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Azrael (2024)
The last of us?!
*Azrael* is one of those low-budget indie films that deserves attention. It stars the talented Samara Weaving as the titular protagonist, Azrael.
Set in a dystopian world where the rapture has occurred, those left behind must appease a new and terrifying deity. The film is deeply atmospheric, with silence playing a central role-there is no dialogue during the first half of the movie. Much like *A Quiet Place*, sound is deadly, as any noise alerts enemies and could mean certain death.
Credit must be given to Samara Weaving for taking on this project. She portrays a far grittier and less glamorous character than those we are used to seeing her play.
The film's malevolent creatures are drawn to blood. After being captured, Azrael is cut and prepared to be another sacrifice. However, the question arises-who are the real monsters in this story?
This suspenseful film delivers relentless chase sequences, with Azrael fighting as though her life depends on it (because it does).
There's a nostalgic quality to the film, reminiscent of other low-budget hits like *It Follows* and *28 Days Later*, as well as the animated game *The Last of Us*.
It's remarkable how Samara Weaving conveys her character's emotions without the use of words. She excels in portraying a protagonist that the audience can't help but root for. Watching *Azrael* feels akin to playing *The Last of Us* in film form, complete with layered symbolism-though some of it remains ambiguous by the end.
In conclusion, *Azrael* is a worthy watch, blending suspense, atmosphere, and a compelling performance by Samara Weaving into a memorable indie film experience.
Smile 2 (2024)
Smile for the cameras
*Smile 2* is the surprising sequel to the creepy sleeper hit that exceeded all expectations.
The film follows the protagonist, Skye Riley (Naomi Scott), who, after surviving a tragic car accident, becomes hunted by the cursed creature introduced in the first film. This sinister, shape-shifting entity torments its victims before claiming them and passing its curse onto the next. Much like the recent cult classic *It Follows*, the creature is relentless in its pursuit until it achieves its goal.
The writers faced a significant challenge in creating a sequel worthy of its predecessor, rather than simply churning out a cash grab.
I approached the film with low expectations and a fair amount of scepticism. Interestingly, it centres on a singer as its lead character, similar to this year's film *Trap*.
Naomi Scott delivers a convincing performance as a troubled singer battling drug and alcohol addiction. The film is packed with the eerie, unsettling smiles that defined the original, and Skye's descent into madness and eventual confrontation with her fate is gripping and rewarding.
Overall, *Smile 2* is a decent sequel that lives up to the original's legacy.
Time Cut (2024)
Should this be called Time Cut or Time Out?
Time Cut is one of those films centred around the concept of time travel and the question, "What if you could change the past?" This inevitably invites comparisons to superior films that have explored this theme and become classics of the genre, such as *Back to the Future*. It has inspired other well-known films within this category, including *The Butterfly Effect*, *Twelve Monkeys*, *Groundhog Day*, and more recently, *Happy Death Day*.
This film feels like a watered-down version of those earlier successes. The protagonist, Lucy (Madison Bailey), is a troubled teenager whose sister, Summer (Antonia Gentry), and her friends murdered before Lucy was born. Lucy discovers a time machine and is sent back in time. She befriends her sister, Summer, along with the stereotypical nerd, Quinn (Griffin Gluck), in an attempt to prevent the deaths of Summer and her friends.
The film is firmly PG-13, lacking any true scares or thrilling moments.
The nostalgic soundtrack is one of the film's strengths, evoking pleasant memories and showcasing the sound engineer's good work in this area. Overall, it's a watchable film, but not one that stands out as particularly good or bad. The teen drama aspect didn't resonate with me, likely because I am no longer part of the target demographic.
Terrifier 3 (2024)
Late to this third showing
*Terrifier 3* is the third instalment of this trilogy. Set five years after the events of the second film, it sees the return of survivors Sienna (Lauren LaVera) and Jonathon (Elliott Fullam). Both are still scarred, both physically and mentally, from that fateful night. Jonathon is now a university student, while his sister Sienna has recently been released from a mental institution.
The film is set during Christmas, and the gore scenes are as over-the-top as in the second film. Additionally, more lore is introduced surrounding the origins of the antagonist, Art the Clown. Art picks up where the last film left off, reattaching his severed head and embarking on another brutal killing spree.
