yoshimasu_k Reviews

I Saw the TV Glow (2024)

A surreal coming of age tale that lingers days after watching

[10/10 · 8 May 2024]

We aren't even halfway through the year yet, but I can't imagine another 2024 movie topping "I Saw the TV Glow" for me. It's a surreal coming of age tale - definitely NOT straight-forward, in-your-face horror - that will likely be a "love it" or "hate it" due to writer-director Jane Schoenbrun's bold and distinct vision. It's obviously a "love it" for me, as I found the film moving and near-perfect on every level.

If anyone's feeling hesitant because of Schoenbrun's micro-budgeted directorial debut, "We're All Going to the World's Fair," "TV Glow" is completely different stylistically and in its scope. I appreciated "World's Fair" as a directorial debut and thought it had strong moments, but it ultimately fell short for me. HOWEVER, watching it did make me excited to see what Schoenbrun would do for their next film!

While "World's Fair" felt mostly grounded in reality (or maybe a somewhat augmented reality due to the character's downward descent into their online world), the uncanny and hypnotic are more present in "TV Glow." As I mentioned, this isn't a straight-forward, in-your-face horror movie - it dabbles more in the Lynchian approach of slow-burn nightmares that leave you unsure of what exactly you just witnessed. The focus, though, is mostly on our protagonists and their individual and shared journeys of loneliness, dysmorphia, and the horrors that spawn from such damaging states of mind.

Also, I can confirm (without spoilers) that this is NOT based on that one creepypasta about the mysterious children's TV show, "Candle Cove"! The movie does center on a TV show for young people, but the type of show it is and its role in the characters' lives are much different. While that creepypasta has a great and terrifying twist, this movie's characters' relationship with "The Pink Opaque" is one of obsession, nostalgia, and realization.

Lastly, "TV Glow" will likely PISS OFF viewers that cry "WOKE" at every instance of diversity or inclusion - and that is ALWAYS a PLUS in my book! What they're really complaining about is the fact that different people and communities are having more and more movies about them. I know, this review kind of went off track... the only thing left to say is: They'll be fine with "The Beekeeper", "Argylle", "Fall Guy", "Boy Kills World", and a slew of other Hollywood movies representing them in 2024 and beyond. Meanwhile, unique and necessary voices like Schoenbrun's can simultaneously exist and we're all better for it.

Living for the Dead (2023– )

Not watching for ghosts - watching for the squad!

[9/10 · 21 March 2024]

The true heart of "Living for the Dead" is the squad - their personalities, interacting and connecting with people, and of course how they react to creepy occurences!

Ghost hunting shows aren't my thing, so I just suspended my disbelief for the paranormal investigation scenes and enjoyed the ride. It was fun to see the different devices, but the spookiness exists more in the locations themselves and how the entities affect the residents/visitors.

I was more interested in the scenes where they talked to folks and learned about the entities. The team members seem like genuinely awesome people!

If I had to compare, I'll say the vibes of "Living for the Dead" are less Zak Bagans and more Shane + Ryan (lol)!

Slash/Back (2022)

A sci-fi B-movie deeply rooted in community!

[8/10 · 19 March 2024]

A fun B-movie with a lot of heart and that is deeply rooted in community! Inuk director/co-writer Nyla Innuksuk leads an Inuk ensemble of first-time* child/teen actors in this indie-indigenous take on the alien invasion flick. (*Only based on IMBD credits)

Horror-comedy is an especially tough subgenre to get right (even for experienced adults), so this movie does have rough edges when it comes to the acting. The majority of the runtime is shouldered by the child/teen actors, though, so major props to them! Though, I feel like the movie would've benefitted by using more flashbacks and intercutting with the adults dancing the night away completely unaware of the danger their kids are in.

The most important thing is that they felt genuine to the characters and setting: Inuk kids in a northern Canadian Inuk community. While the typical teen elements are prominent (arguing, crushes, being an a-hole to younger siblings), Maika's struggle with identity really elevated the material.

The sci-fi and horror elements didn't feel particularly fresh or excellent, but it's more about this particular group of characters in this particular setting experiencing the sci-fi and horror.

