Pearl (2022)

DIRECTED BY

Ti West

STARRING

Mia Goth - Pearl

David Corenswet - The Projectionist

Tandi Wright - Ruth

Matthew Sunderland - Pearl’s Father

Emma Jenkins-Purro - Mitzy

Alistair Sewell - Howard

Genre - Horror/Thriller/Drama

Running Time - 102 Minutes

PLOT

Trapped on her family’s isolated farm, Pearl must tend to her ailing father under the bitter and overbearing watch of her devout mother. Lusting for a glamorous life like she’s seen in the movies, Pearl’s ambitions, temptations, and repressions all collide, in the stunning, technicolor-inspired origin story of X’s iconic villain.

REVIEW

Ti West impressed many earlier in the year with his return to horror with X, an obvious homage to 1974’s THE TEXAS CHAIN SAW MASSACRE and 1977’s EATEN ALIVE with a more sexually liberated and repressed twist. Considering all the good horror we’ve gotten so far in 2022, X still remains the standout because it came out of nowhere and pushed a lot of the right buttons for audiences to remember it and to continue going back to it. I wouldn’t be surprised to see it on many Top 10 Horror Lists for 2022.

The real surprise came after the end credits of X, where a trailer for a prequel called PEARL was revealed with X star, Mia Goth. Filmed secretly at the same time as X, Ti West made PEARL as a way to expand the X universe by explaining Pearl’s justifications for her strange behavior in X, while showcasing Mia Goth’s talents in a bigger role. PEARL was an automatic must watch in my personal opinion, considering how much I enjoyed X. Learning more about any of those characters grabbed my attention right away and I really looked forward to this prequel. 

Those expecting a repeat of X will probably be disappointed by PEARL. This prequel is pretty much the antithesis of what Ti West did before, making PEARL its own thing while connecting it to X. In fact, I think the existence of PEARL actually makes X a better film, given that we can now understand the villains’ motivations in that film in a more sympathetic light, although their actions were still horrific. PEARL is not a pointless film just to create a movie universe, but a window to the character of Pearl’s soul to provide the audience answers to many questions asked in the previous film. I think it was a smart storytelling and business move that will increase the rewatchability of X.

Unlike the Tobe Hooper inspirations of X, PEARL is Ti West’s demented vision of THE WIZARD OF OZ. And by that, I mean Dororthy Gale didn’t wish for somewhere over the rainbow, losing her mind being stuck in Kansas and failing at any chance of going from a black and white world to a colored one. Pearl wants to be a movie star, feeling she has the talent to make it to the big time. Unfortunately, she’s stuck being an army wife on her parents’ farm, having to take care of her invalid father with her strict mother. It doesn’t help when there’s a pandemic going on, making Pearl’s mother so cautious and paranoid that her demand for control pushes Pearl to the edge.

PEARL is a character study on a young woman trying to break the chains that life has contained her in, forcing her to do malicious things to escape reality. While Pearl does bad things to get her way, her situation helps us understand why she behaves the way she does and why she does the things she does. Her reality and her dreams for a better life clash in every way, making her crack mentally and emotionally until it’s too late for everyone involved. Her mother always berates Pearl for having dreams, feeling Pearl is ungrateful for what she has provided for her - even though Pearl catches her mother crying in her sleep, showing that the two are very much alike emotionally. Pearl’s father is a burden to his illness, making her mother bitter and Pearl making attempts to end his life as a way to move on. Even when Pearl’s in-laws want to help the family out with food and other goodies, her mother is too proud to take charity as well as being afraid of whatever germs the in-laws may have. It’s a messed up situation for everyone involved, which makes you realize this won’t end well at all.

It doesn’t get any better when Pearl goes to a movie theater [using her mother’s money, which isn’t much] and meets the projectionist of the theater. He’s charming, handsome and tells her all the things Pearl wants to hear. The Projectionist builds upon Pearl’s dreams and aspirations for a better life by escaping her farm by promising her trips to Europe and making her believe she can become a big star anywhere in the world. Also being sexually repressed due to her husband fighting in World War I and not knowing whether he’s dead or alive, Pearl sleeps with the Projectionist, making her clingy due to finally feeling wanted again. When the Projectionist is turned off by some of her behavior, Pearl lashes out and creates more trouble for herself. Not only is Pearl’s story a sad one, but it also explains her behavior in X and creates a level of sympathy one didn’t have for the character before. 

If I did have any issues in the narrative, I do wish more was done with the pandemic subplot. Considering we’re still dealing with one now, it would have been interesting to see characters dealing with the subject more. Also, the tone can be all over the place. For every serious moment, it’s sometimes undermined by comedy. I get why that’s done because the humorous aspects create a bit of relief from the tension for the audience. But sometimes it gets to a point where you want to laugh at PEARL rather than laugh with PEARL. The balance between horror and comedy is always a slippery slope and I do think Ti West manages to successfully handle it for most of the film. But if a serious, horrific moment plays out that ends with some sort of punchline that takes away all the emotion from that moment, how am I supposed to really feel about what I just saw? 