Sienna, a tormented soul, starts seeing ghosts from her past. She must try to convince her estranged relatives that Art the Clown is real before he returns to exact his revenge on her.
The murders are as practical and gruesome as ever, though I wonder if I've become desensitised to them.
Overall, it is a strong film that achieves what it sets out to do: Art embarks on another murderous rampage, and Sienna is the only one who can stop him. Who will prevail in this eternal battle between good and evil? Although I thoroughly enjoyed the film, I found the second one more effective in its depiction of gore and its eerie storyline. However, true horror fans are likely to appreciate this third instalment.
The Substance (2024)
Call on me & Demi Moore?!
*The Substance* is one of those much-hyped horror films I'd been meaning to watch. Within the first minute, I noticed the nostalgic 1980s setting-a trend that seems increasingly common in recent Hollywood films, such as *Love Lies Bleeding*.
This film feels like a satirical version of the Eric Prydz "Call on Me" music video brought to life, mixed with Cronenberg-esque body horror.
The story follows Elisabeth (Demi Moore), an ageing televised exercise instructor who, after her latest show, overhears that she's being let go. The misogynistic TV executives want a younger host to take her place.
Devastated by the news, Elisabeth drives home in a daze, only to be involved in a car accident. Miraculously, she walks away unscathed, but a doctor leaves her a note offering a new life-though at what cost?
She's presented with an experimental treatment that promises renewal. Without giving too much away, "Sue" emerges as everything Elisabeth wishes she could be: young and attractive. They are forced to "share time" together, but what happens when Sue begins to steal Elisabeth's time?
The body horror scenes may be challenging to stomach, and at a two-hour runtime, it can feel lengthy. It's not a film I'd revisit anytime soon. However, the cast is superb, particularly Demi Moore, who portrays Elisabeth as a protagonist slowly consumed by regret. Margaret Qualley (Sue) perfectly captures the younger character's sense of entitlement and frustration at having to share her body with Elisabeth.
The wide shots and colour palette pull the audience deeper into this 1980s-inspired world, and the film culminates in a chaotic, bloody finale-a typically disturbing conclusion that reinforces the film's nihilistic undertone.
Woman of the Hour (2023)
A date with the real devil
*Woman of the Hour* is loosely based on the true story of how a serial killer, Rodney (Daniel Zovatto), was identified on a popular dating show.
Sheryl (Anna Kendrick) is a struggling, up-and-coming actress who has fallen on hard times. Her agent arranges for her to appear on a live television show where she must choose one of three contestants to go on a date with. Little does she know that the charming contestant Rodney, despite his gift of the gab, is one date she should never accept.
Rodney poses as a photographer, using his charisma to target troubled, vulnerable teenagers, persuading them to join him for a photo shoot in the desert. Once there, he murders them with no witnesses.
This is an impressive directorial debut from Anna Kendrick, successfully capturing the aesthetic and vibe of the 1970s. Sheryl is a sharp-witted actress who playfully mocks the contestants on the dating show, and only Rodney seems equipped to match her wit.
Although it's a decent watch, the film feels somewhat rushed toward the end. We see how one of Rodney's victims manages to escape and alert the police, leading to his capture.
Don't Move (2024)
Don't stand too close to me...
*"Don't Move"* is another Netflix film you might end up watching simply because it's new and there's nothing else to see. The protagonist, Iris (Kelsey Asbille), is a grieving mother who visits the site where her son passed away on his anniversary. Contemplating suicide, she's approached by a seemingly good Samaritan, Richard (Finn Wittrock), who manages to talk her out of it.
From their seemingly innocent encounter, it soon becomes clear that Richard has far more sinister motives behind his "act of goodness." Spoiler alert: Richard is not the good guy here and ends up tasing and kidnapping Iris.
The film follows a familiar "cat and mouse" setup, with Iris drugged and struggling to escape before Richard can carry out his twisted plans. For the most part, it's a tense and engaging thriller, but it suffers from a fair amount of plot armour. Richard evades capture several times in ways that strain believability, stretching the film's length and leaving me in disbelief-a moment that could be captured with the phrase, "a picture is worth a thousand words."