When Evil Lurks (2023)

A pandemic more terrifying than an illness or the undead

[8/10 · 3 March 2024]

(TW: Violence involving kids and animals) Containing both shock value and substance, "When Evil Lurks" is a plague movie unlike any other I've seen. The idea of demonic possessions spreading like a virus is more terrifying than an illness or the undead. The acting is great across the board (including the child actors) and the filmmakers do not hold back when it come to violence or who falls victim to it - and it isn't just the gore, it's the way the violence is enacted that leaves us disturbed. Now I'm really interested in seeing writer/director Demián Rugna's previously film, "Terrified" (2017), which seems like a fresh take on supernatural and crime horror.

A Girl Walks Home Alone at Night (2014)

A fresh take on the vampire genre and a remarkable directorial debut

[9/10 · 25 February 2024]

Ana Lily Amirpour's "A Girl Walks Home Alone at Night" is an original and fresh take on the vampire genre and a remarkable directorial debut that's both stylish and contemplative.

Amirpour wears her influences on her sleeve all while delivering her own vision. My introduction to Amirpour was unfortunately the episodes she directed for the "Twilight Zone" reboot and "GDT's Cabinet of Curiosities." These teetered between decent and meh, but it seems that her art is most effective when created entirely on her own terms ("The Bad Batch" and "Mona Lisa and the Blood Moon" look just as singular as "A Girl Walks Home Alone at Night").

Prey (I) (2022)

Revamped a tired IP AND broke new ground by being the first-ever film to be dubbed in the indigenous Comanche language!

[9/10 · 25 February 2024]

THIS is how you make a prequel or reboot!!!

I don't know how studios continue to produce subpar or terrible theatrical releases while this Hulu original revamped a tired IP AND broke new ground by being the first-ever film to be dubbed in the indigenous Comanche language!

I'm really glad that both the Hulu and the physical release include the full Comanche dub (which features stars Amber Midthunder and Dakota Beavers voicing their own characters) because that, in my opinion, is the DEFINITIVE version of the film.

The filmmakers did the right thing by bringing on Comanche consultants Jhane Myers, Dustin Tahmahkera, and Juanita Pahdopony (though I'm sure that there are still things that aren't 100% accurate because studio execs always have the final say).

The viewers are dropped into the 1700s and we meet our protagonist, Naru (Amber Midthunder*). No exposition, no origin story - we watch as the Predator hunts earth predators (rattlesnake, wolf) and as the Comanche hunt a lion that maimed one of their members, the suspense building as their paths gradually reach a crosspoint.

It isn't necessary to watch any of the past "Predator" movies. I'm sure there are details and easter eggs, but this is a standalone prequel (reboot?). The Predator is simply an extraterrestrial creature that happens to cross paths with a tribe of indigenous badasses.

The CGI is well done and isn't over the top. The action feels grounded. We connect with the characters and the stakes are high throughout. Overall, a great and unique thriller!

Quiz Lady (2023)

Funnier and more heartwarming than expected!

[9/10 · 25 February 2024]

I went into "Quiz Lady" expecting a few laughs and just to enjoy Sandra Oh and Awkwafina playing different types of characters, but the movie turned out being both laugh-out-loud hilarious and genuinely heartwarming!

Oh and 'Fina were both, of course, FANTASTIC in their roles. Playing against type, 'Fina is the socially anxious Anne and Oh is the free-spirited Jenny, polar-opposite sisters who internalize family issues in their own ways. A long-running game show hosted by Will Ferrell's Terry McTeer has always provided an escape from the sisters' dysfunctional family and ultimately becomes the thing that connects them.

In the hands of other filmmakers, I feel like Awkwafina's and Sandra Oh's characters would have just been surface level and their clashing personalities used strictly for jokes. However, with director Jessica Yu herself being an Asian American woman, the characters are much more nuanced - Anne is definitely smarter than most, but her obsession with the game show is strongly linked to social anxiety and negative childhood experiences; Jenny definitely craves the spotlight and Hollywood dream (see also: Burbank), but escaping the grip of her irresponsible gambling mother played a huge role.