I respect the hell out of Ti West for not only filming two films back-to-back in secret, but making both of them so much different from the other. PEARL is a much livelier movie than X in terms of its visual presentation. Unlike the gritty and grindhouse look of X, PEARL is a homage to Technicolor movies with its saturated colors and beautiful landscapes. I loved that the interiors of Pearl’s home looked more muted than all the exteriors, really capturing Pearl’s emotional state and her outlook on her reality compared to her potential escape.

West also showcases various homages to other films in PEARL. I already mentioned THE WIZARD OF OZ, as the film mostly takes place on a farm. She also rides a bicycle into town like Dorothy would. Pearl even encounters a scarecrow in a very memorable scene that will definitely become a discussion point. The tense dinner scenes throughout the film remind me of 1976’s CARRIE, as Pearl and her mother argue over what’s best for Pearl, with Pearl wanting to try out for a dance trope so she can have a better life while her mother forbids it. There’s thunder and lightning and even a physical confrontation between the two that reminds me of that Last Supper scene in the film. There’s also a slow motion and split screen scene later in the film that’s pure Brian de Palma. And as Pearl becomes more murderous, she envokes Joan Crawford in 1964’s STRAIT-JACKET. And surprisingly, this all works and feels cohesive, adding depth to Pearl’s character and the world she lives in.

The cast is also wonderful. Tandi Wright is great as the overbearing and strict mother that conflicts with Pearl’s more free-spirited persona. Matthew Sunderland uses his facial expressions in effective ways as Pearl’s father. David Corenswet is suave and smooth as The Projectionist, as Corenswet definitely looks like an actor who would have been a huge star in Old Hollywood. Emma Jenkins-Purro is endearing and perky as Southern Belle Mitzy. 

But PEARL belongs entirely to Mia Goth, who also co-wrote the film with Ti West to bring the character to life and explain her behavior in X. Goth captures your attention throughout. You root for her when she portrays Pearl chasing her dreams. You feel bad for her when she grows frustrated when those around her refuse to understand her. And you get a demented kick out of Goth when she takes Pearl to that devious level as she’s taking out anyone who stands in way of her dreams. Goth becomes more riveting as the film nears the end, where Goth just vents in a six-minute monologue. Then there’s the closing shot where Pearl just forces a smile at the camera during the end credits, losing the strength to keep it up and showing how sad and miserable she is behind her happy demeanor. If PEARL was any other genre but horror, I could easily see Goth being noticed for an Academy Award. She’s amazing in the film.

THE FINAL HOWL

Whether the film needed to be made or not, Ti West’s PEARL is another win for the writer-director in 2022. While X is the more exciting feature and will probably please more mainstream audiences with its direct and familiar approach, PEARL helps compliment X by developing an interesting backstory for that film’s main villain. Mia Goth’s performance is top notch, embodying the character’s flaws and quirks perfectly, making us root for her and feel sorry for her despite her character’s malevolent and twisted behavior. Ti West has created a twisted version of THE WIZARD OF OZ where Dororthy never gets to see that somewhere over the rainbow, growing more disturbed and delusional the longer she stays on that farm. The beautiful Technicolor homage, slo-mo and split screen editing that invokes Brian de Palma, and that telling final close-up on Goth’s face shows a filmmaker who knows exactly what he’s doing in creating this mini-universe. While I wish some narrative beats were stronger or went deeper than they did, as I also wish the tone would have stayed a bit more consistent at times, PEARL is a worthy prequel that fans of West and X should definitely check out. Hopefully West and Goth can go 3-for-3 with MAXXXINE in 2023.

SCORE

3 Howls Outta 4

Prey (2022)

DIRECTED BY

Dan Trachtenberg 

STARRING

Amber Midthunder - Naru

Dakota Beavers - Taabe

Dane DiLiegro - The Predator

Michelle Thrush - Aruka

Stormee Kipp - Wasape

Julian Black Antelope - Chief Kehetu

Bennett Taylor - Raphael Adolini

Genre - Science Fiction/Horror/Action/Thriller/Aliens

Running Time - 100 Minutes

PLOT

On the Great Plains in 1719, Naru, a fierce and highly skilled Comanche warrior, sets out to protect her people when an unknown danger threatens them. But the prey she’s stalking turns out to be a highly evolved alien Predator with a technically advanced arsenal.

REVIEW

Despite having a huge fanbase, the Predator character hasn’t had the best track record when it comes to its big screen adventures. The 1987 original is still a peak action-thriller, with great one-liners and action sequences that have continued to inspire many action films today. And while I love 1990’s PREDATOR 2 [more people should], the rest of the series [including the 2 ALIEN VS. PREDATOR movies] have struggled in quality due to protagonists not being as interesting or as memorable as the badass alien antagonist that continues to carry this series.

