movieman6-413-929510
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movieman6-413-929510's rating
Him is a new sports-horror film, directed and partly written by Justin Tipping, the director of Kicks.
Cameron Cade (Tyriq Withers) gets the chance to become the next top quarterback in the rugby world. To achieve this, he must successfully complete a training period under former star quarterback Isaiah White (Marlon Wayans). During these training sessions, however, he begins to notice that everything is becoming increasingly darker and stranger.
The film effectively shows how difficult it can be to become the best in the sports world. It demands huge sacrifices from the athlete himself: he must keep his career, his team, and his fans satisfied-something that can push you to the breaking point. It also highlights how sports and faith can intertwine. Some fans pray for the best results or make the sign of the cross, hoping their player or team will win.
In the second half of the film, however, this turns into somewhat misplaced body horror, with bloody scenes showing how brutal training can physically destroy an athlete, even as he pushes on for the sake of his team and fans. The transition from sports drama to horror is clumsy and sometimes feels odd or unclear. The body horror itself is weak: for much of the film, we see little more than blood splatters. Most victims or bodies are never clearly shown. Only at the end do they reveal more, but then in an over-the-top way, making some scenes feel closer to Scary Movie than actual horror.
The sports elements work better and are more enjoyable for rugby fans. Still, the sudden switch from sports to horror can feel disjointed, as if they are suddenly watching a completely different film. The two genres are awkwardly placed side by side, and at times, misplaced humor is thrown into the mix as well.
The messy script also prevents most of the actors from truly standing out. Marlon Wayans, however, does manage to convincingly shift from the comedic roles he is best known for to a more menacing presence-a transition that comedic actors often surprisingly excel at.
Cameron Cade (Tyriq Withers) gets the chance to become the next top quarterback in the rugby world. To achieve this, he must successfully complete a training period under former star quarterback Isaiah White (Marlon Wayans). During these training sessions, however, he begins to notice that everything is becoming increasingly darker and stranger.
The film effectively shows how difficult it can be to become the best in the sports world. It demands huge sacrifices from the athlete himself: he must keep his career, his team, and his fans satisfied-something that can push you to the breaking point. It also highlights how sports and faith can intertwine. Some fans pray for the best results or make the sign of the cross, hoping their player or team will win.
In the second half of the film, however, this turns into somewhat misplaced body horror, with bloody scenes showing how brutal training can physically destroy an athlete, even as he pushes on for the sake of his team and fans. The transition from sports drama to horror is clumsy and sometimes feels odd or unclear. The body horror itself is weak: for much of the film, we see little more than blood splatters. Most victims or bodies are never clearly shown. Only at the end do they reveal more, but then in an over-the-top way, making some scenes feel closer to Scary Movie than actual horror.
The sports elements work better and are more enjoyable for rugby fans. Still, the sudden switch from sports to horror can feel disjointed, as if they are suddenly watching a completely different film. The two genres are awkwardly placed side by side, and at times, misplaced humor is thrown into the mix as well.
The messy script also prevents most of the actors from truly standing out. Marlon Wayans, however, does manage to convincingly shift from the comedic roles he is best known for to a more menacing presence-a transition that comedic actors often surprisingly excel at.
Downton Abbey: The Grand Final is the third film in the series and is directed by Simon Curtis, who also directed the second Downton Abbey film.
Humanity is about to enter the 1930s. The family will soon be led by Lady Mary Talbot (Michelle Dockery), but when she becomes entangled in a public scandal involving a divorce and the family faces financial troubles, it seems the Crawleys are on the verge of losing much of their respect and status.
As the new bearer of the family scepter, Mary must guide her family successfully into the future. To achieve this, however, the family-like the rest of the world-may have to adapt to new ways of life.
The film portrays well how change in the world and in life is necessary, yet remains difficult for some to truly accept. This is also a theme that still resonates strongly in today's society.
With this third Downton Abbey film, they once again deliver a delightful experience, especially for fans and followers of the series and previous films. These viewers will more easily recognize references and details, and it will be enjoyable for them to continue following the familiar characters and witness how many of them bring their time at Downton to an end. The roles are once again played by the returning cast, who manage to give most of the characters a fitting farewell.
This is certainly true for the character Violet, portrayed in the series and earlier films by Maggie Smith, who sadly passed away last year. Despite her real-life absence, the filmmakers manage to conclude her character's story in a respectful way. In this film, a portrait of her character can be seen, giving the impression that she is still present in this final chapter.
Humanity is about to enter the 1930s. The family will soon be led by Lady Mary Talbot (Michelle Dockery), but when she becomes entangled in a public scandal involving a divorce and the family faces financial troubles, it seems the Crawleys are on the verge of losing much of their respect and status.
As the new bearer of the family scepter, Mary must guide her family successfully into the future. To achieve this, however, the family-like the rest of the world-may have to adapt to new ways of life.
