’s original? Though that has not stopped Hollywood from remaking other horror classics of yore. Italian director Luca Guadagnino (Call Me By Your Name, A Bigger Splash) tempts the unwise with a new version of Suspiria, this time following the exploits of Susie (Dakota Johnson) in Cold War Germany as she is seduced by a private dance company lead by Madame Blanc (Tilda Swinton) that’s really a front for the occult. The new Suspiria is a worthy, splashy artistic endeavor but it suffers from too much airy meandering in the name of redundant atmosphere, vague and arbitrary plotting, and poor characters.
We’re told up front this is a story in six acts and a resolution but frankly the first two acts could have been completely eliminated. Their bearing on the overall story is minimal, but then I could say the same thing about much of the characters. Chloe Grace Moritz’s role could have been entirely cut. The majority of the story is strange things happening very slowly in the background of a dance school. The characters that do investigate aren’t our protagonists, which then traps us with people who know too much and won’t share, people who don’t know anything, and people who don’t want to know anything. It gets frustrating spending that much time with them, especially when the end destination (coven conspiracy sacrifice) is obvious even if you haven’t watched the 1977 original. I was told that Guadagnino edited an hour out of the final movie. How? What in the world was left out? It feels like everything they could have shot found its way into the finished film, whether it needed to be there or not. There’s an ongoing subplot about the Red Army Faction (a.k.a. Baader-Meinhof Gang) that we keep returning to as if there’s supposed to be larger relevancy. It’s a left-wing conspiracy that translated post-war anger into violence against the government. If I work really hard I can make a larger thematic connection to witches and women, but I won’t. With Suspiria 2018, it’s really just historical atmosphere that adds little but yet is returned to again and again. There is even a post-credit scene of a character doing something unclear while looking toward the camera. Why include any of that? It’s arbitrary and superfluous to the very end.
The new Suspiria toggles through three tepid lead characters: 1) Johnson’s new dance recruit, 2) Swinton’s artistic director at the school, and 3) Swinton in old-age makeup as a grieving psychiatrist trying to make sense of his life (yes, “his,” as she plays a man). Two of these characters matter in strict plot terms and only one of them are granted some degree of characterization. Susie is essentially an empty vessel who is extremely passive, going along with whatever she’s told (there is a reason for this but it falls under the category of contrived dues ex machina). There are hints of the connection she has to some occult force at play, but we don’t really see any transformation on her part because she’s so opaque to start with. Madame Blanc is the most interesting character, somewhat by default, but she only becomes that in the last third of the film when her personal feelings for Susie make her doubt how far she’s willing to go to achieve the coven’s goal. It’s the only character with a direct internal conflict that seems to matter to the story. The old man has no reason to be in this movie. By the end, it feels like the film has found a significant story reason for his inclusion, one that will actually produce some thematic relevance for Swinton also playing this role, but nope. He serves no purpose other than exposition and to hammer home a tangential historical context of generational guilt. There is a nice character moment between two characters in the resolution but by then it’s too little too late. Even this nice moment doesn’t really need to happen. I think the reason the film toggles between these three characters is even it knows you will get bored with them.
When the horror hits, that’s when Suspiria is at its most rattling. Watching a woman’s body betray her, one excruciating limb convulsion after another, culminating in her own jaw seeming to rotate out of her head, is wince-inducing and terrifying. The sudden jolts of violence made me gasp and squirm every time. This culminates in a third act that is heavy on blood and lunacy, so much so that it feels like the finale to another movie. If the proceeding two hours was understated, atmospheric horror, the last thirty minutes feels like the splatterific Sam Raimi Evil Dead 2. There’s an explicit campiness that feels at odds with the self-serious meanderings of earlier. There are also moments that cannot be described as any other word than “goofy.” There’s an ongoing shot of characters being dispatched in a very exaggerated and theatrical manner, and the fact that we watch thirty of these in a row just invites some degree of laughter. I know I laughed. The final act and confrontation is my favorite part of the film, delivering some long-sought vengeance, but it feels like a different movie. It’s also where Guadagnino’s “put the camera anywhere” stylistic approach betrays him. It’s hard to tell what exactly is happening on a literal level, let alone understanding it, and that’s not even taking into account the muffled sound design of several characters when they hoarsely whisper aloud whatever.
