Nocturne

I liked this one a lot more than I thought I was going to. I am a little surprised at the 5.7 rating as I am giving it a 7 no normally it's the other way around. Maybe people were expecting a little bit more classic horror, but I felt it had a very atmospheric, creepy vibe throughout that served up a solid, new age horror vibe.

I thought the story wasn't wildly original but just different enough to make it feel fresh. The pacing felt very good and kept me solidly engaged from start to finish. I wish there was a little bit more background as far as the supernatural aspect and where and how it manifested in the modern day.

The acting was hit or miss. The main blonde twin did an excellent job throughout. Her range of emotion was really quite good and she gave a solid performance. The other twin did a decent job and while her delivery often felt natural, many times it felt situationally "inappropriate". Some of the side characters were not all that great.

I really liked the score/sound design, the overall vibe of this production and I was quite pleased with the ending as well. It felt in-line with the story and not a cop out like so many are nowadays. I would definitely recommend checking it out.

While watching 'Nocturne' it can be really hard not to notice the similarities between this and 'Black Swan'. It's slightly less sexual but the story follows a very similar pattern. To be fair there are far worse films to base yours off. It's just something I noticed. The opening scene of 'Nocturne' sets up some intrigue. It's not a scary or suspenseful scene, but it is strange and leaves you wanting to know why it happened. From there the film sets about telling its story, and does so in a surprisingly compelling way.

I'm not a big music fan (and certainly not classical music) but I didn't find that hindered my enjoyment of the film at all. If that's putting you off seeing the movie I would suggest not to worry about it. The film is a horror, but more in a bizarre way than a suspenseful or gory way. If horror isn't for you, I would say that isn't necessarily a deal-breaker on this one. I could imagine non-horror fans finding a way to enjoy this movie.

Sydney Sweeney was really good in the lead role here. She played a big part in making the film as watchable as it was. She's in every scene so it was very important she got her performance right. I liked 'Nocturne' without ever perhaps loving it. It's worth a look but don't set your expectations too high.

This movie reminded me of Black Swan and Perfection, but was original enough to be entertaining. Without giving much away, I will say I would have appreciated a bit more explanation on the notebook or the origin of how it came to the first girl. I guess it leaves endless room and questions for sequels and prequels. There is definitely more there to be explained, and it was good enough that I would watch another one to find out more.

I enjoyed this one, with the creepy faustian deal occuring in the background.

Though why this is so interesting is because they chose to leave things a little vague and open ended. I interpreted this movie in at least 3 different ways, maybe in 4 even.

At the end of the day it is hard to come across well shot movies with good plot beats, audio/music, and solid acting. This one covered the bases very well and has elements of horror woven into it, just enough to keep you on your toes.

The ending was damn creepy as well.

7/10 bravo, good watch.

"Music is a blood sport." Dr. Cask (Ivan Shaw)

Having just viewed The Wolf of Snow Hollow, which combines the satiric with the traditional horror genre, seeing writer-director Zu Quirke's Nocturne made me realize that a horror film with no digitized scares or much blood to boot can be a most terrorizing rendition of that durable formula. The scare is in the mind, you see.

Juliet (Sydney Sweeney) and her more talented sister, Vi (Madison Iseman), compete at their high-class music school for the chance to play in the school's final concert. They both choose Saint-Saëns' Piano Concerto No 2 (remember the concerto competition with the demanding Rachmaninov 3rd in Shine?). Although Vi wins the right to play it at the concert in the end of the year, Juliet makes an implied Faustian pact with the devil, whom she found in an old playbook, to reverse her sister's fortunes and enhance her own.

What is so impactful is the lack of blood and screams; in fact, there are few, if any, jump scares. The terror is in Juliet's head, her obsession to win, her jealousy as the guiding principle. It's all very sotto voce, so to speak, a quiet doom tamped down by beautiful music and feelings kept just low enough to allow effective dialogue and feel the presence of a malevolent force, which may be the devil but surely is the "green-eyed monster which doth mock the meat it feeds on." In some sense, I am reminded of the rivalry in Black Swan

About the Saint Sens, pianist Lise de la Salle wrote: "The highly lyrical first movement is an expression of late Romanticism. The second movement is as effervescent as a glass of champagne. And the final movement, a real whirlwind, a fantastic ride (wonderfully captured in this quasi-perpetual movement in triplets), is quite dizzying." These elements could be found in Nocturne.

"Welcome to the Blumhouse" is a "program of eight terrifying genre movies coming to Prime Video," and if the other seven are as good as this one, Halloween viewing will have matured to an intelligence and psychology worthy of a genre rarely this high class or intellectually satisfying.