While the ending is fairly predictable, *Don't Move* manages to avoid being just another mediocre thriller in Netflix's lineup. However, *Don't Breathe* remains a far superior film, one that this movie might have drawn some inspiration from.
Beetlejuice Beetlejuice (2024)
Beetlejuice bought into the new Jenny-ation
*Beetlejuice Beetlejuice* is a long-awaited sequel, over a quarter of a century in the making. Bringing back most of the original cast is a strong start, and the introduction of the charismatic Jenna Ortega is an excellent addition.
The storyline stays true to the original, with the Goth girl Lydia (Winona Ryder) now all grown up and a famous television medium. Her husband has tragically passed away, and she has a strained relationship with her daughter Astrid (Jenna Ortega). Lydia's father has also passed away, and Astrid is forced to return home from school for the funeral. To complicate things further, Lydia's boyfriend Rory (Justin Theroux) chooses the wake as the moment to propose to her.
Astrid argues with her mum and encounters a mysterious boy named Jeremy (Arthur Conti), who is charming and intriguing. Meanwhile, Beetlejuice (Michael Keaton) is pursued by a mysterious woman named Dolores (Monica Bellucci), who is determined to find him, leaving a trail of lost souls in her wake.
The cast is fantastic, with Willem Dafoe, Monica Bellucci, and a cameo from Danny DeVito adding to the film's appeal.
The film's colour palette brings it into the modern cinematic era, and while it has all the elements for a great sequel, it, unfortunately, falls into the common trap many sequels do-it doesn't quite hit the mark. There's something missing, and perhaps the nostalgia of the original makes it an impossible standard to meet or surpass. It's a fun ride, but I expected more than what was ultimately delivered.
El hoyo 2 (2024)
Departing from platform two
This sequel follows in the footsteps of the sleeper hit, focusing on a new group of characters whose backstories are revealed slowly, like a steady intravenous drip feeding into the audience's veins.
Perempaun (Milena Smit) is the main protagonist, who seems to believe that if you follow the rules, you'll survive the chaos. The enforcers exist to punish those who break the rules and wreak havoc.
This dystopian sequel does its best to continue the tried-and-tested formula that made the original a classic. Whether or not it achieves this is debatable, but it's still a decent and above-average Netflix film.
Speak No Evil (2024)
Return of the Mc(Avoy)
*Speak No Evil* is a remake of the 2022 Danish film of the same title. This psychological thriller follows a couple, Louise (Mackenzie Davis) and Ben (Scoot McNairy), and their daughter Agnes (Alix West Lefler), who befriend a seemingly eccentric family while on holiday. The family consists of Paddy (James McAvoy), Clara (Aisling Franciosi), and their son, Ant (Dan Hough). After several drunken nights together, they exchange numbers before returning home.
Upon their return, Ben experiences a disappointing job interview, and soon after, Paddy invites them all for a long weekend at his home, to which they agree. It's the typical isolated farmhouse, miles away from any neighbours.
While there, things begin to feel off. But is it just Louise's and Ben's imagination, or is something more sinister happening? As a seasoned filmgoer, you can likely guess the answer to that rhetorical question...
Although the storyline may not be the most original, what elevates this film is the outstanding cast, whose backstories are either explored or subtly hinted at. James McAvoy is exhilarating and delivers a captivating performance, reminiscent of his work in *Split*. Additionally, the strained relationship between Ben and Louise adds another layer to the plot. The ending, while predictable, is action-packed and intense.
This is definitely worth a watch.
Cuckoo (2024)
Cuckoo for sugar puffs?
This is a bizarre horror film that firmly places Hunter Schafer at the forefront as the protagonist, Gretchen. She is perhaps best known for her role as "Jules" in *Euphoria*. Gretchen is a rebellious teenager forced to move to a remote resort. Her father has remarried, and she now has both a stepmother and a stepsister.
However, something feels off in this seemingly idyllic resort. There are strict rules she must follow, one being that she cannot be out after 10 p.m. Strange bouts of illness and headaches afflict the residents. Is Gretchen experiencing a shared psychosis, or is something more sinister at play?
Without giving away the twist, this is a decent attempt at a horror thriller. It is suspenseful, and it's easy to empathise with Gretchen. While the reveal is effective enough, it feels like something is missing. It has all the ingredients to become a classic horror film, but ultimately, it's another case of failing to stick the landing. It's a shame, given its potential. Nevertheless, it's worth a watch.