The cast and filmmakers keep you engaged throughout, naturally weaving in emotional flashbacks, giving unexpected traits and reveals for certain characters, and elevating scenarios that are usually generic ("senior giving advice to the protagonist") or overused ("uptight character reluctantly agrees to drugs but accidentally takes too much").

Will Ferrell and Jason Schwartzman have relatively small roles, which is refreshing because studio execs usually insist on white male actors having prominent roles to balance out the lead actors of color (who knows what would've happened if this was released theatrically instead of on Hulu). Ferrell shows restraint as the lovable old-fashioned game show host, which definitely isn't a bad thing because one of the movie's best scenes is a quiet one between Ferrell and Awkwafina. And Schwartzman knows and aces the assignment, playing the insincere in-it-for-himself gameshow contestant with multiple levels of cringe.

I really wish this was given a theatrical release because we need more of this kind of Asian representation - genuine and a little messy - and less of the "Crazy Rich" kind.

The Creator (2023)

Great theatre-going experience but is it re-watchable?

[7/10 · 25 February 2024]

Gareth Edwards' "The Creator" was a great theatre-going experience!!! His indie filmmaking sensibilities are still strong, making every dollar of the $80 million budget count (most 2023 major studio productions have costed $200 million ~ $300 million). They used prosumer-grade cameras to film in real locations across Asia and added the fantastical elements later - and the final product looked fantastic and was so immersive!

I was annoyed, though, by the unnecessary use of Japanese katakana text, especially considering the movie's lens was leaning more Southeast Asian. Also, I know that Edwards is inspired by Vietnam War dramas, but this ridiculous yellow peril trope (i.e. Asia posing a threat to the west) needs to go. Gemma Chan, Ken Watanabe, et al have wonderful performances in the movie, but the "enemy" being exclusively Asian-led left a bad taste in my mouth (even if we're supposed to be rooting for them).

I look forward to watching this at home to see if it's enjoyable without a giant screen and surround sound. I still rewatch and really enjoy "Godzilla", "Rogue One", and "Monsters", so I'm hoping "The Creator" leaves the same lasting impression.

The Fall of the House of Usher (2023)

Great show but not masterpiece-level like Midnight or Haunting

[8/10 · 25 February 2024]

"House of Usher" excels on almost every level, though it doesn't quite reach masterpiece status like "Midnight Mass" and the two "The Haunting of" seasons.

Many of our favorite Mike Flanagan collaborators return, even a few of the younguns from "The Midnight Club"! The fantastic performances, poetic horror, and monologues are all front and center, but the focus on our society's 1% didn't engage me as much as Flanagan's previous Netflix creations did. The actors, of course, really show their range jumping from one Flanagan production to another, I personally just couldn't connect with them here as much as I did with characters like Hannah Grose, Joe Collie, and Theo Crain.

We're introduced to the Usher Family through their opulence and the dark qualities and desires that tag along, but it eventually becomes easier to identify with each of them once we get some flashbacks and more insight to their relationships (the OG Usher siblings growing up, Frauderick and Tamerlane vs. The "B*stards").

As with most of Flanagan's work, it's a masterful dance with performances and production, never style over substance. The sexy-macabre stylings felt very "American Horror Story" to me, except "House of Usher" has much more substance and less shock value (though some of the deaths are quite gruesome).

Having only a high school English class-level of knowledge about Edgar Allan Poe and his work, it was still enjoyable catching all of the popular references and reading about the deep cuts. Flanagan and crew have become experts at naturally interweaving an author's body of work throughout a series and I'm excited to see which author they focus on next (though another Flanagan original would be even more exciting).

Violent Night (2022)

Ddefinite addition to our annual holiday watchlist!

[7/10 · 25 February 2024]

Okay, so this was SO MUCH better than expected (lol)... I was expecting a so-bad-it's-funny level of schlock, but they legitimately pulled off a Christmas action comedy with heart!

