October is gone, and that means a horror fan's favourite time of the year has passed on by. That did not stop me from watching the usual stuff of horror fare, recent releases, and festival stuff. So, let's see what films I watched this past October.
Slumber Party Massacre II (1987) [rewatch] - 3.5/5 - PTSD takes on a rock-and-roll guise, as one of the first film's survivors finds her fears manifesting in the form of a serial-killer whose weapon of choice is an electric guitar with a drill on the end. Previously, I enjoyed the serial killer elements while admitting that I preferred the introspective look at trauma. My feelings have changed this time as, while I still believe the trauma elements work effectively, it runs for a bit longer than I would have liked. Still, it does not detract from how satisfying the eventual arrival of the murderer is, manifesting in unforgettable fashion as Atanas Ilitch steals the film in fine form. A terrific entry into a darn good horror series.
Carrie (1976) [rewatch] - 4.5/5 - What makes this film work so well is the titular character. Between De Palma's direction and Sissy Spacek's exemplary performance, you really feel the horrors that Carrie White goes through with her devoutly religious mother, and within this suffocating school complete with bullies who lack empathy. When she gets the chance to break away from those confines, shedding her baggage for one night of joy, the bullies cannot even let her have that one fucking night. What unfolds with the iconic prom scene is horrifying, the worst case scenario that sees all of the pent-up feelings exploding in fatal fashion. An exceptional work that is rightfully iconic.
Christine (1983) [rewatch] - 4.5/5 - Teenage rebellion is a natural thing. Sometimes it takes the form of a nose ring, and sometimes it is using a 1957 Plymouth Fury to run over your bully in a flaming wreck.
AJ Goes to the Dog Park (2024) - 4/5 - A lovely work of absurdism brought alive with heart and sincerity.
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| Best film of the month and Best film rewatched: Halloween (1978) |
Beetlejuice (1988) [rewatch] - 4/5 - When Tim Burton hits, he delivers some excellent works of cinema. Beetlejuice is an imaginative piece of cinema that showcases the directors distinct vision that captured a generation, as the afterlife is brought alive with a macabre sense of humour and impressive practical effects. There's great acting across the board, with Glenn Shadix and Catherine O'Hara stealing the scenes they are in, but let's not forget about Michael Keaton's unhinged portrayal of Beetlejuice himself. He is on fine form as the sleazy bio-exorcist, making for a fantastic film with Beetlejui- 🤐.
Perfect Blue (1997) [rewatch] - 5/5 - Watched at the Mockingbird Cinema as part of Evolution of Horror Presents and, even though the subtitles were partially blocked by the head of the guy in front of me, it was a joy to see this unsettling masterpiece on the big screen. A magnificently creepy and prescient tale about the way celebrities are treated, brought alive through a former pop-star's journey to becoming an actress, despite entitled fans believing they know better about what is right for her.
Maniac Cop (1988) - 3/5 - As innocents find themselves in fear of a murderous cop, a rookie officer is framed for the various crimes. For a grisly slice of '80s horror which stars Tom Atkins and Bruce Campbell, this falls short of expectations. Hindering the film are too many logic leaps which drag out the already short runtime, as characters make decisions that feel pretty dumb for the sake of the plot. At least this remains a fun ride with great kills.
Beetlejuice Beetlejuice (2024) - 3.5/5 - Now, this is a refreshing piece of work from late career Tim Burton. Largely because I actually enjoyed it, as this long-planned sequel to Beetlejuice takes interesting directions which are driven by a game cast who are relishing their roles and delivering genuinely funny moments. Catherine O'Hara is so naturally funny, while Justin Theroux is a hoot as the conniving little weasel, and Michael Keaton fantastically embodies the titular role once more. Admittedly, it is unbelievably messy at a script level as it cannot settle on a subplot to the parent/child issues. Does it want to retread American Horror Story season one, include an unwilling marriage on Halloween, or struggle to find a way for Monica Bellucci and Willem Dafoe to feel necessary? Who knows? At least there's genuine craft on-screen with the practical effects and a real sense of fun. In almost 20 years, this is probably the film that has best shown Tim Burton's talents and hinted that all may not be lost with him yet. HOWEVER, if you're writing out a returning cast member due to their horrific real-life crimes, maybe don't keep using their image on-screen?