2018’s THE PREDATOR could have been a return to form, but it just ended up being a mixed bag due to actors having to play offbeat and silly characters to compensate for a messy script that should have been better considering director Shane Black was in the first [and still best] film. Not like 20th Century Fox was concerned anyway, considering they were about to be bought out by Disney in 2019, making any future PREDATOR movies their problem. But Disney sees money in milking a franchise, knowing PREDATOR has a huge fan base and needs a narrative overhaul. 

With the new film being titled PREY, Disney [under the new 20th Century Studios banner] hired Dan Trachtenberg - the man who directed the best CLOVERFIELD sequel so far, 2016’s 10 CLOVERFIELD LANE. With Trachtenberg wanting to do a prequel of PREDATOR that shows when the alien first landed on Earth in the 1700s to do battle with a tribe of Comache warriors, there was now hope and some promise for this franchise to gain its footing again. Trachtenberg realized the strength of the first PREDATOR is how basic it really is. It’s just an alien hunting down people, and vice-versa. No need for characters trying to be cool, other sci-fi characters to bring mainstream attention, or gimmicks. Trachtenberg just wanted the Predator to face a badass protagonist that could keep up with it. The PREDATOR franchise has always been a series about survival against a being that’s more technologically advanced. And with the film taking place in the 1700s against Native Americans, that makes for a really interesting idea.

Despite being dumped on Hulu for whatever reason [this film should have had a limited theatrical run at least], there’s nothing to fear about the quality of PREY. Considering the mixed results of any Predator movie after the second one, PREY is a breath of fresh air and the first film since 1990 to understand the series’ strengths. It’s a film that understands that while the villain is the main attraction, it never lets the Predator drive the movie as the main focus. Instead, it lets the Comache tribe [especially main character Naru] take control of the narrative - building character development and relationships between the tribe members, making the audience see right away that they’re outmatched by this alien creature until one of them plays defense and understands its tricks to use against it. It’s hunter versus hunter, which strengthens the film’s quality and watchability as a whole.

Some fans have been criticizing PREY as a “woke” project due to the film’s female protagonist, Naru, being able to keep up with the Predator and outsmart it throughout the movie. But I never saw the movie that way. Yes, it does focus on female empowerment and the misogyny of a Native American tribe towards the women of the group. Naru wants to be a hunter like her brother Taabe, but is urged by everyone around her to be an herbal doctor who has to treat the injured and sick after their hunts. But Naru, along with her dog Sarii, want to prove they can be just as good of hunters as the men. Naru has survival instincts, like being a great tracker, knowing when to fight and when to play defense, and observing the world around her to learn things about her foes that she could use against them. Naru isn’t a forced female badass that’s being written for some kind of agenda. This is her world and her life, learning everything she can to prove to her doubters that she can do it and survive. She’s not a character built to defeat a Predator. But she’s a character written intelligently to let us know that she has what it takes to defend herself and outsmart him however she can to survive this battle to save herself and her tribe. Naru is a character who is capable because of how she was raised, not because the filmmakers decided that the franchise needed a Sarah Connor type.

The supporting characters also have arcs that give them a bit of depth. Naru’s brother Taabe is the chosen one of the tribe, seen as the leader of the young hunters and treated like royalty in spite of Naru wanting to be seen as good as him. While Taabe could have been the stereotypical jerk of a brother who puts Naru down with an air of superiority, he actually roots for his sister to improve on her skills so she can be treated with as much respect as he is. Taabe even acknowledges that when he’s seen as a hero for certain actions, it’s Naru who had the right idea and instincts that only led to him finishing what she started. It’s a nice sibling dynamic between the two, as they have a mutual respect for the other and try to take down the Predator and a group of French fur traders. Speaking of the fur traders, they come across as your typical prejudiced colonizers who treat others that don’t look or act like them as if they’re savages, even though they’re skinning animals and threatening to murder and rape people. But one of them, Raphael, had a previous encounter with a Predator and wanted Naru’s help in learning how to defeat it. Apparently this encounter took place in a series of comic books back in the 90s, but it would be nice to have learned more about it and how much Raphael knew about the alien before encountering the Comache tribe about it. And I can’t forget about Sarii, who is as much of an important character than any of the humans. This dog is super loyal to Naru, helping her fight against foes or distracting threats so she can get an upper hand on them. I thought Sarii was a great asset to PREY and added a lot to Naru’s development and evolution. 