I would be more forgiving if the new Suspiria had not been as exasperatingly long, a full hour longer than the 1977 original. Long movies only feel long when they haven’t fully engaged you, and there are generally only so many ways to keep an audience’s sustained attention and investment. I understand wanting to allow a movie to breathe or wanting to create an uncertain atmosphere of intoxicating dread, but there has to be more than that. There’s also what I’ll affectionately coin the Nicolas Refn Trap, meaning where all of that breathing space ultimately exposes a lot of empty indulgences and vamping. Suspiria 2018 falls into this trap too often; there simply isn’t enough of anything to spread over those 150 minutes. The odd comparison I would make is to the notorious 1980 Western disaster, Heaven’s Gate, a movie I watched for the first time two years ago and actually appreciated. Let me be more specific: I appreciated the 100-minute very good movie somewhere inside there suffocated by the artistic excesses and peculiar and mercurial artistic demands from its uncompromising director (the man refused to shoot anything for ten hours until he got a cloud positioned exactly where he wanted). I’m convinced there’s a potentially great movie in Suspiria but it’s going to require a lot of excavation to allow it to see the outside.
I was interested in re-watching Argento’s 1977 original for the first time in years, and some things have aged better and some things have aged worse. Argento is a first-class visual stylist and his famous use of color makes the cinematography often beautifully horrific as young women are terrorized. There is even less plot than I remembered, a series of surreal murders finally leading to the obvious reveal of the dance company being a coven of witches. The characterization is even thinner than the thin 2018 film, which means that Guadagnino and company had a lot of room to roam when it came to their grandly grotesque remake. Argento’s film is a remarkable example of the immersive power of the screen, with his gorgeous use of light and color, production design, and a pulsating score that is perhaps a bit too omnipresent and anxious. There is one reoccurring musical sting that sounded precisely like the beginning of “Footloose” and it made me laugh every time, imagining Kevin Bacon dancing through the hallways. It’s a testament to the transcendent power of style when done by a first-rate stylist, and it works so far as to create a nightmarish, oppressive atmosphere. However, that eerie atmosphere and technical craft are about all the original Suspiria has to offer since there is a gnawing scarcity when it comes to characters, structure, and story. That makes the 2018 Suspiria a little more confounding. While it clearly works as an homage to Argento it’s also radically different, and yet it still manages to also have underwritten characters and bad storytelling choices even when it could have ditched the original’s original sins. At least Argento’s version is only 90 minutes and a lot easier to watch in one sitting.
The Suspiria remake was clearly a labor of love and not a soulless paycheck for all those involved. The technical craft is accomplished, and even though it lacks the vibrant colors of Argento’s original the cinematography is still highly evocative and unsettling. Guadagnino has put a concerted effort into making his movie operatic, lavish, and radically different from the source material. I think it’s different yet reverent enough that fans of the original will find something to enjoy as the film asserts its own identity. And yet the moody atmosphere is undercut by the shortcomings of the characters and the contrived nature of the overly padded and meandering plot. The more I think back on the movie the more it falls apart under further scrutiny. Suspiria is a tonally confused movie that doesn’t have enough substantial material to fill out its gargantuan 150-minute running time. There will be blood but what there needed to be was a more judicious editor.
Nate’s Grade: C
It’s been 40 years since the original Halloween changed the horror industry. That is no overstatement. The low-budget 1978 movie by John Carpenter was a box-office sensation and ushered in a decade-plus of bloody slasher cinema. It’s even been 20 years since Halloween: H20, which was a 20-years-later sequel bringing original scream queen Jamie Lee Curtis back into the mix. It’s now been another full H20 of time since that film, which makes me feel old, personally. Rob Zombie revived the franchise in 2007 with a back-story for methodical killing machine Michael Myers that nobody asked for (surprise: his family life was not great). Now an H40 later, director David Gordon Green and actor/writer Danny McBride have revived the franchise by going back to its roots, namely by ignoring all of the seven sequels and bringing back Curtis yet again. The new Halloween 2018 edition is a strange experience for fans. The first half feels like an elusive parody of the franchise, and then the second half drops comedic pretext and becomes much more serious and straightforward. As my pal Ben Bailey said, I can understand people hating this movie or loving it depending upon the half they focus on. This new Halloween ends on a high note but still could have been so much more.