Frankie Freako (2024) - 3.5/5 - A madcap vision about finding direction in life through partying goblins.
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| Best film seen in cinemas: Perfect Blue (1997) |
Terrifier 3 (2024) - 3.5/5 - My time with the Terrifier franchise has been a mixed bag, but the idea that such a gory series would play in my mainstream local was too fascinating for me to pass up. The story follows the overlong Terrifier 2 after a five-year jump, where Sienna Shaw is grappling with the trauma of surviving such a horrific ordeal and being with family at Christmas, only to find her paths crossing once more with Art the Clown.
This festive set slasher looks to deck the halls with body parts and bloodsplatter, as the gruesome mayhem unfolds during the festive period. What unfolds is a grisly delight, showcasing the tremendous practical effects through indiscriminate carnage that unfolds in unflinching fashion. Nothing may top the bedroom kill of the preceding film, but the film gives it a darn good try with sequences set in an old house, within a shower, or in a bar. It is also good to see writer/director Damien Leone stretching his creative muscles, with the opening sequence offering more of a tense build-up before showing that a wider appeal has not diminished the brutality of this series.
Consistent throughout this series is how great David Howard Thornton is, bringing alive Art with a joyous sense of mischief before switching on a dime to be a stone-faced terror. Within the same character, he captures an impish humour and a cold-hearted bloodlust that leaves it no wonder that Art has become a recognizable icon. Aiding this is a tremendous Lauren LaVera, conveying the terror that showcases how the previous film's events impacted her character, and the determination to stop the slaughter in its tracks. It is part of the reason that Sienna is such a great final girl, as the performance overcomes some lacking dialogue.
Yet there are notable issues with this work, particularly the pacing. It feels unnecessary that this slasher should be passing the two-hour mark, but it is especially odd when the film has to rush through wrapping things up in the final act. There is also the way certain characters are treated, which includes how the film largely forgets about Jonathan. The greater lore also feels undercooked, particularly when it tries explaining how Art is still alive by this point. It can feel like the film is trying to be too grand in its plans, and leaves us with an abundance of parts for what should be a straightforward slasher.
Despite these issues, I had fun with Terrifier 3 and how it was a gory extravaganza. I'll return for Terrifier 4, but I do hope the series keeps evolving and eventually finds its most perfect form.
The Deliverance (2024) - 1/5 - There's no tension here, just boredom.
The Most Wonderful Time of the Year (2024) - 1.5/5 - This Disney+ short began with something that I have not felt from these in a LONG time; mild promise. Sideshow Bob's reign of terror against The Simpsons leads into a musical number, declaring Halloween as 'The most wonderful time of the year.' It's basic stuff, but not bad.
Then it went the route of these other Disney+ shorts, showcasing corporate synergy through The Simpsons characters interacting with various Disney owned characters. It's another short whose greatest purpose is for the Mouse to show off the many toys it owns, while also pointing out real-life criticisms against the corporation in half-assed ways to try having their cake and eating it.
Each time I watch one of these Disney+ shorts, my soul dies a little. But I worry that I am in too deep to stop now.
The Simpsons Meet the Bocellis in "Feliz Navidad" (2022) - 1.5/5 - These Disney+ shorts involving The Simpsons fit into two categories; advert for other Disney owned IP, or collaboration with musical star. This one falls into the latter, as Andrea Bocelli turns up to sing Feliz Navidad, yet still includes images to remind of the soulless corporate wanking session that these shorts often deliver.
I'm now caught up on these shorts, and I feel so hollow.
Three... Extremes (2004) - Review to come
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| Best film watched for the first time: Lone Star (1996) |
The Room (2003) [rewatch] - 0.5/5 - I got to show this to my brothers, who both had heard much about the film but never saw the entire thing before. To see their baffled reactions at how Tommy Wiseau's magnum opus played out was a fantastic experience. The films reputation speaks for itself, it's a strange work that is utterly bizarre and often boring, yet is too fascinating to not captivate you for much of the time.
