Review by Sean Boelman
Damien Leone’s Terrifier was the little horror movie that could: a low budget horror flick that made the most of its creepy clown premise and solid visual effects to pick up a decent fanbase. Six years later, the sequel, Terrifier 2, is finally being released, and Leone’s labor of love (if you can call it that) makes the most of its lessened restrictions.
Picking up immediately after the events of the first film, Terrifier 2 follows Art the Clown as he targets a teenage girl and her younger brother, setting out on a murderous rampage with a high body count along the way. Unlike the first film, which barely had any plot to be found, this film has a clearer narrative, making it much more accessible for general audiences. Admittedly, the plot of the film is extremely threadbare. The story is a simple game of cat-and-mouse, and anyone that gets in the way is collateral damage. However, given that the film is very overtly meant to be an homage to the classic slasher movies of yesteryear, having a plot as simple as this is fitting. The cult following that the first film has gained in the six years since its release has earned it a much greater budget, which allows it to go even bigger and more ambitious with its effects. Granted, more expensive doesn’t necessarily mean more creative, and the film really just delivers more of the same — just with about thirty seconds to a minute more each time.
With that in mind, the film’s biggest overindulgence is its length. While the first film was a lean, eighty-minute horror flick, this one clocks in at two hours and ten minutes before credits — almost a full hour longer when all is said and done. Although it does consistently deliver carnage for that time, it’s a nihilistic two hours that becomes overwhelming after a bit.
For those wondering if the film maintained the disgustingly misogynistic tone of the first, the answer is… not really. There are definitely some aspects of the film that feel reductive and even border on offensive, but nothing is going to ever be as terrible as the upside-down dismembering from the first film. The one thing that this film is lacking that the first film nailed is a strong protagonist. In trying to attempt something that resembles character development, this film manages to make a character that feels even more shallow. At least the duo in the first film had some pretty kickass moments — Sienna (Lauren LaVera) in this film is largely left to being a victim for two hours. Terrifier 2 is certainly an improvement over its predecessor, but that wasn’t a terribly high bar to pass. Like the first film, this is still very much an exercise in visual effects more than anything else — and one that is too long, at that — but it’s sure to be enjoyable for fans of the horror genre. Terrifier 2 screened at the 2022 edition of Fantastic Fest, which runs September 22-29 in Austin, TX and September 29-October 4 virtually. Rating: 3.5/5
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Review by Camden Ferrell When fall comes around, many people know what follows. All around the country as Halloween comes around, thousands of Spirit Halloween stores pop-up. This is a seasonal retailer that has all of your spooky needs, and they’re now getting involved in the movie-producing business. Spirit Halloween: The Movie is a supernatural horror movie that lacks thrills, competence, or truly anything to enjoy. Jake, Carson, and Bo are three boys on the cusp of adolescence. They are at the weird age where they might start becoming too old for trick or treating. Instead, they decide the night at an abandoned Spirit Halloween store but find this endeavor to be more dangerous than they thought. This is a pretty basic set up for this seasonal-themed horror movie, but the corporate sponsorship and production make it feel less genuine and cheaper. The script, written by Billie Bates, is full of overly familiar plot beats that are predictable and dull. The dialogue is painfully unnatural and lack any subtlety whatsoever. It’s a combination of the most cliché parts of every cheesy horror movie that came before it, and it doesn’t work. This along with David Poag’s direction make this whole film feel like a mess of unoriginality and tepid “thrills”. The performances range from awful to forgettable at best. It features some big names like Christopher Lloyd and Rachel Leigh Cook, but they both phone it in for the paycheck with performances that are quite bad. The kids who play the main characters are tasked with carrying this movie, and they just weren’t a good fit. They’re young actors who have potential and can improve, but their chemistry in this film wasn’t convincing or enjoyable.