In the decades since the original murders on Halloween, Laurie Strode (Curtis) is living a hermetic life. She’s never fully recovered from the events of her traumatic youth, and so has been preparing intensely for Michael’s eventual return. She rigorously trained her own daughter, Karen (Judy Greer), for self-defense to be a survivalist, locking her in the basement and training her with an array of firearms. Laurie thought she was drilling her daughter to be strong and a survivor, but the state had other interpretations, and so Karen was removed from her mother’s home and grew up resenting her oppressive, paranoid mom who took away her childhood. Karen has forbidden her own daughter, Allyson (Andi Matichak), from interacting with her crazy grandma, but both find ways. Michael Myers breaks loose from a prison transport and is heading back to Haddonfield with a mission to find and kill Laurie. They’re on a collision course H40 years in the making.
Let’s focus on that peculiar first half first. There were several points that made me shake my head and wonder if they were trying to be subtlety tongue-in-cheek or bad on purpose, and because of the pedigree behind the project, I had to give it the benefit of the doubt, but to what end? Why skewer horror tropes in a subtle way that could be construed as simply being bad instead? Why even do it for this franchise and then mostly drop it by the second half? There were several moments where I had to laugh and I wasn’t fully sure it was intended. This was my dilemma watching Halloween 2018 and I’m sure others will have a similar experience, scratching their heads and wondering why the movie is going the route that it is. Take for instance the horror trope of the bad babysitter. We have another situation where a nubile high school girl is going to invite her boyfriend over for some late-night action, nodding to the 1978 original film. Except the kid being babysat sees through everything and calls out his babysitter. He’s a street-smart kid who speaks with the voice of the knowing participant, like when he tells the boyfriend that he will die if he goes upstairs (spoiler alert: this kid is prophetic). There’s a string of kills that feel perfunctory, like the filmmakers have noticed that too much time has passed and have to satiate audience bloodlust to buy them another ten or so minutes of setup and characters. The kills themselves are lackluster. Even the gratuitous nudity is fleeting, confined to a quick flashback relating to young Michael Myers spying on his big sister (one of these days a slasher movie is going to be replete with wall-to-wall male nudity and no boobs just to mess with its target audience). There’s the trope of the ineffective police officer. After finding out Michael Myers is on the loose, an officer bluntly says, “What are we gonna do? Cancel Halloween?” The answer is, yes, you cancel the trick-or-treat activities for the town where this guy is clearly heading and you adequately warn the populace. You ask for assistance from anyone with a cell phone to broadcast the whereabouts of fugitive Michael Myers. The guy is pretty large and easy to spot, plus he’s not that traditionally fast. A citywide digital manhunt might have made for a more interesting movie premise with some genuine cultural commentary.
Or take for instance the stupid side characters meant to be fodder for the merciless kill count. The movie mysteriously gives these disposable characters little one-minute asides to present a glimpse of another story that we’re just not privy to. There’s the little kid who doesn’t want to go hunting and wants to be accepted by his father as a dancer. Okay, that’s a more interesting conflict than I thought, and then the dad immediately stops at the site of a bus crash with wandering chained inmates and says, “I’m gonna check this out, stay here.” It’s like Green and McBride gave us one page of characters from an indie drama and then had them smash back into idiotic plot devices making the most headache-inducing decisions. Another instance is a pair of cops debating over adult meals and bread. I appreciate the effort to try and flesh out the characters in a way that makes them feel more real, but then they have no larger bearing than being the next in a line of victims. There are other strange reminders that things just aren’t exact with the movie, at least for the first half. It’s this curiously overwrought, off sensation that keeps the audience from fully engaging, being told to possibly laugh with or at the movie.