If I did have any major issues with PREY, it’s some of the dialogue. Now, I watched PREY with the Comache Dub, which is the way Trachtenberg wants audiences to watch the movie. It’s pretty much the native language with English subtitles, which I’m happy for considering many complaints were about how the actors spoke way too modern for a period movie. Even so, the translations share the same problem at times, with characters talking to each other as if they would in 2022 than they probably would in 1719. It kind of threw me off at times, but it doesn’t hurt the film a whole lot. It’s just something to be mindful of if Trachtenberg attempts another Predator period film down the line. 

Trachtenberg’s direction and Jeff Cutter’s cinematography give PREY a nice visual boost, giving the film a beautiful and atmospheric look that’s been kind of missing in several of the PREDATOR films. While some of the CGI is a bit wonky at times, especially when it involves animals encountering other actors or the Predator itself, Trachtenberg does his best to shoot these moments in a way that it doesn’t totally bring the film down. The Predator effects are well handled though, with Trachtenberg using the antagonist in a similar way that the first PREDATOR did. The alien is invisible or cloaked for much of the film, creating a level of tension and suspense this series has surely needed for a while. In fact, a lot of the hunting scenes do well in keeping one’s interest, making you look around the screen to see if you can catch the Predator lurking in the background. The action scenes are also handled well, making the Predator look like a total badass as he overpowers many of its victims until Naru figures out its weaknesses. Trachtenberg seems all in with this franchise going forward, so I’m hoping he continues making more sequels/prequels because it’s a great film visually for the most part.

All the actors are very good, considering some of the dialogue doesn’t really fit the time period PREY is supposed to take place in. The two standouts are Dakota Beavers as Taabe, surprising me how good he is considering he was working at a TJ Maxx before getting the role. I think he’s one to look out for in the future because he brought a likability and cool factor to Taabe. And Amber Midthunder, probably best known for her role in the underappreciated show Legion, is amazing as Naru. She carries the film from beginning to end, fleshing out a heroine that we can all root for. She’s so expressive in her face and tells a lot about her story through her body language. Midthunder’s acting makes her character earn her place as a dangerous opponent for the Predator, carrying a quiet strength that makes me hope to see more of in future projects.

THE FINAL HOWL

While PREY isn’t the best PREDATOR film like some have claimed, the film is still in the Top 3 within the franchise, proving that this series and its main character still have a lot of life in them. Amber Midthunder carries the film with a strong performance as Naru, proving to be a formidable force due to a believable story arc and convincing facial expressions and body language to convey an intelligent threat the Predator didn’t see coming. The narrative works since it goes “back to basics” in terms of what makes this series work - the joy of the hunt and developed characters we can root for. Dan Trachtenberg adds another well-crafted sequel to his resume - bringing atmosphere, tension and suspense that has been missing from the last few installments. Yes, some of the CGI is a bit dodgy at times. And I wish the dialogue was more of its period rather than making characters sound like they’re cosplaying as Comache hunters in 2022. Speaking of, the Comache Dub is the way to go with PREY. I couldn’t imagine how this would play out in English considering some of the dialogue. But overall, a return-to-form for a franchise that needed a win badly for so long now. 

SCORE

3 Howls Outta 4

(8 out of 10)

Insidious: Chapter 3 (2015) & Insidious: The Last Key (2018)

DIRECTED BY

Leigh Whannell [Chapter 3]

Adam Robitel [The Last Key]

STARRING

Lin Shaye - Elise Rainier

Angus Sampson - Tucker

Leigh Whannell - Specs

Dermot Mulroney - Sean Brenner [Chapter 3]

Stefanie Scott - Quinn Brenner [Chapter 3]

Hayley Kiyoko - Maggie [Chapter 3]

Tate Berney - Alex Brenner [Chapter 3]

Michael Reid MacKay - “The Man Who Can’t Breathe” [Chapter 3]

Josh Stewart - Gerald Rainier [The Last Key]

Spencer Locke - Melissa Rainier [The Last Key]

Caitlin Gerald - Imogen Rainier [The Last Key]

Kirk Acevedo - Ted Garza [The Last Key]

Bruce Davison - Christian Rainier [The Last Key]

Genre - Horror/Supernatural/Possession/Demons

Running Time - 97 Minutes [Chapter 3]/ 103 Minutes [The Last Key]

PLOT (from IMDB):

INSIDIOUS: CHAPTER 3 - After trying to connect with her dead mother, teenager Quinn Brenner (Stefanie Scott), asks psychic Elise Rainier (Lin Shaye) to help her, she refuses due to negotiate events in her childhood. Quinn starts noticing paranormal events happen in her house. After a vicious attack from a demon, Quinn’s father (Delmot Mulroney) goes back and begs Elise to use her abilities to contact the other side in hope to stop these attacks by this furious demon for a body.

INSIDIOUS: THE LAST KEY - Parapsychologist Dr. Elise Rainier (Lin Shaye) faces her most fearsome and personal haunting yet - in her own family home.