Even if the movie wasn’t as much of a shameless advertisement as I expected, it still lacks a vision or any personality. It’s as devoid of charm or character as one can expect from a movie produced by a retailer. The movie is also not scary and features some distractingly bad special effects and attempts at tension. Spirit Halloween: The Movie leaves an awful taste in your mouth but will be forgotten almost instantly with any luck. It has no scares, thrills, and it has nothing that hasn’t already been done better countless times before. Regular audiences and horror fans alike will find little to enjoy in this short movie that feels twice as long as it is. Spirit Halloween: The Movie is in theaters September 30. Rating: 1/5 Review by Camden Ferrell Peter Farrelly is known by many for his work on movies like Dumb & Dumber and There’s Something About Mary. His newest movie, The Greatest Beer Run Ever, is his first directorial effort since his Best Picture winning movie Green Book. Based on the memoir of the same name, this is a bland war movie that goes through the motions despite a decent leading performance from Zac Efron. Chickie Donohue is a military veteran in 1967. After one night in a bar after the death of a friend in war, Chickie takes on a proposition from his friends. He then decides to embark on a journey to Vietnam to deliver messages of support from back home, and this comes in the form of beer. This true story could be endearing and profound in its view of war and its effect on those who participate, but it doesn’t take advantage of that potential. The screenplay by Farrelly, Brian Currie, and Pete Jones is so by the books that it lacks any intrigue or enthusiasm. The writing is dry and fulfils its base functions and not much else. And despite being a true story, the plot progression feels ridiculously unnatural and takes the audience out of the experience which should come off as authentic. The acting is decent throughout. The film is led by Zac Efron who does what he can with the material he is given. He’s not great, but his natural charisma works overtime to make up for the less than desirable script. The movie also features actors like Russell Crowe and Bill Murray but them along with the rest of the supporting cast fail to really add anything to the movie.
Even if the movie severely lacks in certain departments, it’s still a competently made movie. The camerawork, production design, and stunts are all well-done, but it doesn’t fully make up for the movie’s shortcomings. In addition to this, the movie makes an attempt to balance differing political viewpoints about the Vietnam War, but it ultimately comes off as spinelessly moderate. The Greatest Beer Run Ever doesn’t live up to its premise or subject. It has little to say about war and its other themes, and it lacks a driving vision to make it stand out to viewers. Zac Efron might not be the best leading man, but he is one of the better things happening in this movie. This war movie may speak to certain audiences, but most will be left underwhelmed. The Greatest Beer Run Ever is in select theaters and on Apple TV+ on September 30. Rating: 2.5/5
Review by Sean Boelman
Rob Zombie is one of the most recognizable filmmakers in the cult film space, having created such fan favorites as House of 1000 Corpses and The Devil’s Rejects. He’s no stranger to adapting popular IPs after his divisive duo of Halloween movies, and the community was equally split when it was announced he would be tackling another (this time, family-oriented) property: The Munsters.
Based on the now-iconic television series from the 1960s, The Munsters tells the story of a family of monsters who move from Transylvania to an American suburb. Zombie has created what is effectively an origin story for everyone’s favorite monster family, exploring the romance between Herman and Lily Munster. In a way, the film almost feels like an extended pilot to a new reboot of the series, as it picks up before the eponymous family leaves Transylvania and ends with an unsatisfying cliffhanger ending. However, this also provides a great introduction to these characters for new, younger audiences who might not be familiar with the source material. The portion of the movie that is likely to receive the most negative criticism is its visual style, and while Zombie’s approach to the film certainly looks somewhat cheap, it’s for the purpose of recreating a particular retro vibe. It’s obviously not interested in capturing the black-and-white style of the original television series, but the vibrant, campy colors of the movies that followed the show’s cancellation.
It’s clear that Zombie has a profound admiration for this property and these characters, and he has made something that manages to be both an effective ode to one of the titans of family television while still very much being its own thing. It’s the rare throwback that isn’t shoving nostalgia down viewers’ throats, which alone makes it meritorious.
As a whole, the film has a very goofy vibe to it. It’s very much a Zombie movie, albeit one without the blood and gore. Even though this is Zombie being family-friendly, the film still has his maximalist, exaggerated tendencies. Everyone and everything about the movie is dialed up to eleven, giving it a very particular energy that is infectious. Like most of Zombie’s other movies, Zombie puts his wife, Sheri-Moon Zombie into the leading role. And honestly… it works here. Her usual brand of over-the-top, theatrical acting is perfect for a film whose entire brand is cheesiness. This movie’s Herman, Jeff Daniel Phillips, is certainly no Fred Gwynne, but he’s fun to watch in the role nevertheless. The Munsters is pretty much what you would expect from Rob Zombie making a family film: a campy, silly movie with a ridiculously wild style. His approach is sure to disillusion purists of the series, but his unique homage to a television show that was part of so many people’s childhoods is certainly at least somewhat charming. The Munsters is now available on VOD and Netflix. Rating: 3/5
Review by Sean Boelman
Virginie Efiria has slowly been gathering acclaim on the international film circuit, but it seems like 2022 is her year to break out. In Paris Memories, she does some of the best work of her already promising career in the context of a brilliantly-crafted and well-written movie by Alice Winocour.