I also think the film is fundamentally flawed in its approach, namely by elevating Laurie’s granddaughter as a co-lead. Allyson is too removed from the situation to give an interesting perspective, so she becomes any other teenage heroine we’ve seen in scores of slasher cinema likely meant to appeal to a teenage ticket-buying audience. The real conflict and the real story is the relationship between Laurie and her estranged adult daughter. There is so much drama there to unpack and the movie would be far better had the filmmakers eliminated the majority of the extraneous characters and focused on these two women and their decades-long acrimony. Get rid of Allyson’s boyfriend, who gets way too much screen time to simply be jettisoned without resolution (his lone purpose seems to be disposing of her cell phone). Get rid of his friend, a supposed “nice guy” with his own entitlement issues. Get rid of the babysitter friend and her dumb boyfriend. Get rid of the cops. Get rid of the Doctor Loomis prison doctor replacement, nicknamed the “new Loomis.” Get rid of them all, including Allyson. I would have preferred Allyson being murdered in the middle of the second act as a means of raising the stakes and forcing Laurie and Karen together again. This is very much a PTSD film about the long ramifications of trauma and how it affects multiple generations. I would have loved seeing that play out in the interplay between Laurie and the daughter that she pushed away in an attempt to save her life. There is so much palpable drama there that I’m genuinely shocked how little Karen figures in Halloween 2018. It’s such wasted dramatic potential as well as a better focal point for the movie.
It’s the second half, and in particular the third act, that saved the movie for me. The finale is everything fans would want, transforming into a surging siege thriller built around Laurie’s well-armed abode. It’s here where the movie becomes a multi-generational fight to the finish and the Strode women must team up to fight the man responsible for the long lingering trauma that has defined their lives in innumerable ways. It’s a climax that feels elevated by the pull of history, and it’s terrific and terrifically satisfying. Watching Laurie stalk the house in search of Michael Myers, going from room to room and locking them down, is the first actually nervous sequence in the film, benefiting from the investment we have in Laurie as an avenging figure. It’s during this sequence where Curtis (Freaky Friday) and Greer (Jurassic World) remind us what wonderful actors they can be. It made me wish for my more realized version of the two of them and their relationship even more. This is where Green (Stronger) also demonstrates his best sense of geography and escalation. Beforehand there are a few nifty tracking shots, paying homage to the opening of the original, but they’re self-contained, congratulatory moments. It’s the finale that made me realize what this movie should have been from its first frame. Lucky for Halloween 2018 it ends a high note (excluding the cliche post-credit revelation).
The newest Halloween movie has lit up the recent box-office charts and ensures this won’t be the last we see of Michael Myers and potentially old lady Laurie Strode. That’s kind of a shame because Green’s movie serves up a fitting finale for the series that could work as a capper for Laurie as a character and a survivor of trauma. But alas, the ringing of cash registers will be enough to extend the franchise and carry on more blood-letting adventures for the man in the William Shatner mask. Halloween 2018 starts off fairly rocky with a question concerning overall tone and intent. There’s humor that feels grafted on from other parallel reality versions of this story, somehow blurring together into a weird final product. The second half works much better than the first when it stops cracking wise and takes itself seriously enough to realize where the real drama lies, with Laurie facing down her demons and working together with the women of her family for maximum vengeance. Watching three generations of Strode women fighting together is a triumphant conclusion. It’s a shame that it won’t actually exist as a conclusion for that much longer.
Nate’s Grade: C+
Mandy is a gonzo, psychotropic mood piece that will infuriate some, test others, and delight a select audience that responds enthusiastically to atmospheric indulgences. Set in the 1980s, because of course it’s the 80s, a logger (Nicolas Cage) and his titluar girlfriend Mandy (Andrea Riseborough) have a bad run-in with a small cult. Their leader, Jeremiah Sand (Linus Roache), declares that the god of the universe told him he is entitled to everything, and he picks Mandy. Bad things transpire and Cage is left for dead. He sets off on a quest for vengeance against the cult and a fetish-clad biker gang they employ as muscle, and in the process he might be going insane.