David Harbour was kind of playing himself in a Santa outfit (which isn't necessarily a bad thing) with John Leguizamo playing himself leading a murderous heist (again, not a bad thing). Leah Brady as the youngest hostage, Trudy, is the heart and soul, providing both comedic relief, the warmth and fuzziness of a good holiday movie, and a great action scene (you'll see).

This all works because the filmmakers and actors took this ridiculous premise and played it totally straight. A definite (and unironic) addition to our annual holiday watchlist!

*SPOILER*

The main thing I didn't like was that the main family (with all but 3 of them being a-holes) was basically part of the 1%, while the origin story of John Leguizamo's heist mastermind was him going to juvi for accidentally killing a neighbor while trying to steal Christmas gifts, which was motivated by his father getting laid off and not being able to afford to buy any gifts that year... so, yeah... a kid from a low-income household goes to jail and has his life messed up to the point of becoming a ruthless criminal (who hates Christmas). 😒

True Detective: Night Country: Part 6 (2024) Season 4, Episode 6

Important storytelling that should've been its own entity

[10/10 · 19 February 2024]

Storytelling from the perspective of indigenous peoples and especially focusing on the crises of missing and murdered indigenous women (MMIW) and girls in North America is NECESSARY in mainstream art and media. That being said, being part of a major franchise inevitably comes with restrictions and limitations; Night Country should've been its own entity, allowed to focus on exactly who and what the storytellers wanted to focus on.

True Crime season 1 purists will trash talk this season until the end of time. NOTHING will compare to season 1 and nothing should be forced to. I agree that season 1 - excessive male gaze aside - was damn near perfect, in large part thanks to the truly lightning-in-a-bottle teaming of two extraordinary Academy Award-winning and -nominated leads and a singular, visionary writer/director.

I've said in past episode reviews that this season should have focused more deeply on the Iñupiat community and the lead characters' tense interactions and strengthening connections within it. The writers and director seemed to focus more on the investigation, though it felt more like a straightforward procedural taking us from point A to B. Had the community been more deeply involved with the main mysteries, I feel the season would've had more of that True Detective vibe: More emphasis on the stillbirths or at least a supporting character having a stillbirth; an episode or half an episode focusing solely on Annie Kowtok; having a stronger build up to the protest and intercutting that suspense with the investigation's suspense.

The major reveal in the season finale proved this even more - without spoiling anything, it goes to show that more community-focused plot points would have built up quite nicely and provided a much more artistically-satisfying major reveal. We do get scenes in the community, but those felt mostly superficial to push the main story (searching for Tagaq) or character-building peripherals (Julia, Leah, Kayla, Qavvik).

I commend the filmmakers for not focusing on murdered women in the same way as season 1. There's discourse on the overuse of marginalized peoples' traumas for the sake of horror/thriller storytelling (see: Them, Lovecraft Country), and a season 1-esque obsession with murdered, abused, and oversexualized women would not have been the way to go. However, diving even deeper into the community and its tensions with the police and the mining corporation could have created a similarly dark and bleak season.

By no means was Night Country perfect, but it was necessary for indigenous stories to reach larger audiences. Though, I still wish it was a standalone series because tere was so much character- and story-based potential that felt stunted by the fact that it was part of a mainstream franchise.

True Detective: Night Country: Part 4 (2024) Season 4, Episode 4

We need these human moments

[9/10 · 15 February 2024]

Worst episode of the season?

We see Liz show real compassion when finding Evangeline's sister Julia having an unstable episode, leading to Liz and Evangeline connecting on a human level.

We see Hank have a genuinely heartbreaking moment, followed by what was probably the first heart-to-heart he and his son had in a long while.

It's Christmas Eve and we see little moments like Kayla and her grandmother showing Leah how to knead bread, Evangeline visiting the enigmatic Rose and seeing a whole different side of her, the romantic things Hank so naively prepared for his overseas bride-to-be,

AND we get to see one of my favorite characters, Qavvik, the only person Evangeline shows vulnerability around, and it was a fantastic scene!

Yes, these scenes aren't directly connected to and seemingly not progressing the murder investigations, but these human moments are essential to the world of the story and obviously strengthen our investment in the characters.