REVIEW

James Wan has probably become the most prolific modern horror director and producer of the last fifteen years. While he has started to slowly move away from the genre to tackle more action-oriented fare [FURIOUS 7 and soon, AQUAMAN], you can’t deny that the man [along with co-writer Leigh Whannell] has crafted three of the more popular and extremely profitable horror franchises in the modern era. 2004’s SAW led to a massively popular and money-making franchise that just made a comeback a few months ago. 2013’s THE CONJURING has also made a ton of money, especially if you include the ANNABELLE spin-offs. And 2011’s INSIDIOUS series has proven that fans still care about horror films with substance, good acting, and scares that are earned without relying on loud noises to make people jump.

In fact, INSIDIOUS proved that ghost stories and films about demon possessions can still send a chill up and down your spine if done right. The first film, in my opinion, is still one of the better horror films of the 2010’s - just a stylish movie of subtle creepiness with great actors, beautiful shots, and a script that delves deep into the characters tormented by the evil spirits that make up this franchise. INSIDIOUS: CHAPTER 2 was less so, but it has a great performance by Patrick Wilson and a great villain that kept you invested from beginning to end. 

The surprising thing about the INSIDIOUS series is who really became the focus of the franchise. Instead of the main characters, the supporting ones have managed to keep the franchise afloat for 7 years now. Who knew Lin Shaye’s Elise would be the heart and soul of the series, taking what should have been a vehicle for the Lambert family and making INSIDIOUS about her and her sidekicks, Tucker and Specs. For better or worse, the shift of focus to the ghost hunters has given INSIDIOUS a pulse that keeps audiences flocking to watch these films. It’s even crazier when Elise was murdered in the first film, yet she’s the one giving the series life.

Realizing that Lin Shaye was the glue that held INSIDIOUS together, Leigh Whannell decided to focus on stories that took place before the first INSIDIOUS film that give us insight on Elise’s journey to help the Lambert family and how she hooks up with Tucker and Specs. That’s the reason why INSIDIOUS: CHAPTER 3 exists. The first prequel in the franchise, James Wan hands the director’s seat to Whannell, who makes the series more about Elise while still giving us The Further and characters who are traumatized by some dangerous demonic spirits out to hurt them. In a way, CHAPTER 3 is a less convoluted retelling of the first film, just with different characters dealing with a different demonic force. The Brenner family is less captivating than the Lamberts, but their story is also very relatable. Teenage Quinn has lost her mom and feels pressure from her dad to pretty much pick up the pieces, which conflict with her passion to become an actress. She believes the spirit in her house is her mother, but learns quickly that it’s something more sinister. She seeks help from Elise, who is dealing with her own grief and refuses to help until she realizes how much trouble Quinn is really in. The parallel stories of trauma and grief between Quinn and Elise is a clever plot device, as both parties deal with it differently - but it effects them in a similar way. However, Elise’s motivation to move on from it gives her the strength to face her fears and help Quinn against her adversary in order for her to move on. Elise is an interesting character to begin with, but Quinn [which could have been a one-dimensional protagonist] is given a lot of depth due to her passions, her struggles, and her willingness to fight. Her strained relationship with her father is compelling and makes us sympathize with both sides, leaving us to care about what happens to them by the film’s end. And Elise’s struggle with losing her husband to suicide and dealing with nightmarish spirits since gives us more insight on her life and makes her more heroic when she sucks it up and decides to confront the demons to help other people defeat theirs. I liked the balance of the two arcs and I felt they came together decently well by the end.

CHAPTER 3 does have its issues. The second half of the film does come across a bit silly at times. Elise recites some lines that Shaye attempts to make work to the best of her ability, but they’re more laughable than empowering. And The Further stuff wasn’t really all that interesting nor scary. In fact, I had issues with The Further in previous films, but at least the demons were memorable and there was something ominous about this dark world. CHAPTER 3 doesn’t really allow for that, as it feels more empty compared to the previous films [not sure if that was a budget issue]. And the breathing demon didn’t do anything for me. Sure, the sound is a bit creepy, but I wish we knew more about him. Compared to the previous villains, this breathing guy felt like a last resort to give the movie an antagonist. Plus, I really want to like Specs and Tucker more than I do. I still feel that a lot of their comedy falls flat, even though it was nice to see them before the whole “suit and tie” deal and how their relationship with Elise came to be.

Also, what happened to Quinn’s love interest and her best friend? They seem pretty important in the first half, yet totally disappear once the second half starts. And they never return! At least Quinn’s little brother brought in Specs and Tucker to help Quinn out, which is more I can say for the little brother in the first two INSIDIOUS films.