So what kind of movie is Mandy? There really isn’t a plot here so much as an immersive experience of fever dream imagery with a loving yet detached nod to its cultural influences from the 1980s, heavy metal music videos, Heavy Metal magazines, heavy metal album covers (sensing a trend?). There is the bare bones of a plot here, a revenge formula, but it’s really more about the moments and the feelings that writer/director Panos Cosmatos (Beyond the Black Rainbow) is trying to communicate through the screen. He’s another disciple of the Terrence Malick/Nicolas Winding Refn School of Filmmaking, ditching the story details for a visually immersive and hallucinatory sensory experience. The problem with these kinds of movies is that you either check into that wavelength or you don’t. I know that sounds like an oversimplification, as all movies either engage or disengage, but because the story and characters are so minimalist, the opportunities to click with the material rely entirely upon the moody atmosphere and creative execution.
Mandy is overwhelmingly a campy revenge thriller that celebrates the unique Cage-ness of Nicolas Cage’s more unhinged, bizarre performances. This is a movie that asks Cage to go the full Cage, and that can be a beautiful thing. There’s a knowing campiness to the whole exercise that doesn’t feel condescending. It’s not making fun of the onscreen antics so much as it is celebrating the artful absurdity. This is the kind of movie where there’s a chainsaw-on-chainsaw duel and it’s awesome. This is the kind of movie where every patch of woods has a blast of fog to make it feel like a dark fairy tale. It’s the kind of movie where the practical gore effects are stomach churning and memorable. It’s the kind of movie where Cage lights his cigarette from the fire of a decapitated head. It’s a movie where Cage goes on a journey where he transcends into the mythic. He is no mere mortal by the end; he is the mythic figure of vengeance. The man doesn’t just find his foes to foil; he has to first construct his own metallic scythe straight out of a fantasy adventure. Cage is fully aligned with the bizarre and eerie primal nature of the film. His crazed intensity is matched perfectly with the overwrought atmosphere and villains. There are moments where his bug-eyed stare or maniacal laughter will give you chills. He has one sequence that’s petty much non-stop screaming on a toilet as he tries to process shocking grief. It’s a performance that asks Cage to be unrestrained and tightly coiled at parts, relying more on physicality and intense looks than dialogue. For fans of the ironic and sublimely weird Nicolas Cage, Mandy should be a deranged delight to hoot and holler.
However, there’s really no entry point for a viewer if they do not celebrate the campy, gonzo, detached atmospherics of the film. Walking out of Mandy, I told my friends that it needed 20 percent more plot and 20 percent less movie. There’s no reason this movie needs to be over to hours long, especially with its threadbare plot. It takes far too long to get going, with the cult attacking Cage and his girlfriend at the one-hour mark. The second half has improved pacing but still takes its sweet time too. Cosmatos seems to favor a dreamy sense of pacing, so instead of, say, ten seconds of watching Cage’s pained reaction, we’ll get 30 seconds. The self-indulgence has a way of making the artful intent redundant. Did we need those extra 20 seconds to really feel the full artistry? Or, perhaps, could Cosmatos have used all the extra time saved from collectively trimming the excess moments and diversions to better develop the characters and story? The other problem with diverting the majority of the attention to atmospherics is that the eventual comeuppance of the cult lacks a full sense of satisfaction. If we don’t get to really know the cult members then we won’t feel the rush of catharsis when they are dispatched. I talked about this very topic with my review for Peppermint, another revenge thriller with inherent structural problems that mitigated audience payoffs. The revenge formula is a simple thing and engineered to deliver payoffs. Here are two September releases that fumble that formula, although Mandy places less importance upon it. Most of these cult members are given a look, at best, which makes them interchangeable and disposable. Jeremiah Sand is an intriguing, hilarious, pathetic creature, and so the final showdown proves satisfying and somewhat revelatory, as his ego-driven bluster transitions quickly to pleading and bargaining and abject fear. It’s a fitfully climactic moment but did we need two hours to get here? There’s a better 90-minute movie trapped inside here, subsumed and suffocated by Cosmatos’ love affair with his influences and indulgences.