The film follows a woman who, having survived a devastating terrorist attack months earlier, begins to dive into her memories of the tragic events of that night in an attempt to move forward. We’ve seen several movies set in the aftermath of a terrorist attack, but this film takes a very humanistic approach, showing a character as she attempts to understand the complexities of her trauma. Winocour’s approach to directing the movie is very tasteful. When it comes to films about terrorist attacks, it’s hard to tread the line where it is adequately harrowing but doesn’t feel like it is being exploitative of trauma. Winocour does that by showing as little as possible — still communicating the terror of this experience without being gratuitous in its depiction of violence. The other thing that allows Winocour’s approach to work so well is that it is arguably more about the emotion that comes from this experience than it is about the anxiety. The movie’s focus is primarily on the feeling of emptiness that the protagonist experiences after this tragedy, and it’s quite depressing to have to see something like this. Winocour explores the themes of trauma and PTSD in a deep, sensitive way that few other films have been able to achieve. Although few people ever have, and hopefully ever will, have to go through this experience, the movie is extraordinarily compelling and sympathetic in how it explores the toll this violence takes. Efiria gives an extraordinary nuanced performance in her leading role — one of two she gave in films that played in this year’s TIFF. Although much of the movie is simply her drifting through the streets of Paris, she does so in a way that doesn’t feel like she is merely being reactive, but that she is processing her emotions in a complex way. Although this is firmly Efiria’s vehicle, she is surrounded by a supporting cast that is quietly strong in their own way. Benoit Magimel is the standout as another survivor of the same attack that Efiria’s character went through. Although his purpose is firmly to push Efiria’s character further along, he also has some very compelling moments of his own. Paris Memories may not be the easiest film to watch, but it’s extremely rewarding. Thanks to an exceptional performance by Virginie Efiria to go alongside a brilliant script, this is certainly one of the best movies about this topic yet. Paris Memories screened at the 2022 Toronto International Film Festival, which ran September 8-18. Rating: 4.5/5
Review by Sean Boelman
Having been selected as the submission to represent New Zealand in the Best International Film race at this year’s Oscars, Tearepa Kahi’s Muru presents itself as a police thriller, but there’s so much more to it. Even though the film doesn’t hit all of its ambitious swings, there is something undeniably effective about it.
The film tells the story of a New Zealand Police Sergeant who is forced to choose between his duty and his community when he is ordered to launch a raid on his community in the middle of a school day. While using a police officer as the protagonist of a film about police brutality may seem like a questionable choice, Kahi focuses it in such a way that it feels very natural. The film opens with a title card that reads “these are not the opinions of the New Zealand police,” however, the film is inspired by a series of true raids that happened in the Te Urewera valley. It very much peels back the curtain on an important issue that is in need of discussion and has unfortunately not yet received the spotlight it demands because of the world’s tendency to ignore Indigenous issues. Movies that deal with morally ambiguous cops can be a bit of a tricky line to tread, especially in this day and age, but Kahi manages to pull it off mostly successfully. The film may not be as starkly anti-cop as one would hope, but it’s certainly not the type of “copaganda” audiences may have grown accustomed to.
Cliff Curtis does an amazing job in the lead role, bringing a lot of complexity to this character. Obviously, the role requires quite a bit of range to show the character’s internal dilemma. It’s some of the best work of his career, largely defined by supporting performances, but it will be exciting to see if this turn earns him more leading roles.
Something else notable about the film is that it features the legendary real-life activist Tame Iti in a significant supporting role. It adds a feeling of legitimacy to the film because Ite is one of the most prominent people fighting for Indigenous rights in New Zealand. Even though this is a somewhat fictionalized, popcorn movie take on the topic, Ite’s involvement shows that it is also something to be taken seriously. That said, Kahi does a great job of shooting the film in a way that is enjoyable and suspenseful. There’s a lot going on in the film between the different storylines, but it is edited in a way that is kinetic and exciting. The action is largely done in a very gritty way, emphasizing the realism and making everything hit harder. Considering the way it sounds on paper, Muru is quite the accomplishment. An underdog film presenting some of the best Indigenous representation that has happened in the history of New Zealand cinema, this is a film to keep an eye out for. Muru screened at the 2022 Toronto International Film Festival, which ran September 8-18. Rating: 3/5
Review by Sean Boelman
Some of the best Latin American films have been those that have found optimism in the underbelly of society. This is the case with Laura Baumeister de Montis’s Daughter of Rage, the first ever narrative feature to be directed by a Nicaraguan woman, a moving if often generic drama.