The film portrays well how change in the world and in life is necessary, yet remains difficult for some to truly accept. This is also a theme that still resonates strongly in today's society.
With this third Downton Abbey film, they once again deliver a delightful experience, especially for fans and followers of the series and previous films. These viewers will more easily recognize references and details, and it will be enjoyable for them to continue following the familiar characters and witness how many of them bring their time at Downton to an end. The roles are once again played by the returning cast, who manage to give most of the characters a fitting farewell.
This is certainly true for the character Violet, portrayed in the series and earlier films by Maggie Smith, who sadly passed away last year. Despite her real-life absence, the filmmakers manage to conclude her character's story in a respectful way. In this film, a portrait of her character can be seen, giving the impression that she is still present in this final chapter.
The Conjuring: Last Rites is the fourth Conjuring film in the series. This fourth installment is directed by Michael Chaves, who also directed the third Conjuring film, as well as the two spin-offs from the series: The Curse of La Llorona and the second Nun film.
Paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) have scaled back their investigations as they've grown older and due to Ed's heart problems. These days, they more often give lectures about the paranormal world.
When the Smurl family experiences a malevolent demonic presence in their new home-manifesting through a mirror-they ask the Warrens for help. The Warrens are willing to step in, but this case may turn out to be their most terrifying investigation yet.
This film is the last in the Conjuring movie series to truly focus on the paranormal investigation duo, the Warrens. Possible future films in the franchise will likely center more on the stories behind the demons they have confronted.
With his previous Conjuring film, Michael Chaves approached the story from a different angle. That installment focused more on victims who were likely wrongly accused of murder, with the Warrens helping to prove their innocence. With this final Conjuring film, the series returns more to the classic horror concept of a haunted house.
However, the storytelling this time is somewhat drawn out. The story of the Warren family, trying to live with fewer paranormal involvements, and the story of the possessed mirror at the Smurl household largely run separately. Only later do the storylines truly merge when the Warrens finally investigate the Smurls' case. Because of this, the film feels more like two separate stories: on one hand, the horror elements surrounding the Smurl family; on the other, the family life of the Warrens, where their daughter also begins a romantic relationship. This was likely done to give their story a proper conclusion, but sometimes too much time is spent on it. After all, in a Conjuring film you expect more horror elements rather than family drama.
What this final Conjuring film especially lacks is originality. For horror fans, it may quickly bring other titles to mind. The demonic mirror, for example, evokes memories of Oculus. Unlike other demonic forces in the Conjuring series, the mirror has little to no real personality. The only frightening aspect comes from the occasional sinister reflections. In addition, many of the horror elements remain clichéd or predictable, with characters once again wandering off alone to investigate suspicious noises.
Patrick Wilson and Vera Farmiga reprise their roles for the last time, and they manage to give them a fitting conclusion while maintaining a convincing chemistry. Since the film's first half is largely shared with the actors portraying the Smurl family, both groups come across somewhat weaker. Only toward the end does their collaboration truly shine.
Paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) have scaled back their investigations as they've grown older and due to Ed's heart problems. These days, they more often give lectures about the paranormal world.
When the Smurl family experiences a malevolent demonic presence in their new home-manifesting through a mirror-they ask the Warrens for help. The Warrens are willing to step in, but this case may turn out to be their most terrifying investigation yet.
This film is the last in the Conjuring movie series to truly focus on the paranormal investigation duo, the Warrens. Possible future films in the franchise will likely center more on the stories behind the demons they have confronted.
With his previous Conjuring film, Michael Chaves approached the story from a different angle. That installment focused more on victims who were likely wrongly accused of murder, with the Warrens helping to prove their innocence. With this final Conjuring film, the series returns more to the classic horror concept of a haunted house.
However, the storytelling this time is somewhat drawn out. The story of the Warren family, trying to live with fewer paranormal involvements, and the story of the possessed mirror at the Smurl household largely run separately. Only later do the storylines truly merge when the Warrens finally investigate the Smurls' case. Because of this, the film feels more like two separate stories: on one hand, the horror elements surrounding the Smurl family; on the other, the family life of the Warrens, where their daughter also begins a romantic relationship. This was likely done to give their story a proper conclusion, but sometimes too much time is spent on it. After all, in a Conjuring film you expect more horror elements rather than family drama.
What this final Conjuring film especially lacks is originality. For horror fans, it may quickly bring other titles to mind. The demonic mirror, for example, evokes memories of Oculus. Unlike other demonic forces in the Conjuring series, the mirror has little to no real personality. The only frightening aspect comes from the occasional sinister reflections. In addition, many of the horror elements remain clichéd or predictable, with characters once again wandering off alone to investigate suspicious noises.
Patrick Wilson and Vera Farmiga reprise their roles for the last time, and they manage to give them a fitting conclusion while maintaining a convincing chemistry. Since the film's first half is largely shared with the actors portraying the Smurl family, both groups come across somewhat weaker. Only toward the end does their collaboration truly shine.