This is also sadly the last score from composer Johann Johannsson, who passed away in February of this year. He was an eclectic creative voice whose musical abilities were diverse. He could create a thundering score that felt like an incoming army, like with Sicario, or a soaring melody that could lift your spirits, like his Oscar-winning score for Theory of Everything. With Mandy, Johannsson relies upon those 80s metal influences and produces a sonic landscape fitting for Cosmatos. The score is kept at a rumble that accentuates the nightmarish qualities of the visuals. To the end, Johannsson sought unconventional methods to give voice to his movies.
Mandy is a crazy, dreamy, moody movie heavy on brooding atmosphere and light on story and characters. If you can hop on its wavelength, Mandy will prove to be a gonzo good time. If you can’t, it’s going to be overly reverential to its cultural influences and laboriously long. I fall somewhere in the middle. I’m not a fan of most Refn movies because I feel like they fall into the trap of emphasizing pretty yet hollow imagery. The ideas don’t tend to go as deep as the filmmakers think they do, and I grow restless for more. Mandy needed more time spent giving greater shape to its world and narrative. This criticism may sound unfair given the nature of the film (do you ask for the details of a dream?) but I feel dismissing its lack of substance is a step too far. Mandy is essentially a dream with hazy plotting, vivid imagery, and intense feelings, but it can wash away upon waking. I left my theater torn over the movie, wanting to celebrate its artistic vision and weirdness while also wishing there was more weirdness and more of a vision.
Nate’s Grade: B-
It’s amazing to me that The Conjuring series has become a literal billion-dollar franchise and in only four cost-effective movies. Rare is the film franchise that births spin-offs so readily, but The Conjuring has already introduced two Annabelle movies, one Nun film, and an upcoming Crooked Man feature. It’s almost as if any supernatural creature given a minor spotlight in the James Wan-produced series is destined for greater things. It’s like the Conjuring universe is a pipeline to stardom for America’s next big malevolent demon. I’m thinking the Conjuring 3 could spend 30 seconds on some tall tale about a haunted plunger and it would be spun off into its own franchise within a year, tops. The Nun is the fifth film in the series, the second spin-off film, and probably the movie with the least amount of narrative substance given its starting material. It’s a mixture of old horror staples and exorcism mumbo-jumbo, and it’s also not half bad.
In 1950s Romania, a small abbey is being haunted by an evil presence that had been confined behind a door that ominously warned, “God ends here.” A nun has committed suicide under mysterious circumstances. Father Burke (Demian Bichir) is called by the Vatican to investigate the strange happenings. He teams up with a local nun-in-training, Sister Irene (Taissa Farmiga), and a traveling merchant Frenchie (Jonas Bloquet) who first discovered the dead nun’s body. The sisters inside the abbey are behaving oddly and it’s not long before our characters realize they’re trapped in the abbey with something wicked looking for a human host to escape.
There’s not really much to the plot of The Nun so the emphasis comes in the realm of atmosphere, unsettling visuals, and unnerving set pieces. The investigative process with our priest and nun-in-training doesn’t amount to many revelations, and the information won’t be new for the audience considering this specific demon Valak has been seen in two other Conjuring-related movies now (maybe three?). It becomes a haunted house thriller and, like the earlier and much ballyhooed Hereditary, a movie of moments. So your mileage will vary depending upon how affected you are by the atmospherics and imagery. With The Nun, I felt like the visuals were built upon more rigorous Catholic religious iconography and a foundation of decades of accumulated exorcism film imagery. Plus the very design of the titular nun is just super unsettling by itself, let alone placed in a spooky setting with spooky lighting. Director Corin Hardy (The Hallow) finds visually pleasing and distressing imagery that he emphasizes for better effect, like a team of faceless nuns standing in formation, or a tormented boy with a snake that slithers out of his screaming mouth. It’s not subtle in the slightest but credit for not relying upon an inordinate number of jump scares for its chief spooks. In the realm of schlocky horror, The Nun is actually a little restrained when it isn’t being ridiculous, but it’s the kind of ridiculous that makes you laugh and anticipate the next scene rather than check your watch. Again, your mileage will vary, but I enjoyed the theatrics and imagery more than the overrated Hereditary.