The movie tells the story of an eleven-year-old girl and her mother who are separated as they struggle to make a living in Nicaragua’s largest landfill. We’ve seen plenty of films about families from low-income communities struggling, but since the issue persists, it’s important that we continue to have this conversation. One of the main things that this movie talks about is the system of indentured labor that still happens shockingly frequently in Latin American countries. Although the film clearly depicts the harm that this system causes to the people involved in it, it still doesn’t feel like a strong enough indictment of the society that let it happen. There are certainly some moments in the movie that are quite emotional and harrowing, but they are more effective individually than they are as a cohesive unit. At several moments throughout the film, viewers will be left feeling thoroughly depressed at what they are watching, but all too often, it struggles with familiarity.
The area in which the movie struggles the most is its character development. The audience will undeniably connect with the protagonist because of her plight, but the supporting characters are all extremely shallow. Every antagonist in the film is almost cartoonish, and the relationship the protagonist has with her is a thoroughly conventional arc.
Ana Alejandra Medal’s performance in the leading role is pretty great, and is a large part of what makes the movie work so well. For such a young actress who has no other prior credits to her name, her performance is extraordinarily nuanced and complex, and she is able to carry the film on her back despite relative inexperience. There are also some very stark visuals in the movie, largely dependent on the contrast between the stark reality of the landfill setting and the beauty of the cinematography. Like so many other films about people in low-income communities, the movie is about finding the beauty in the most unlikely of places. Daughter of Rage is far from a perfect film, but for what it is, it’s pretty solid. The use of imagery and strong acting make up for the occasionally generic writing to create a movie that is generally pretty affecting. Daughter of Rage screened at the 2022 Toronto International Film Festival, which ran September 8-18. Rating: 3.5/5
Review by Sean Boelman
Luis De Filippis’s debut Something You Said Last Night won the Changemaker Award at the 2022 Toronto International Film Festival, signifying that it has a noteworthy social message. A quietly resonant film, Something You Said Last Night is subtle to a fault, sometimes losing its focus in the search of nuance, but mostly effective nonetheless.
The movie follows a twenty-something trans woman who accompanies her family on a beach vacation despite the fact that she doesn’t really feel a connection to her family anymore. An expansion of De Filippis’s short, For Nonna Anna, it’s a very unique approach to a genre that has a lot of entries. What sets Something You Said Last Night apart is that it is a trans story that isn’t necessarily about being trans. While being trans is a fundamental part of the protagonist’s identity, the film isn’t about gender transition and she is experiencing a conflict beyond her identity. This is the next step towards positive representation: normalization. Granted, the movie does struggle to find its footing and its purpose. Eventually, it settles on being a dissection of the family dynamic, and it’s a pretty solid one at that. De Filippis isn’t saying anything that hasn’t been said before, but she approaches the themes in a way that is honest, authentic, and resonant. What De Filippis succeeds at the most is creating an effective atmosphere in the film. The movie wavers between being a fun portrait of a family on vacation and a tense one of a family in turmoil. Yet the film feels refreshingly trope-free, staying away from the melodramatic pitfalls that all too often plague family dramas. The one thing that does hold the movie back is its character development. The protagonist is obviously very compelling, but it’s difficult to get a read on her family. It seems to be the purpose that we are supposed to have mixed feelings about them, but rather than mixed feelings, we end up feeling ambivalent and disconnected from them. However, Carmen Madonia’s lead performance is tender in a way that absolutely carries the film. Given that there isn’t a whole lot of external conflict throughout, the movie was very much on the shoulders of Madonia to sell the emotional stakes, and she pulls it off in a way that is quite nuanced and naturalistic. Something You Said Last Night is definitely very noteworthy for its representation, even if it doesn’t have as much weight as one would like. Still, Luis De Filippis is a new voice to watch, as this is a very strong feature debut. Something You Said Last Night screened at the 2022 Toronto International Film Festival, which ran September 8-18. Rating: 3/5 Review by Tatiana Miranda Nearly thirty years post its literary release, Karen Cushman's Catherine Called Birdy has its theatrical debut thanks to Amazon Studios and director Lena Dunham. Set in medieval England, Catherine Called Birdy is the fictional account of 14-year-old Lady Catherine, who is only a lady in name and not in spirit. Often inventing curse words and longing to become a saint, Catherine is the 13th-century version of Anne Shirley, equally headstrong, ill-tempered, and