Very clever and funny thriller/horror flick, currently on HBO Max. I’m reticent to say too much and spoil the fun, but can pass on the following–

1) This is a “horror” movie for folks who may not be predisposed to them. The gore is minimal, though the tension is high, and the levity is in abundance.

2) Everyone is good. Justin Long steals the show.

3) Perfect length at 1 hour, 42 minutes.

4) Detroit is a scary place.

5) A surprisingly sweet ending.

6) One reviewer wrote, “it’s ‘about’ stuff — gentrification, abuse, toxic masculinity, taking responsibility”, which, thankfully, is a ludicrous amplification of some elements, but it is a smart picture.  

7) It got knocked down to a 4 because of over-reliance on the charity and goodness of one character, a necessity to keep the freight train running, but lazy all the same.

This debut film by Andrew Patterson blew me away, reminding me of Blood Simple (Coen Brothers), It Follows (David Robert Mitchell), Blue Ruin (Jeremy Saulnier) and The Babadook (Jennifer Kent).  The trajectories of the careers of these first or near-first time writer-directors varies, but the skill and care taken in their early work is astounding.   I can’t speak much about the plot of Patterson’s film, which centers on a New Mexico disc jockey and phone operator who stumble on a strange frequency over their wires in the 1950s, because it is a “whodunit/whatisit” to its core.  But Patterson’s assured manner heightens tension and drives a narrative in an almost Hitchcockian style (without being showy), and his attention to detail is impressive.  The film is hair-raising and creepy, but never overt; you feel as if you’re another denizen of the town, with Patterson letting you in on the mystery.

The picture has its flaws (tracking shots that at times feel gratuitous, a lead who speaks rat-a-tat tat with a cigarette in his mouth which at one point almost made me turn on English subtitles, and an ending that almost feels stubborn in it anticlimactic lack of convention), but now is the time to buy stock in Patterson.  Currently on Amazon Prime.

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.