Subservience (2024)
Who let the fox out?!
*Subservience* is another film exploring the concept of an AI robot, Alice, and Megan Fox plays the role flawlessly. It reminds me of another recent film, *T. I. M.*, which similarly deals with the theme of a robot integrated into the household to assist with daily chores. In *Subservience*, after Nick (Michele Morrone) and his wife Maggie (Madeline Zima) are faced with the challenge of balancing work and raising their children, they introduce Alice into their lives to help.
The robots in these types of films are usually governed by Isaac Asimov's "Three Laws of Robotics":
1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2. A robot must obey orders given by human beings, except where such orders would conflict with the First Law.
3. A robot must protect its own existence, as long as such protection does not conflict with the First or Second Law.
As expected, there's a malfunction, and things go awry. The story takes a familiar turn, serving as an allegory of the dangers of trusting AI. The best-known example of this concept remains *The Terminator*. While *Subservience* isn't groundbreaking, it does offer a compelling story that will keep you engaged until the very end.
The Killer (2024)
Has John woo-ing this remake?!
*The Killer* is a remake of John Woo's classic film, directed once again by Woo himself. The original was a hallmark of Hong Kong cinema, but this new version is set in France, with the male lead Sey (played by Omar Sy) switching between English and French.
The hitwoman Zee (Nathalie Emmanuel), during one of her jobs, ends up killing everyone in a bar except for a singer, Jenn (Diana Silvers), who is injured and becomes blind. Rather than eliminating the witness, Zee decides to let her live.
This decision has serious repercussions, causing Zee to question her career as a hired assassin. Her handler, Finn (Sam Worthington), isn't fond of leaving "loose ends," which leads to conflict with his boss, Gobert (Eric Cantona).
The film blends the signature stylized action of John Woo with elements from other action thrillers like *John Wick*, *Atomic Blonde* (with its female assassin), and *Jason Bourne*. Notably, the original male lead is swapped for a female protagonist in this version. The movie culminates in a shootout-heavy finale with a predictable conclusion that you can see coming from miles away.
While *The Killer* is entertaining and features several recognizable actors, its biggest flaw is the inevitable comparison to the original. Modernizing the setting is a nice touch, but it doesn't do enough to surpass the original film. There's something missing that keeps it from rising above mediocrity. It's the kind of movie you watch once but likely won't revisit.
Oddity (2024)
Something strange in this neighbourhood
This is a low-budget Irish film set in an isolated village. Yana (Caroline Menton) receives an unexpected visitor, Olin Boole (Tading Murphy), who claims that someone entered her house while she briefly went to her car. Is he telling the truth, or does he have an ulterior motive? Fast forward, and it's revealed that Yana was murdered that night. The film gradually unravels the mystery, providing clues as to who her killer might be.
Yana's sister, Dani (Carolyn Bracken), is blind but also a psychic. She is determined to uncover the truth behind the murder and possesses certain "items" that might help solve this mystery.
For a low-budget film, I've seen worse, and this one actually exceeded my expectations. The story is well thought out. I had my suspicions about the "killer", but the use of supernatural elements adds depth, preventing it from becoming just another mediocre film.
It's an intriguing watch that will keep many people entertained. It doesn't rely on cheap jump scares, although I must admit, there was one that genuinely caught me off guard. I'm not against jump scares, but they need to be executed well, as they are in this film. It gives off a vibe similar to *Barbarian*, leaving you to question whether the seemingly "good" Samaritan is truly there to help Yana or if he has more sinister intentions. It's definitely worth watching to discover the answer to that question. The motive for the murder is very believable, and the acting from the small cast is solid throughout.
Gunner (2024)
Shot its own foot!
To all those giving this movie a 10 out of 10, you should be ashamed of yourselves. After reading your reviews, it's clear they lack sincerity. Imagine pitching a film that's a failed attempt at an Americanized James Bond like XxX, mixed with elements from "The Jack Reacher" books and "Taken," centered around the tired trope of a retired American hero forced back into action after his family is kidnapped.