Yes, the acting isn't great throughout and the writing isn't the least bit subtle, but I find myself empathizing with these characters and genuinely invested in the Anne Kowtok and Tsalal Research Station murders.

True Detective: Night Country: Part 5 (2024) Season 4, Episode 5

Best episode so far, which is disappointing because...

[10/10 · 14 February 2024]

...there's only one more episode to resolve everything.

There are two episodes less than previous seasons, so I don't understand why so many crucial elements were saved for the second-to-last episode.

Before going more into the story, it's worth noting that the writing and acting were better in episodes 4 and 5. In general, this season's dialogue has been overwritten, not understanding the power of gestures, eye contact, and what isn't said.

I've said in previous episode reviews that the best part of the season is the Iñupiat community. The strongest scenes have been Liz and Evangeline's tense interactions with locals (including Liz's stepdaughter Leah and especially Evangeline's sister Julia) and of course their unrelenting mission to solve activist Anne Kowtok's murder. If the writers balanced more of those elements across all episodes and maybe more flashbacks of Kowtok, the season would've benefitted greatly because the straightforward investigation/procedural scenes were lacking in comparison.

The stronger scenes and overall potential of this season make me wish thar writer/director Issa Lopez had the resources and support to make this an original series outside of True Detective, unconfined by the restrictions and requirements that inevitably come with working within any franchise.

Here's to hoping that the season finale isn't rushed...

***SPOILERS AHEAD***

The protest outside of the Silver Sky mines and subsequent police brutality were strong plotpoints, but there was barely any build-up. We've seen a few scenes of Leah attending activist meetings and the tension this created between her and Liz, but the impending protest offered so much potential to build suspense. Had the focus shifted more frequently between the conflicts in the community and the murder case, even the extremely obvious "revelation" that the mining corporation funded the Tsalal Research Station would've had more of an impact.

More plotpoints like Captain Hank Prior's connection to Silver Sky, finding former engineer Otis Heiss, and especially the stillborn babies (imagine if one of the supporting characters had a stillbirth) would've also benefitted from more build-up. Had this not been part of a franchise, perhaps it would've been an ensemble cast and had more room to dive deeper into the Iñupiat community.

The Woman in the House (2022)

Suspend disbelief and just go along with it!

[8/10 · 9 February 2024]

It seems most people want either darkly serious or blatantly funny and nothing in between - there's an endless amount of content now, so why can't series like this teeter between the two?

Based on the ridiculous title alone, it's best to assume this isn't a straight forward thriller or drama. At the same time, it borrows aesthetics and tropes from serious crime/mystery shows. But Kristen Bell is in it and her opening monologue is spoken with an admittedly fake English accent... my advice is to suspend your disbelief and just go along for the ride!

This isn't a parody with back-to-back jokes a la "Scary Movie." The series takes elements from familiar crime/mystery stories and pushes them to varying degrees of ridiculous: The "Rear Window" reference with Anna looking out her window to witness a murder across the street, the husband-as-prime-suspect trope, the dialogue and mannerisms of hard-boiled detectives, and other things I don't want to spoil. There are also hints of the absurd that'll spark a chuckle or "wtf??" when noticed, adding to the odd world Anna is navigating.

I say "just go along with the ride" because the filmmakers and actors aren't sticking to a single genre or mood. Kristen Bell and company approach every scene straight-faced and committed - no winking/nudging during the cheesy parts and no holding back for the serious parts. I wasn't expecting mourning, trauma, and genuine bonding over mourning/trauma to be shown here and it was a pleasant surprise. "Just go along with the ride" so you can enjoy a campy confrontation followed by a legitimately sad revelation whiplashed back to more campiness and finishing off each episode with that confused-yet-satisfying "I don't know what I just watched BUT I MUST CONTINUE" feeling.

True Detective: Night Country: Part 3 (2024) Season 4, Episode 3

The Iñupiat characters are the heart of this season

[10/10 · 1 February 2024]

Fortunately, each episode is better than the last! A big misstep with this season is that they didn't drop us right in middle of the Iñupiat communities and then build the mystery from there.