The Disaster Artist (2017) - 2/5 - The Room is a feature whose reputation precedes it, but the best thing to come out of it was the novel The Disaster Artist. The book by Greg Sestero and Tom Bissell painted a fascinating portrait of the journey to the release of The Room, capturing the baffling decisions made by the dyed-hair enigma that is Tommy Wiseau. This feature adaptation of the book is a disappointment, as James Franco delivers a contrived and emotionally shallow feature which feels all surface-level. It wants to point out the strange inconsistencies in the story, but the way it is achieved is to seemingly paraphase baffled reactions written over a decade ago. Also, the way the story unfolds feels like it is pandering to a lovable ideal of Tommy, treating his outbursts and manipulations as though it's all coming from a loving place instead of being behaviour that should leave Greg running away and never looking back. Between this and The Room, I know which one I would rather revisit.
The Garden of Words (2013) - 3/5 - A 2013 drama film from Makoto Shinkai, this feature depicts the friendship between an aspiring shoemaker and a mysterious woman that he repeatedly meets in a National Garden on rainy mornings. What unfolds is a gorgeously composed piece which comes alive courtesy of gorgeous animation and a stunning score, capturing a burgeoning friendship between two people who find peace in each other's presence. Yet the story feels limited by the 45-minute runtime, leaving the key relationship to feel relegated to a montage. Also, the ending potentially leaves their story in a place that I am less than comfortable with, considering their age-gap, but I think that it is open enough that maybe their relationship stayed at friendly support. This is the weakest that I have seen from Shinkai, but it has enough positives to make it worth one's time.
The Orphanage (2007) [rewatch] - 4.5/5 - Oof, what an emotionally devastating way to spend my evening. J.A. Bayona exceptionally directs this ghost story that delivers a tale of desiring family through utterly heartwrenching means, while also bringing effective chills across this stunning tale. Central to it is a phenomenal Belén Rueda, bringing alive her character's desire to give a home to orphaned children that anchors this tragic work.
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| Biggest Disappointment: Maniac Cop (1988) |
Sleep (2023) - 4/5 - A terrific feature debut that will grip you throughout.
Anora (2024) - 5/5 - A marvel of a film that will make your sides split and heart break in quick succession.
Belle (2021) - 3.5/5 - The latest work from Mamoru Hosada is once again taking place within a digital space, only to utilize the setting this time for a virtual take on Beauty and the Beast. The story follows Suzu, who has retreated into herself following the loss of her mother at a young age. Within a virtual reality, Suzu lives vicariously through her avatar known as Belle, a persona that offers her the strength to sing in public. When a dragon-like creature appears, Suzu is left wondering the identity of such a reviled figure.
This film is pulling in many directions, from the virtual Hannah Montana, to the digital take on Beauty and the Beast, and that's not even including the various subplots. It can all feel overwhelming at times, as though a basic set-up was made overly busy with another plot idea. But that does not detract from the impactful tale with real heart that lies within this stunningly animated work.
My Hero Academia: You're Next (2024) - 4/5 - An entertaining tale that will reward fans of the series.
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| Biggest Surprise: AJ Goes to the Dog Park (2024) |
Smile 2 (2024) - 3.5/5 - 2022's Smile was quite the success story in the streaming era, as it went from being a Paramount+ release to being given a theatrical release after strong test screenings, resulting in it earning $200 million more than its budget. A sequel arrives as a result and, from the opening which unfolds in a single take, one gets the feeling that writer/director Parker Finn is growing more ambitious.
This time around, the story looks at trauma and mental health through pop-star Skye Riley (Naomi Scott). The musician is about to embark on a new world tour one-year after battles with substance abuse and surviving a car crash that killed her actor boyfriend. Her struggles are exacerbated upon witnessing her drug dealer, with a rictus grin on his face, commit suicide.