The action scenes are unintentionally humorous, paired with a musical score that is as ridiculous as the "chicken dance" song. The absurdity goes beyond "silly" and descends into outright "wtf" moments. I can't begin to understand why the director chose this approach; it's borderline offensive to three of your five senses: sight, sound and taste.
What is the great Morgan Freeman doing in this film? It seems like one of those paycheck roles for him. He deserves far better, but he is, unfortunately, the best actor in this train wreck of a "thriller." Liam Hemsworth's acting is adequate, but he simply doesn't have the chops of his more successful brother, Chris.
This is yet another film that chooses style over substance, and it fails even at that. The "Reacher" series makes this look redundant; it has a compelling storyline, well-written characters, and great action scenes-everything this movie lacks. I strongly urge you to skip this film unless you're in the mood for a subpar movie that promises little and still leaves you feeling shortchanged.
Trap (2024)
Or Houdini?
It's been a while since we've seen a new M. Night Shyamalan film. In this one, a father, Cooper (Josh Hartnett), and his daughter, Riley (Ariel Donoghue), attend a concert to see Lady Raven (Saleka Shyamalan). However, the plot takes an unexpected turn when Cooper realizes that the concert is a trap designed to capture him. As it turns out, he's a serial killer who stumbles upon this sinister plan and must do everything he can to escape.
The film is decent enough. Josh Hartnett does a solid job portraying the main character, a killer trying to outwit his captors. Ariel Donoghue also gives a commendable performance as his daughter. And what can I say about Saleka? She's like the Indian version of Ariana Grande!
This film reminds me of, or perhaps draws inspiration from, *Red Eye*. In both movies, the protagonists are caught in a tense cat-and-mouse game. However, there's a fair amount of plot armor here, with Cooper somehow managing to evade the police repeatedly to keep the story going. Honestly, he should have been a magician, given how his escapes seem straight out of Houdini's playbook!
Overall, the film is watchable, though it's far from spectacular.
Longlegs (2024)
Keep him in the cage
Watching this Nicolas Cage film is always fascinating, as he either delivers a stellar performance, as seen in *Mandy*, *Face/Off*, or *Leaving Las Vegas*, or he stars in films often considered subpar, like *Ghost Rider: Spirit of Vengeance*, or the infamously over-the-top "not the bees" scene in *The Wicker Man*.
Although Cage is not present throughout this film, he leaves a lasting impression. The focus, however, is on Maika Monroe's character, Agent Lee Harker.
The film feels like a blend of classic crime thrillers such as *Silence of the Lambs* and *Se7en*. Harker is an up-and-coming FBI agent who seemingly possesses "psychic powers" that help in the pursuit of a serial killer named Longlegs.
The film boasts a nostalgic aesthetic and excellent cinematography. There is an intriguing cat-and-mouse element that keeps the audience engaged. The anticipation for this film was immense, and I'm glad I watched it.
This is definitely one of those films that can be even more enjoyable on a second viewing. The twist was decent, and the entire cast delivered great performances, with Maika Monroe truly excelling in the lead role. Her acting is superb, effectively conveying the complex, troubled nature of a character trying to understand her "psychic powers" as the case unfolds.
Twisters (2024)
Twist or run
Having not seen many natural disaster films like "2012" or "Into the Storm", which this film closely resembles, I went into this movie with no particular expectations.
The film starts off strong with a group of ambitious student storm chasers-Kate (Daisy Edgar-Jones), Javi (Antony Ramos), and their friends-who set out to test a hypothesis that they can stop a tornado before it becomes a deadly force of nature. However, things quickly go awry, leading to tragic consequences as some of their friends are lost to the deadly twister.
The film effectively instills a sense of dread throughout, and I appreciated how the tornadoes are portrayed as indiscriminate in taking lives, adding to the tension.
Kate's troubled past adds emotional depth to her character, while Tyler, who initially seems like a narcissistic antagonist, gradually reveals himself to be more complex and ultimately "the good guy," challenging our initial misconceptions.
The film's best moments come from the chaos unleashed by the tornadoes as they devastate towns and lives in their path. However, the romance that develops between characters feels somewhat forced and predictable by the end.
Overall, this is a decent film worth watching, especially if you enjoy natural disaster movies. It's an engaging experience where the protagonists confront the disaster head-on, facing dire consequences but achieving a small victory in the end.
Dead Sea (2024)
Will you sea me again?!