As this episode clearly shows, the strongest scenes have involved Chief Danvers and Trooper Navarro interacting with locals, side characters like Leah (Danvers' step-daughter) getting more involved with the anti-mine movement, and learning more about the murdered Anne Kowtok. We do explore Kowtok's murder and gradually meet the locals in the first two episodes, but they definitely felt more peripheral - I'm saying it might've been more of an impactful introduction if the story started at the core of the communities and then revealed the mysterious Tsalal Research Center deaths.

The detective scenes have felt consistently stiff and forced throughout these first three episodes - I get a tiny bit of a Twin Peaks vibe, giving us the crime procedural archetypes and tropes all while the true drama and suspense exist in the scenes with Iñupiat characters and the otherworldly.

The opening scene of Navarro attempting to arrest Kowtok but ending up witnessing a home birth with Iñupiat midwives was powerful and revealed so much about both Navarro and Kowtok. The interaction between Navarro and Eddie Qavvik where she reveals that she was never told what her native name was, followed by the elusive Oliver Tagaq belittling Navarro and accusing her of "forgetting" her native name; Danvers' tension with her stepdaughter, not wanting her to get involved with the anti-mine movement, and especially scolding her for getting traditional markings temporarily tattooed on her face - these are all scenes that develop strong characters and set the foundation from which the mystery and tension can be conjured.

Here's to hoping that the season continues in this direction!

His House (2020)

TOP-NOTCH supernatural/psychological thriller and FANTASTIC directorial feature debut!

[9/10 · 29 January 2024]

A TOP-NOTCH supernatural/psychological thriller and a FANTASTIC directorial feature debut! Brilliantly acted and carried entirely by Sope Dirisu and Wunmi Mosaku, "His House" is a tense exploration of mourning and guilt through the eyes of a married couple fleeing South Sudan.

The use of grounded supernatural elements (figures in the shadows and in the walls, hallucinating people from their home country) elevate this above the run of the mill haunted house movie. This is Mike Flanagan- or Guillermo del Toro-level of character- and emotion-driven horror storytelling, and I can't wait to see what's next for writer/director Remi Weekes!

Echo: Lowak (2023) Season 1, Episode 2

Better than episode one!

[10/10 · 26 January 2024]

Much like most series nowadays, episode two of Echo was much better than the first!

To start, they didn't shoehorn appearances by Daredevil and Hawkeye.

The episode opens in 1200 AD with an epic lacrosse game between two tribes (ancestors of Maya, it's fair to assume). This is one of the fine examplea of the importance of representation, especially considering Hollywood's history of Native American portrayals.

Also, I'm really enjoying the side characters (including Reservation Dogs' Dallas Goldtooth, Graham Greene, Geraldine Keams, Zahn McClarnon, Jana Schmieding), though they're waiting way too long to bring Devery Jacobs more into the fold!

I'm looking forward to episode three!

Echo: Chafa (2023) Season 1, Episode 1

Can't be said enough... REPRESENTATION MATTERS

[10/10 · 26 January 2024]

I don't follow Marvel and have only seen four of their movies plus Jessica Jones. That being said, I'm enjoying Echo and thrilled to see Native American representation in a huge Hollywood franchise!!!

At the same time, it's obvious that Marvel isn't pouring piles of money into every project these days and are prioritizing QUANTITY over quality. It's just too bad that Echo is being released during this ongoing period of superhero fatigue, because imagine the budget and care it would've received during Marvel's heyday!

Echo is fine - nothing spectacular, honestly - but the focus on Choctaw culture and Native-influenced fantastical elements really make it special. Plus, star Alaqua Cox is a BAD ASS!!!

I've read countless of comments discounting diversity and representation, but I imagine the majority of those commenters have seen PLENTY OF VERSIONS of themselves in mainstream film/TV.

True Detective: Night Country: Part 1 (2024) Season 4, Episode 1

Not as awful as butthurt reviewers claim!