I will say that despite a change in directors, CHAPTER 3 still fits in well with the rest of the series. Leigh Whannell takes over for James Wan, and despite the lack of Wan’s style, Whannell handles himself well behind the camera. The best move on Whannell’s part is restraining the jump scares. Instead of constantly using loud sounds and noises [which Wan likes to do], Whannell leads into the scares, making them more effective and well earned. In fact, I thought a lot of the scares here worked really well. Jump scares aren’t terrible, like many believe. It’s just that they’re overdone a lot without a reason. CHAPTER 3 has a reason for them, which is why they’re welcomed. I also felt that Whannell used some great moments of visual misdirection to give the audience false security prior to a nice surprise. Still, CHAPTER 3 doesn’t look quite as rich as the first two films, nor does it manage a flow that the first two carried well. But for a man who’s not really known to direct films, he does Wan-lite very well.

The acting in CHAPTER 3 elevates the material. Don’t know much about Stefanie Scott, but she’s really great as Quinn. She took a token one-dimensional lead horror character and give her a ton of depth and sympathy. I believed Scott throughout the film, from her frustration with her family life, to her grief over her mom, and to her fear of realizing she was the target of a demonic entity. I thought she did a really nice job. Dermot Mulroney is more plus than minus. He handled the stress of being a single dad to teenagers well, but there were times where his acting got a bit hammy for the material. But Mulroney mostly knocks it out of the park, giving his character more depth than expected as well. I thought his father-daughter chemistry with Scott was convincing and welcomed. Leigh Whannell and Angus Sampson do their thing as Specs and Tucker. I blame the material more than their acting abilities, but you really can’t have an INSIDIOUS film without them. I felt they were a bit more subtle this time around and weren’t really given much to do, which created a mixed bag of sorts. But smaller doses with these guys are probably for the best.

However, the film belongs to Lin Shaye, who really grounds CHAPTER 3 with a multi-dimensional performance of a woman who’s ready to give up on her life after the death of her husband, only to find purpose when someone [who has yet to really live her life] needs her help. She handles every emotion needed well. Her anger is believable. Her sorrow is heartbreaking. She’s convincing as a total bad ass at the end. Shaye knows her character and is a lot of fun to watch as Elise. It’s nice to see this character actress of a specific age leading a horror franchise in the modern era.

Speaking of Shaye, she’s also the best part about 2018’s INSIDIOUS: THE LAST KEY - the second prequel in the franchise. Since the story is mainly focused on Elise, Shaye gets to play with a facet of emotions and situations that flesh out her character and give us a reason to love her more. Unlike CHAPTER 3, Shaye is so good that she even makes the sillier moments feel important in THE LAST KEY. She has great facial expressions, body language, and portrays Elise as a total hero who is both vulnerable and strong. She brings a grounded, motherly vibe to this film. Without Lin Shaye, THE LAST KEY would be a total disaster in my opinion.

Thankfully, Shaye is in the film, making THE LAST KEY at least watchable for those fans of the series. It’s a shame that the story falls apart whenever things take place in “modern times” [story takes place in 2010]. Besides her, everything else just feels like a shadow of what has already been established in these films. Someone gets possessed, but it’s a character we don’t really know or care about. Specs and Tucker are here to be the comic relief, but 85 percent of their material isn’t really funny and feels forced. We get introductions to Elise’s family, but none of them are really given time to develop - especially when one of them also has Elise’s power and it’s just assumed to be a family trait without much explanation. The Further is handled okay, but again just feels cheaper compared to the other films - even CHAPTER 3. And the villain is a cool concept, but feels like a bit player compared to everything else. It’s a shame because I think films about Elise’s adventures could keep the franchise alive for years. But judging by this film, THE LAST KEY is barely trying to keep the door open.

The best stuff have to do with Elise’s childhood flashbacks, which honestly made me wish the whole film was about these moments instead. The opening section of the film is pretty disturbing stuff and some of the darkest moments in the franchise to date. Since I don’t want to spoil things, I’ll keep it short: Elise lives with her parents and younger brother on the ground floor of a penitentiary where inmates are electrocuted only one story above. Suffice to say, Elise sees a lot of tortured souls and strange things happen in the household. The mother believes in her gift, her prison guard father abuses her because of it, and her younger brother is so scared by her that he wants nothing to do with her. Every scene involving the past are captivating and present some nice moments of terror, mystery, and a neat twist I didn’t see coming. Yes, a film based on the past would have probably lost Lin Shaye for the most part, but the flashbacks really deserved their own film. It probably would have worked better than the actual THE LAST KEY. The modern horror moments seem so silly after the more realistic horror stuff from the past that the film loses steam any time we’re back to present day.

The direction by Adam Robitel [who achieved acclaim for THE TAKING OF DEBORAH LOGAN] is serviceable in terms of capturing the tone and look of the INSIDIOUS franchise. Again, Wan brought style to the franchise which Robitel can’t match. But the flashback scenes are shot really well, and the scenes in The Further looks pretty nice, even if they aren’t really all that interesting. The jump scares don’t really work this time around however, as most of them just feel forced and expected. But I appreciated the flow of the film and the splicing of footage from the first INSIDIOUS at times. 