*Dead Sea* is another entry in the "lost at sea" genre, similar to *Life of Pi*, *Open Water*, *Cast Away*, and *Lifeboat*. The story centers on Kaya (Isabel Gravity), a teenager who has taken on more responsibility since her mother's death, looking after her younger brother while their father works long hours.
Kaya's best friend, Tessa (Genneya Walton), convinces her to break free from this routine by going to the beach, where they meet two guys, Julian and Xander. The couples quickly develop romantic connections, and caught up in the excitement, they decide to rent jet skis. However, their blossoming romance fatally distracts one couple, leading to a tragic accident.
Kaya, Tessa, and Xander find themselves stranded at sea, injured and desperate. Just when things seem hopeless, they are rescued by a seemingly good Samaritan named Ray. However, Ray's peculiar behavior soon reveals a darker intent, as what began as a rescue turns into a terrifying game of cat and mouse. Ray is in cahoots with Russell Adams (Brian Silverman), a shady character involved in organ harvesting.
As the group is held captive, awaiting their grim fate, they must find a way to beat the odds, escape, and turn the tables on their captors. Kaya, in particular, fights fiercely for her life, with Isabel Gravity delivering a performance that strives to convey the dire situation and Kaya's transformation into the heroine of the story.
To say this film is predictable is an understatement. Like the day inevitably turning into night, *Dead Sea* follows a familiar formula. It won't be remembered as one of the best or worst films of the year; it's a lost raft at sea, leaving you thinking it could have been either better or worse. This is not a film that will have much rewatch value.
Pamyo (2024)
Very exhuma-rating
I have been searching for a good Asian horror movie since the last classic, The Wailing. I have grown tired of most Hollywood horror films, which rely too much on predictable jump scares that end up being more unintentionally funny than frightening.
After hearing about the film Exhuma from YouTube horror channels like Spooky Astronaut, I decided to give it a try. I approached it with some reservations, having been disappointed more often than not. It felt like searching for a needle in a haystack, but I finally found it with this film.
Exhuma isn't a traditional horror film; it's more suspenseful with horror elements, which I am perfectly fine with.
The story follows Buddhist psychic and exorcist Hwarim (Kim Go-eun) and her promising sidekick Bong Gil (Lee Do-hyun), who are flown to Japan to help with a strange case. A newborn boy exhibits symptoms that science cannot explain, leading them to believe there is a supernatural element involved. They are joined by friends Kim Sang Deok (Choi Min-sik, best known for his roles in Oldboy and I Saw the Devil, both classic films) and Ko Young Grin (Yoo Hae-jin), who exhume graves for a living.
The film exquisitely captures a foreboding atmosphere throughout. The dire consequences of their actions result in a tense race against time to banish the evil before it's too late. The film intertwines two stories and masterfully increases the tension with Buddhist supernatural lore.
Exhuma is one of those edge-of-your-seat movies I thought was a myth. It's a tremendous film that all horror fans should watch. Despite not being a huge fan of reading subtitles, I'm more than willing to make that sacrifice to fully enjoy this film.
The Exorcism (2024)
More like scary movie 2 than the exorcist
This is another film in which Russell Crowe plays an exorcist within a year. It's a movie about making a movie, where actors play actors. The idea is intriguing, but it faces the challenge of being compared to another film, "Late Night with the Devil," which uses a similar concept.
The main problem is that the other film is entertaining with a great cast and a gripping storyline. In contrast, this film's shortcomings are highlighted, making it clear how inferior it is.
Anthony Miller (Russell Crowe) is a troubled, recovering addict who has been given one last chance to shine as an actor. In the film within the film, he plays a priest who needs to exorcise a possessed girl, a nod to the godfathers of the genre, like "The Exorcist." However, calling this a homage feels almost insulting. Additionally, Anthony's estranged daughter, Lee (Ryan Simpkins), moves back to live with him.
The cursed set leads to actors dying during production. Can Anthony survive this perilous environment? The storyline moves along at a steady pace with predictable possession scenes and the classic good versus evil conflict. Will good triumph over evil, or is this another film like "The Omen," where evil wins?
Despite having all the ingredients to make a good film, it fails to deliver. It's likely one of those movies you'll watch once and never revisit.