[10/10 · 25 January 2024]

First thing's first - episode two is much better than, so please keep an open mind until you watch both! Next, and more importantly, it's frustrating (but of course expected) to see all of the butthurt comments whining and crying about this season's focus on women leads and an indigenous people - don't worry, straight white men are doing JUST FINE in Hollywood and they aren't going ANYWHERE anytime soon.

While FAR FAR FAR from being perfect, the drastically different scenery and, yes, the focus on women leads and indigenous people provide a much-needed fresh perspective in the American crime genre (once again - don't worry, straight white men will be just fine). As a season of True Detective, it of course doesn't compare to past seasons. At the same time, the attachment of "Night Country" to the title gives me the impression that the producers intentionally took a different route.

Also, stop complaining about the presence of spiritual/otherworldly elements. "Supernatural" isn't just a ficticious plot device here, as some cultures place importance on such things. Be a decent human being and understand that other cultures/beliefs/ways of life exist (and deserve to be represented in mainstream film/TV).

After watching episode two, I really wish aspects of it were incorporated in episode one (character development, plot points) because, as I said, it was much better - so please don't give up on this season yet!

Ouija: Origin of Evil (2016)

Mike Flanagan elevates what would've been a forgettable sequel

[7/10 · 30 July 2023]

I started watching more of Flanagan's past work after falling in love with his three masterpieces on Netflix (and also developed a bigger appreciation for Oculus, which I originally saw in theatres and thought was decent).

I was surprised at how much creative control he had with what really seemed like a cash-grab sequel. He always does a great job directing actors and creating atmosphere, really inviting the viewer to submerge into the story. I'm also impressed that he has edited every (almost every?) feature film that he directed!

The period piece setting was really well executed and the story was strong enough that the viewer doesn't need to have seen the first movie (which I heard was horrible anyway). My only gripe is the use of CG making certain elements less frightening.

One of the funnest parts of Flanagan's filmography is seeing repeat collaborators and there are plenty here: Elizabeth Reaser, Kate Siegel, Henry Thomas, Jeff Howard, the Newton Brothers.

One of the rare instances where the sequel surpasses the original!

Ringu (1998)

Don't let its iconic status give you unrealistic expectations

[9/10 · 30 July 2023]

Though not flawless, the original "Ring" (1998) remains one of the best horror films I've seen and one of my all-time favorite movies in general. I feel like its iconic status in the J-Horror trend of the late 90s/early 00s sets unrealistic expectations. The understated acting and the absence of a stylistic aesthetic make the supernatural moments more potent and the slow burn all the more worthwhile.

I recommend that you watch with an open mind, understanding that there are cultural, social, and creative aspects and approaches that differ from our own (wherever you may live).

It's a film that asks viewers to let the story unfold, to let the supernatural creep in, to let the dread engulf them.

(Available for free on Kanopy)

M3GAN (2022)

Pleasantly surprised! Not a horror masterpiece or cult classic, but effective and entertaining

[7/10 · 30 July 2023]

I watched "Megan" out of curiosity because I was pleasantly surprised by Akela Cooper and James Wan's previous collaboration, "Malignant," and I'm glad to say that I once again was pleasantly surprised. While the trailer tried to sell us an over-the-top killer doll slasher, what we really get is a creepy look at A. I. going rogue to the point of violence and, even scarier, emotional manipulation.

The highlights for me were the performances by Violet McGraw and, of course, M3GAN, who was physically portrayed by Amie Donald and voiced by Jenna Davis.

McGraw really showed off her acting chops as young Nel in "The Haunting of Hill House" and has elevated every one of her roles since, be it a in brief appearances in "Doctor Sleep" and "Black Window," or as a co-lead in a seemingly forgettable (based on the trailer) indie flick like "Separation."

The choice to cast two child actors as M3GAN was a good one because, while I'm sure Amie Donald is a great verbal actor, having a slightly older actor be the voice of M3GAN was much more effective, considering how much and how quickly the character's A. I. matures and evolves.