Besides Lin Shaye, the rest of the acting in the film is pretty okay. Leigh Whannell and Angus Sampson return as Specs and Tucker. Their acting is fine, even though the material is pretty rough for both of them. The characters were kind of distracting for their own good at times, but the actors made it work at best as they could. Bruce Davison came for a paycheck, since his role is pretty much a glorified cameo. His scenes with Shaye didn’t really connect with me, and it wasn’t because of her. Josh Stewart is very good as Elise’s father, portraying a cold, brooding, vicious presence that I appreciated. He was scarier than the actual spirits in this film. Spencer Locke is cute, but doesn’t really get to do much. Caitlin Gerald did well enough in her role as Imogen, bringing out the better elements of Whannell’s and Sampson’s acting. And I like seeing Kirk Acevedo in anything, and he was okay here. The weakest acting in the franchise, but it was decent enough nonetheless.

THE FINAL HOWL

If you’re not a fan of the INSIDIOUS films, CHAPTER 3 nor THE LAST KEY will change your mind. But if you do enjoy these movies, CHAPTER 3 is the better of the two. It’s a pretty good prequel with some strong performances, good plot elements, and good direction by writer Leigh Whannell. Unfortunately, THE LAST KEY didn’t do a whole lot for me. More of the same, but not as creepy, interesting, or captivating. The flashback scenes are really great though and the direction by Adam Robitel is competent. And without Lin Shaye, THE LAST KEY would barely be able to turn the lock. I’m sure we’ll be seeing more of these films soon, but THE LAST KEY shows that the well may be running dry with this franchise.

SCORE

INSIDIOUS: CHAPTER 3 (2015)

2.5 Howls Outta 4

INSIDIOUS: THE LAST KEY (2018)

2 Howls Outta 4

INSIDIOUS: CHAPTER 3 Trailer

INSIDIOUS: THE LAST KEY Trailer

Leatherface (2017)

DIRECTED BY

Julien Maury

Alexandre Bustillo

STARRING

Stephen Dorff - Hal Hartman

Lili Taylor - Verna Sawyer

Vanessa Grasse - Lizzy White

Sam Strike - Jackson

Finn Jones - Deputy Sorrel

Sam Coleman - Bud

Jessica Madsen - Clarice

James Bloor - Ike

Christopher Adamson - Dr. Lang

Genre - Horror/Slasher/Thriller

Running Time - 90 Minutes

PLOT (from IMDB):

A teenage Leatherface escapes from a mental hospital with three other inmates, kidnapping a young nurse (Vanessa Grasse) and taking her on a road trip from hell, while being pursued by a lawman (Stephen Dorff) out for revenge.

REVIEW

2017’s TEXAS CHAINSAW MASSACRE prequel, LEATHERFACE, had a lot of hype among horror fans awaiting its release. Even though there was a mixed reaction to 2013’s TEXAS CHAINSAW 3D despite its classic line of “Do your thing, Cuz!”, the film was a financial success and was ready for a sequel. However, the studio and producers couldn’t agree on a story, creating the need for a prequel instead - even though there was already a prequel [THE TEXAS CHAINSAW MASSACRE - THE BEGINNING]. But I guess that was for the remake story and not for the original continuity that the franchise is back riding on [why are these horror franchises so confusing?]. Anyway, it was believed that audiences would appreciate an origin story for the franchise’s main character, Leatherface, explaining how and why he became the horror film icon we’ve all grown to love. Bring in INSIDE and LIVIDE directors Julien Maury and Alexandre Bustillo to helm the film, with Lili Taylor and Stephen Dorff as the leads, and you got some excitement for a film no one really asked for but still wanted to see nonetheless.

However, the production was troublesome. Either due to dissatisfaction from Maury & Bustillo, or from Lionsgate itself, reshoots and multiple edits delayed the release of LEATHERFACE by two years. It also didn’t help that its potential theatrical release was dropped, settling for a DirecTV release in September before hitting all VOD platforms a few weeks ago. Unlike many years ago, the direct-to-video stigma no longer exists. But its distribution made many question whether LEATHERFACE was worth the watch. And while it’s not a terrible film, LEATHERFACE just ends up being pointless and a victim of an identity crisis.