The Strangers: Chapter 1 (2024)
Strangers in the night exchanging kills
The Strangers: Part One is a continuation of the franchise. A couple, Maya (Madelaine Petsch) and Jeff Morrell (Ryan Brown), experience car trouble in the woods. They stumble upon the clichéd "redneck community" that looks down on "city folk." A "good" Samaritan offers them a ride and a place to stay overnight while their car is repaired in the morning. What could possibly go wrong in this scenario?
As you might predict, the couple's romantic night is interrupted by the strangers. What starts as an annoyance soon descends into a deadly game of cat and mouse.
Jeff is the strong character who, despite making some idiotic decisions, tries to survive the night with his girlfriend. Maya, on the other hand, is the clichéd "damsel in distress" with few redeeming characteristics. Throughout the film, she does nothing but run scared, showing no courage or character development. She inadvertently becomes a protagonist the viewer might wish to see killed off. This outdated character type has been seen many times in such clichéd horror/thriller films.
The unrelenting chase by the strangers, who seem to appear from nowhere and everywhere at the same time, keeps the viewer interested.
The ending was predictable enough, given the title of the film. I hope that in future instalments, the protagonist develops a backbone and learns to fight back. This would be a necessary change to progress the storyline.
However, they could also introduce new characters in the next instalment of the franchise. The film is very average with a good set. I hope the next one will be better, but I am not holding out much hope.
The Watchers (2024)
Somebody's watching me...
Having heard good reviews of this film, I was drawn to watching it. This is one of those low-budget films that relies heavily on the cast and script.
The cast is small, with Dakota Fanning as the main protagonist and Georgina Campbell (known from Barbarian) also starring.
The film has a supernatural element. People mysteriously experience vehicle breakdowns and are drawn into an ominous forest. A sign reads "point of no return," which the characters obviously ignore, entering at their own risk and soon regretting it. You witness the fate of the first unwilling victim.
Mina, a troubled girl, is heading home to see her sister. Predictably, she falls victim to this strange phenomenon. She is chased by an unknown creature and encounters a woman who leads her to safety in a cabin in the woods.
In the cabin, there are strange rules everyone must follow to remain safe. The tension is expertly crafted. Mina is unwilling to abide by these rules and formulates a plan to escape.
The filmmakers cleverly keep the creatures hidden, immersing the audience in the cast's experience. You feel the strange sounds and can't help but empathize with them.
Dakota Fanning excels in the lead role, delivering a commendable performance alongside a cast of well-developed characters, which helps sell the film.
I thoroughly enjoyed most of this film, but the predictable ending prevented me from giving it a higher score. Nonetheless, I understand why it is listed as one of the best horror films of the year.
Beverly Hills Cop: Axel F (2024)
Beverly thrills that's where I wanna be...
This Netflix film seemed to come out of nowhere. As a fan of the original Beverly Hills Cop films, I was a bit worried about how this new one would turn out. Fear not-it is a lot better than I could have imagined.
Eddie Murphy reprises one of his most iconic roles as Axel Foley, alongside his old crew. While they have aged, the humor and one-liners surprisingly have more hits than misses. The film captures the essence of the 1980s "cops doing their best work off the books" genre and juxtaposes it with modern policing, creating a clash of old-school and contemporary methods for laughs. The additions of Kevin Bacon as Captain Grant and Joseph Gordon-Levitt as Detective Bobby Abbott are welcome and well-executed.
This is one of those surprising hit movies that Netflix has brought to its streaming service. It is definitely worth a watch.
Trigger Warning (2024)
Just another Netflix film
As a long-time fan of Jessica Alba, it's disheartening to see her status as an A-list Hollywood star decline since the 2014 sequel to Sin City. In this new film, she plays a CIA officer named Parker who must return home after her father's sudden death.
Like many Netflix films, it starts off well. Parker and her team are chasing terrorists, featuring some explosions and decent combat scenes.
However, what follows feels like a soap opera as Parker mourns her father's death. She suspects there's more to his death than it appears and begins her own investigation, believing something is amiss. This part of the film feels like a disjointed episode of the A-Team.
Despite the average script, Jessica Alba's performance is commendable and elevates the film. However, it remains a typical Netflix movie-so generic that you watch it once and never return to it.