This brings me to the biggest head-scratcher in the movie that would have seemed designed to ensure audience investment. I had no idea Taissa Farmiga (TV’s American Horror Story) was going to be in this movie let alone the co-lead of the movie. As soon as I saw her face I leaned forward, newly intrigued. My working assumption was that the younger Farmiga was going to be the prequel version of the character played by her older sister, Vera Farmiga (yes, they’re sisters and not mother/daughter). Suddenly this made her character that much more interesting and created a direct connection from the events of the nuns to the larger Conjuring universe, providing a back-story for the Warrens to lean upon. It also allowed me to transfer my feelings for the character onto Taissa Farmiga, making me care far more about her well-being as she creeped around dimly lit corners than if she had been any other woman in a habit in a bad place. The fact that The Nun had so effectively hidden Taissa Farmiga’s presence from the marketing made it feel like an intentional surprise, something to let the audience know the filmmakers weren’t skating by. It raised my opinion of the movie and my enjoyment from scene-to-scene.
And then I found out Taissa Farmiga’s Sister Irene is a separate character from Lorraine Warren. Huh? Of all the young actresses in the world to select, choosing the literal younger sister of Vera Farmiga, who looks strikingly similar, feels far too intentional to be coincidental. Why isn’t she just the younger version of Lorraine Warren, setting her up for a life of hunting the supernatural after this formative experience? She’s even presented as a nun in training and not a full-fledged bride of Christ. Even the decades in age difference would add up. It’s not like you’re playing that close to the facts of the case when it concerns the Warrens who, by modern accounts, are considered frauds by many. Come on, James Wan. Come on Conjuring universe. What are you doing here? The solution was right within reach and you deliberately ignored it.
The Nun is a moderately entertaining movie subsisting on strong production design, exorcism iconography, and solid performances from capable actors. It’s not really more than the sum of its parts but, for me, there were enough effectively creepy moments and punchy images that won me over by the end of its 96 minutes. If you’re a fan of the Conjuring series, or particularly demonic possession/exorcism movies, then you’ll likely find enough entertainment to be had, even if the filmmakers absurdly decide not to have Taissa Farmiga play the younger version of an already established central character. Was this a late-in-the-game rewrite to absolve her of her connection to Vera Farmiga? I’m happy for anyone connected to the production to contact me and clear this up (after my surprising conversation with a key creative on Sherlock Gnomes, I’ll just start openly asking for clarifying correspondence from Hollywood filmmakers now). The Nun in essence does just enough to be silly or scary when needed and possibly worth a watch for horror fans. Now about that haunted toilet plunger. I may have a pitch ready if you’re open to it, James Wan. After all, what’s scarier than a broken toilet?
Nate’s Grade: C+
If you’re a fan of slow burning Gothic horror, the kind where characters wander slowly inside ornate and empty houses investigating various noises, then The Little Stranger is the movie for you. It’s about a laconic doctor (Domhnall Gleeson) inserting himself in the lives of a wealthy family who has fallen on hard times, their once glorious estate left to wither in post-WWII Britain. The family is convinced the spirit of a dead little girl haunts their estate and has its ghostly sights set on destroying the last vestiges of their bloodline. It’s a ghost story by design but the supernatural elements get placed on pause for long stretches. The rest of the movie is a restrained romance between the doctor and the introverted and awkward lady of the house, played by Ruth Wilson (TV’s The Affair). In reality, the doctor is more infatuated with the house than the people inside, fondly recalling his early obsession from childhood. It’s easy to see why. The house, and its exquisite production design, is enchanting. At points it feels like the movie has to remember that it’s a ghost story or a mystery as it shifts narrative tracks. The Little Stranger is a movie simmering in eerie atmosphere and is pristinely directed by Lenny Abrahamson (Room), a man proving how readily he can adapt his artistic style. For a good hour, I was on board with the movie and enjoyed its patient, controlled buildup. It’s practically the opposite of the more visceral horror set pieces we’ve become accustomed to. By the end, I was unsure whether the somewhat ambiguous ending justified the time and path taken to get there. If you don’t have a healthy love of Poe-styled Gothic horror, you’ll likely be restless as you watch understated, refined, restrained British family going through understated, refined, restrained drama.
Nate’s Grade: C+