Let’s just get the good stuff out of the way:

LEATHERFACE is a well-made movie. Maury & Bustillo try to bring back a lot of the lighting and feel of the original Tobe Hooper classic in LEATHERFACE, giving the film a classic look while maintaining a modern vibe that modern fans could probably appreciate. The action sequences involving the more brutal moments of the story are shot really well, with the directors attempting to bring tension and cringe-worthy moments that could leave some feeling uncomfortable - and others feeling like they’re back home in Leatherface’s world. There are scenes that are definitely meant to shock audiences, including a moment where a couple have sex while a break out is happening inside a mental asylum. This same couple also have sex on top of a corpse in a later scene. It’s grotesque and disturbing, which is exactly what this franchise should be capitalizing on. It’s edgy where it matters, due to Maury & Bustillo understanding how to bring that kind of tone in a horror film like this one.

Speaking of the visual presentation, LEATHERFACE also has some nice gore effects. We get some grisly decapitations, lost limbs, faces getting mutilated, and the expected chainsaw murders. The film doesn’t hold back when it wants to be brutal, which I appreciated. It’s great stuff.

And I have to compliment the acting in this film. I thought the performances are very good here. Lili Taylor is a delight as Verna Sawyer, the mother of the clan. She takes the role seriously and brings something menacing subtle with her performance. While she does awful things to people, you can also sympathize with her situation as well. I wish she were in the film more, but I appreciated her commanding presence whenever she was on screen. Stephen Dorff was also good as Hartman, the Texas Ranger who wanted revenge on the Sawyer family for murdering his daughter. It could have been a one note performance, but Dorff brings enough dimension to his grief and feelings that you want to sympathize with his character arc - even if the character is heavily flawed in his actions. I thought Sam Strike was very charismatic as Jackson, while Vanessa Grasse played the classic role of “final girl” Nurse Lizzie well. Finn Jones played his part as well as the script would allow him to, while Christopher Adamson played the sinister doctor to a tee. I thought LEATHERFACE had a pretty great cast….

….It’s just too bad that the script and narrative is what ruins this film big time. Now, I wasn’t expecting this prequel to be as good as the classic 1974 film or its first couple of sequels. But I was expecting it to be better than TEXAS CHAINSAW 3D. Sure, LEATHERFACE is better made and better acted. But TEXAS CHAINSAW maintained a consistent tone and mood, while feeling like a modern day TEXAS CHAINSAW MASSACRE film for a newer generation regardless of its quality. LEATHERFACE only feels like a TEXAS CHAINSAW film during its opening few minutes and during the end of its final act. It’s almost as if the screenwriters forgot what film was supposed to be a prequel for.

The tone of this film suffers from a schism it can’t recover from. We have a vengeful sheriff who feels more comfortable in THE DEVIL’S REJECTS than he would here. Two members of the young cast that escapes the mental hospital [Clarice and Ike] shoot up a restaurant, have sex on top of a corpse, and act erratically around others. Did they audition for a prequel of NATURAL BORN KILLERS and stepped onto the wrong set? It honestly feels like a tamer version of a Rob Zombie film, but less memorable and less interesting. I don’t mind this film to be inspired by better movies, but maybe it should focus on what it’s really supposed to be - a prequel to THE TEXAS CHAINSAW MASSACRE. Even THE NEXT GENERATION did a better job at that than LEATHERFACE.

The worst part happens to be the treatment of the title character and how it goes against everything that has been established about him. During the narrative of the film, we’re never told which one of these escaped characters is the real Leatherface. Sure, we have characters that embody what we think Leather would look like when he was younger, but we’re never sure since names have been changed during most of the film. I don’t mind the mystery and I think it’s a decent twist if you never see it coming [I figured it out due to certain characters getting more screen time than others]. But the fact that this certain character ended up being Leatherface just felt odd and forced - as to swerve us along the way for a nice twist. But it could have worked if the script was stronger.

What I had real issue with was how this character suddenly became Leatherface. It seems he became the horror icon we’ve grown to love due to accidental circumstance, rather than a prolonged series of events that twisted his mind and body to the point of no return. We learn how Leatherface’s appearance came to be, which somehow turns him from a normal teenager into a slow-minded and violent killer. We’re also seem to be told that even though young Leatherface seemed to have a sense of morality and ethics at times, his family would always get to him and make him evil. The nature vs nurture argument is fine. But to have a character drastically change so quickly and just become the Leatherface we now know, even though he didn’t show any of these tendencies in any scene prior to this happening, is just bad writing. It does a disservice to Leatherface and to the fans of the franchise.

THE FINAL HOWL

LEATHERFACE could have been a good prequel to a classic horror film. And while it’s well made and well acted - with some nice gore effects - the story doesn’t do the prequel justice. The character arc for Leatherface doesn’t feel natural and doesn’t fit with the character we would come to know. And the film seems to suffer from an identity crisis, wanting to be any other film besides THE TEXAS CHAINSAW MASSACRE. THE BEGINNING was a way better prequel for the character. LEATHERFACE just ends up being pointless and honestly shouldn’t have been made at all. Not the worst in the franchise, but nothing really memorable either. What a shame.

SCORE

1.5 Howls Outta 4