I respect that this sequel opted to not explain more about the demon and its lore, although that left this film to feel like a retread of what the first film did. It is more of the same, but thankfully Parker Finn does it rather well, crafting tension and effectively utilizing jump scares. A sequence involving back-up dancers is particularly nightmarish.
It is all wrapped around an engaging tale about the pressure that comes with fame, led by an excellent Naomi Scott. I do wish the CGI blood wasn't so distracting, but if we keep getting Smile films that are as nasty and effective, then I will be sat down for each one.
Lore (2024) - Review to come
Lone Star (1996) - 5/5 - An exceptionally crafted work that feels relevant to this day.
Popstar: Never Stop Never Stopping (2016) [rewatch] - 5/5 - Possibly my favourite comedy of the 2010s. A pitch-perfect skewering of celebrities and inflated egos captured with a stunning sense of style and fantastic songs. It's also pretty moving to see the journey Connor and his Style Boyz go on throughout this film.
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| Worst film of the month: The Room (2003) |
The Apprentice (2024) - 3.5/5 - It seemed inevitable that we would get a biopic about America's fascist-in-chief, and director Ali Abbasi takes the reins for a 1970's set work about Donald Trump's early years as he became Roy Cohn's protégé. There is little revelatory here about the figure as the rote story charts the rise of a monster, while peppering in heavy-handed references to his term in office. It does remain an engaging watch, and this is largely due to the cast who truly shines. Sebastian Stan does well in the lead role, proving himself to be one of the most interesting actors to graduate from the Marvel Cinematic Universe, while Maria Bakalova delivers an exemplary performance that elevates an underwritten role. The strongest performance is easily Jeremy Strong, who phenomenally captures a man horrified by the monster he created. I cannot say that I was looking forward to a film about this orange waste, but what we received was better than I expected.
Transformers One (2024) - 4/5 - Colour me impressed with this. Hasbro take the robots in disguise to the animated form, and deliver a vibrant looking origin that charts how Optimus Prime and Megatron went from friends to foes. Admittedly, it is a story that falls into formulaic tropes and ensures that you will see the turns and beats coming from miles away, yet that does not harm how compelling this journey is. The amount of time spent with the two leads makes their diverging paths all the more impactful, leading to an exceptional last 30-minutes which feels earned courtesy of what preceded it. Chris Hemsworth and Brian Tyree Henry are wonderful casting as the central figures, capturing their evolving characters and selling their journeys so well. I do wish Keegan-Michael Key, but his Bumblebee role is grating as comedic relief, while Scarlett Johansson does the best she can with an underwritten role. Yet those elements do not take away from the central journey, as the two leads rise above a corrupt system that informs their respective destinies for a thrilling work which is the best Transformers film yet.
Vampire Hunter D: Bloodlust (2000) - 4/5 - Half-human and half-vampire, the legendary dhampir known as D is hired to rescue a woman who was seemingly abducted by a vampire nobleman. Intent on fulfilling the mission, he finds himself competing with a family of bounty hunters who are also in pursuit of the abducted woman. From the opening moments, it is clear that Madhouse have done an absolutely gorgeous job realizing this thrilling tale, and it helps to phenomenally sell this world that is an amalgamation of genres, tapping into horror, science-fiction, romance, and even western. Admittedly, the story can feel familiar and narratively messy (I was not a fan of the "surprise" final villain), but it does not hinder this stunning tale about the loneliness of vampirism.
Tremors (1990) - 3.5/5 - Tired of their dull lives, handymen Val McKee and Earl Bassett finally decide to leave their small desert town and move onto different things. Their plans are halted when they discover mysterious deaths which have been caused by giant, man-eating creatures that live below the ground. While it may feel cheesy at times, what unfolds is an utter hoot that threatens to swallow viewers into a good time for the ensuing 96-minutes. It helps that the cast are such good fits for their roles, while the subterranean horrors are effectively brought alive courtesy of the practical effects. A fun film with such personality.
Halloween (1978) [rewatch] - 5/5 - My thoughts: "What if I took a shot everytime Lynda says totally?"
Lynda says totally 5 times within her first minute on-screen.
My thoughts: "I'm in danger!"
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