loyal as the other beloved children's book character. Like many of the characters Dunham writes about, Catherine is not the most likable, but she is full of personality and, more importantly, comedy. Alongside Bella Ramsey as Catherine is a star-studded cast including Joe Alwyn, Billie Piper, Andrew Scott, and Isis Hainsworth. Due to Scott's character, Lord Rollo, and his excessive spending, Catherine has to be married off as she is his only living daughter. This, of course, is much to Catherine's dismay, so she sets to foil any of her father's plans. Between her many hijinks regarding potential suitors, Catherine also navigates some familiar teenage problems, such as starting her period and having her first kiss. These seemingly ordinary moments are paired with comedy as the setting is anything than normal since it takes place in a time likely unfamiliar to its target audience. Although some recent adaptions that include modern problems in historical settings have seemingly gotten it wrong (e.g. Netflix's Persuasion), Catherine Called Birdy treats its historical elements with fascination and fun, not necessarily accuracy. The film also strays away from the typical portrayals of medieval England, trading the usual dull backdrops for lavish courtyards and whimsical home decor. While the costumes are nothing spectacular, each is tailored to the character and full of elements representing their priorities. This is especially apparent with Rollo's costuming, as he is often seen wearing detailed, embroidered robes and necklaces that show off his exuberant habits. While most of the film stays true to its literary counterpart, there are several elements changed somewhat surprisingly for the better, both narratively and cinematically. Perhaps most glaring is the ending, which, without spoiling anything, is even more heartfelt and compelling than the one Cushman wrote originally. Catherine's Fleabag-style narration keeps some of the first-person narrative elements from the source material, as the novel is written in diary format. Her witty remarks and musings are paired with the usual cheesy coming-of-age tracks, which are honestly the only downside to Dunham's masterpiece.
As Dunham's passion project, Catherine Called Birdy is representative of everything her work is known for: female empowerment, family, and humor. Her voice perfectly matches the underlying themes of the novel, and they come together in a fantastic blend of the exotic and relatable. Catherine Called Birdy is released in theaters September 23 and on Prime Video October 7. Rating: 4/5
Review by Sean Boelman
The thing about documentaries is that they don’t have to be the most polished to feel powerful. This is the case with acclaimed filmmaker Patricio Guzmán’s newest film, My Imaginary Country, which has sometimes questionable execution but such a connection with its story that it cannot be ignored.
In the movie, Guzmán explores the recent social turmoil that has been happening in Chile, culminating in the protests in the streets of Santiago in 2019 in the search for more democracy and social equality. It’s a story that is undeniably important, but few people have heard about it outside of those interested in Latin American politics. Guzmán has made several films about the political situation in Chile over the years, including his most famous work, The Battle of Chile. He is obviously very passionate about the situation in his country, and he has a canny eye for how to tell these stories in a way that makes them understandable for foreign audiences. One of the more interesting portions of the movie asks the question of what politics really is. It’s an interesting question that many simply don’t consider, but sparks an interesting debate about the ethics of decision-making in the government. It’s one of the most effective ways I’ve seen to appeal to the emotions of an audience that may otherwise be unmoved.
Indeed, like the rest of Guzmán’s films, My Imaginary Country is extremely unabashed from a political standpoint. Guzmán takes a strong stance on the political situation in Chile right now and is not afraid of being incendiary. We need more filmmakers who are willing to take risks like this and be unabashed with their politics.
Guzmán interviews a variety of people in the movie, from political activists to artists. These people offer a variety of perspectives on the conflict, some informed, others less informed, but all passionate about the cause. In some of the interviews, the viewer may be wondering what these people add to the conversation, and Guzmán does not always offer a satisfying answer. The execution of the film from a technical level is very inconsistent. The portions of the movie that are shot in a fly on the wall format are exceptional, having the right amount of grittiness and making the viewer feel like they are immersed on the ground. But on the other head, the talking heads are shot in an exceedingly simple way. Although the execution of My Imaginary Country often leaves something to be desired, the political turmoil it explores is so underrepresented in the media that it’s an important film to see. This movie will certainly spark a conversation about our understanding of democracy, which is exactly what Guzmán seems to want to do. My Imaginary Country screened at the 2022 Toronto International Film Festival, which ran September 8-18. Rating: 4/5 |
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