I read reviews about how the movie didn't take its concept far enough, how it could have gone more extreme. Also, it was disappointing to find out that the studio execs unsurprisingly mettled with the R-rated cut due to the trailer going viral on TikTok. All of these things made me lose interest in seeing it altogether as I was expecting rushed re-shoots and incompetent re-edits.

I thought I had watched the uncut version on Amazon Prime and thoroughly enjoyed, only to see the uncut version pop up as a "watch next" recommendation. The PG-13 cut was actually pretty good and entertaining! Fortunately, based on comparisons I've read and seen about the theatrical and alternate versions, we only lost some violence and F-bombs - as I mentioned, the horror came from the A. I. aspect.

The last thing I want to bring up is style. This is not a James Wan-ian feast for the senses - director Gerard Johnstone plays it fairly straightforward and grounded (well, as grounded as a world with M3GAN-like inventions can be), using stylized moments sparingly and mostly relying on the uncanny qualities of M3GAN's design and performance. Had Wan directed, I could see this being more of a crowd-pleaser. Who knows - maybe the sequel will go in this direction.

The Conjuring 2 (2016)

The Nun and Crooked Man were unnecessary

[6/10 · 27 February 2023]

The Conjuring felt so grounded, making it all the more terrifying. I was expecting the same from this sequel, but the over-the-top scenes with the Nun and Crooked Man really made me hesitant to finish watching (forced additions by the studio to push The Conjuring "universe"?).

I'm glad that I continued watching, though, because Ed Warren's first interaction with the demon speaking through Janet was masterfully done... aaaaand of course they had to bring the Nun and Crooked Man back... and the hanging on to the curtains for dear life... I... I just can't.

I wanted The Conjuring 2 to be so much more considering the director AND writers returned, but it just ended up feeling like another cash-grab sequel to push a "cinematic universe." James Wan is one of my favorite horror directors and I remember Insidious: Chapter 2 being pretty good, so this was unfortunately a huge disappointment.

Crimson Peak (2015)

Not the full-blown supernatural horror that the trailer says this is...

[7/10 · 27 February 2023]

The trailers at the time were oh so very misleading (what else is new), marketing this as a full-blown horror film. They unfortunately spoiled every single ghost, which are used sparingly throughout the movie.

Approach this as a gothic romance/thriller, though, and you'll most likely love it! The acting is top notch, the visuals are beyond gorgeous (the entire mansion was built from scratch!), and there are some really tense moments. The mystery element is a bit predictable, but it doesn't take away from the overall experience or from repeat viewings.

As a Guillermo del Toro film, my personal ranking is #5 after Pan's Labyrinth, The Shape of Water, Pinocchio, and The Devil's Backbone.

The Night Comes for Us (2018)

BRUTAL fight scenes, great performances

[8/10 · 27 February 2023]

The fights are absolutely B. R. U. T. A. L. and they aren't relying on warp-speed editing to mask any of the hits - every punch, kick, crack, snap, slice, slit, and stab can be felt through the screen! And the fact that the characters visibly show signs of fatigue, pain, and slowing down really adds to the movie's grittiness and visceral impact.

The story feels relatively surface level and familiar - an elite Triad assassin has a change of heart and saves a survivor but inadvertently gets his loved ones mixed up with the Triad's retaliation mission - but the cast and director really make it easy to connect with the primary characters. We really don't need much backstory to feel the characters' love, loyalty, and betrayal.

Joe Taslim plays the cold-hearted-killer-turned-hero archetype very well and his interactions with his longtime friends/former gang comrades felt genuine and strong. This of course elevates the suspense and tension when everyone gets caught in the Triad's crossfire. Iko Uwais is also fantastic as the rags-to-riches assassin archetype. His character is unassuming and charming, making it much more impactful when he's pushed to the point of violence.

Julie Estelle, Hannah Al Rashid, and Dian Sastrowardoyo - the women of the film - are equally as brutal and violent as their male co-stars, but they kind of fall into the trope of "fashionable women killers" with perfect outfits, hair, and makeup. Not to say this makes them any less badass, it's just something we commonly see in movies like this where the woman character's comic book persona stands out a bit from an otherwise grounded aesthetic.