A colossal failure, saggy, haphazard, wholly disinterested in its own mystery, and unforgivably unscary. The boys (and one girl) are back in the town of Derry because our favorite clown has returned after 27 years to feast. In order to consign him to the depths once again, they have to undergo torments/flashbacks individually and then as a group. Why is poorly explained (something about a ritual and native Americans in the nearby woods).
The script has no keys to locks, no trail of breadcrumbs, no rules and hence, holds no interest. The picture doesn’t hold together or tie up and drags interminably at over 2 and a half hours. On the upside, Gollum from Lord of the Rings makes an appearance, we get to see Bill Hader vomit (twice!) and true love and belief in yourself conquers all.
I assume this is based on a video game. If not, it has the haphazard feel of one and the banal dialogue sounds like what video characters might say. There are also times when you wish you could hit reset given its hackneyed aspects (stock Italian goomba rifleman, erudite and aristocratic Nazi officer heavy, soldier revealing post-war plans right before . . .)
But this story of a WWII paratroop unit dropping behind enemy lines only to find that the Nazis are – can you believe it? – engaged in medical experimentation to create an uber soldier is competent with a fun B movie feel. And occasionally, it is even a little scary. Entirely worth the $1.87 Redbox rental.
One other positive note. The lead and the tough guy sergeant are African-American, which, given that integration of the troops didn’t occur until after the war, is an anomaly. However, since race has absolutely nothing to do with this middling popcorn flick, it’s a welcome development. Sure, there are no black Nazis, but all in good time.
One of the few movies I can recommend you see IN the theater. I didn’t hear a murmur. Not one popcorn chomp, not one whisper. We did, however, all scream at the right places.
A fun, terrifying roller coaster ride meant to be enjoyed communally, Jordan Peele’s second film ain’t deep, but it is accomplished, devastatingly funny and thoroughly engrossing.
I can’t speak much to the plot, as it would just give it away, so I’ll leave it at the following. The film is spine-tingling, brilliantly scored, and Peele never makes a wrong step. His ken for arresting and creepy imagery is stunning, the script is clever, and the twists are well-founded and earned.
Afterwards, you will find that it does not hold up to logical scrutiny yet that failure doesn’t make a damn bit of difference to your enjoyment of the picture.
It is the best zombie flick I’ve ever seen. Better than Night of the Living Dead, both Dawn of the Deads, 21 Days Later, and World War Z (to which it owes a few visual concepts).
Absolutely riveting, impressively fluid and utterly terrifying. On Netflix streaming now.
The film is conceptually ingenious, spooky, nerve wracking, terrifying and meticulously paced and acted. This tale of a family’s descent into madness and the occult scared the bejeezus out of me. Only slightly gory, the horror is all psychological. It is, however, very cruel to its characters, sometimes too cruel even for me.
I’m getting too old for this shit.
One of my favorite ghost stories, it has all the elements: a believable tortured performance by George C. Scott, a recent widower with whom an old house begins to communicate; absolutely chilling, hair-standing on the back of your neck moments; an engrossing mystery that seamlessly ties into the increasingly disturbing hauntings; and, a unhurried pace which heightens the terror. Trust me. Or trust Martin Scorsese. It’s on his list of the 11 scariest horror films of all time.
Also, scariest wheelchair ever.
The movie gets an automatic half point deduction because it was so intense and gripping that I had to leave the room a few times and scream to my family, “What’s happening now?” I have to assume there were some problems with the picture during those moments. Otherwise, John Krasinski’s sophomore effort as a director is taut, assured (you feel he really had a vision as to almost every scene), and at the right times, edge-of-your-seat terrifying. It is also bolstered by wonderful performances that are necessarily non-verbal. Krasinski is moving as a beleaguered father trying to protect his family, and Emily Blunt’s travails as she communicates them are almost too much to bear.
The only thing you need to know about the plot is that the monsters can hear EVERYTHING!