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Review by Sean Boelman
Directed by Martin Krejcí and written by Olivia Dufault, The True Adventures of Wolfboy feels as if Tim Burton tried to do a werewolf movie, for better or worse. A fun but not entirely original adventure, this film’s biggest struggle is finding a tone, as it’s a bit too dark for kids but also too silly for most adults.
The movie follows a young boy with a rare condition that causes his body to be covered with hair as he runs away from home in search of his estranged mother. The film hits all the predictable beats, even some outdated ones, like joining the circus, causing Olivia Dufault’s script to almost ironically remind the audience that it is not the journey, but the destination that is important. As one would expect, the movie has at its core a message about compassion and accepting others not despite, but for their difference. That said, subtlety is most certainly not the name of the game here, and the film essentially spells out the moral of the story in a straightforward (but admittedly moving) dialogue scene. At less than an hour and a half in length, the movie breezes by. The narrative is divided into sections, each of which follows the protagonist as he goes on another adventure. Some are a little more grounded, like throwing a massive birthday party, whereas others go all-in on the fantasy element. 
The thing that seems to be missing here are memorable supporting characters. While the misfit protagonist is certainly the hero of the story, his sidekicks and villains that he meets along the way are all stock characters. What could have allowed this to really stand out from the sea of other family drabble would have been someone else to remember.
That said, the cast that was assembled for the project is full of talented actors, and they are able to make some of the flat characters more interesting. The almost always big John Turturro gives yet another lovably flashy turn as the duplicitous carnie who has it out for the hero. Jaeden Martell brings some nuance to an (almost frustratingly) obvious role. And Chris Messina, Chloë Sevigny, and Stephen McKinley Henderson round out the supporters with small but powerful parts. One would be remiss if they didn’t acknowledge the production design and make-up work that went into creating the film. It’s an immersive style that really throws the viewer into this uncanny world. Still, there are some portions that are a bit over-the-top, especially the score which is pretty generic. The True Adventures of Wolfboy is fun, but it owes a lot of artistic influence to better, more authentic movies. Yet even if it is mostly a film of in-betweens, it’s worth watching because of the strength of the cast alone. The True Adventures of Wolfboy hits theaters and VOD on October 30. Rating: 3/5
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Review by Sean Boelman
Azhy Robertson (left) stars as ’Oliver’ and Gillian Jacobs (right) stars as ’Sarah’ in writer/director Jacob Chase’s COME PLAY, a Focus Features release. Credit : Jasper Savage / Amblin Partners / Focus Features.
Although Halloween festivities will hardly be the same this year, Jacob Chase’s techy horror flick Come Play will scratch the spooky season itch for thrills and chills. Despite being a bit heavy-handed with its message, a few legitimately scary moments and an intriguing monster make this a solid addition to the genre.
The film follows a young boy who, struggling to fit in with the other kids at schools, takes up an obsession with his devices and accidentally unleashes a malevolent spirit that manifests itself through screens. It’s a family-centric horror movie in a way that feels reminiscent of a modern Poltergeist, albeit with less atmosphere and more jump scares. The major shortcoming of the film is the fact that it is too on-the-nose. Chase is obviously concerned with the way that people have cut themselves off from the rest of society, saying so directly through the dialogue and even using a character on the spectrum who physically struggles to connect. And while the depiction of the character is surprisingly respectful, the use of autism as a plot device is still problematic. Additionally, the character development is rather conventional. It’s a common cliche, particularly when movies feature characters with learning disabilities, for family drama to be a significant subplot. As if genericism wasn’t enough, this aspect of the conflict goes out the window in the second act only to be readdressed in the epilogue. 
(L to R) Gavin Maciver-Wright as ’Zach’, Winslow Fegley as ’Byron’, Azhy Robertson as ’Oliver’, and Jayden Marine as ’Mateo’ in writer/director Jacob Chase’s COME PLAY. Credit : Jasper Savage / Amblin Partners / Focus Features.
Gillian Jacobs carries most of the film, and her performance has some ups and downs. When she is supposed to be more subtle and grounded, such as in the more emotional moments she shares with child actor Azhy Robertson, she brings a lot to the table. In the more over-the-top, horror-driven scenes, she feels out-of-place. John Gallagher Jr. does a great job in his few scenes, but isn’t used nearly enough.
That said, the thing that will be drawing most viewers to this movie is the promise of getting scared, and there are a handful of scenes that are beyond effective. Chase is able to find the right balance between showing the monster and keeping the audience in anticipation to make the jump scare hit at just the right time, catching even the most seasoned of horror fans off-guard once or twice. Stylistically, Chase does some really interesting things, especially with the technology-oriented framing device. Although there are some age-old tricks like flickering lights used to signify the presence of evil, a lot of what makes this film so creepy is that the characters (and therefore the viewer) never really know if he’s there until it’s too late. There are also a few scenes shot as if they are seen through devices, and those have an interesting effect. Come Play is a lot better than one would expect, having an earnest but occasionally overbearing message and some strong frights. This is the type of horror escapism that is definitely welcome right now. Come Play hits theaters on October 30. Rating: 3.5/5
Review by Sean Boelman
Were it not for the fact that this month is so lacking in mainstream horror content, Mark Tonderai’s Spell likely would have gone under the radar as a niche B-movie. Thanks to good performances and some disturbing imagery, this backwoods horror tale is able to overcome most of its narrative shortcomings, if only barely.
The film follows an upper-class man who, while on the way to a funeral in Appalachia, gets into a plane crash and wakes up in the attic of an old couple who may be up to something more sinister. With the way the movie starts off, it almost seems like it is going to be a Black spin on Deliverance, minus the offensiveness, but it also isn’t as culturally sensitive as it may initially appear. Kurt Wimmer’s script is heavily centered around the Hoodoo tradition that traces back to the time of slavery in the South. And while the film doesn’t quite otherize the Black Appalachian culture, there’s almost a xenophilia to its approach. The movie feels as if it's obsessed with their traditions, but in a way that is too distant to truly understand them. As is the case with most lower-budget horror films, the first act drags significantly as the exposition is dumped, and then the other two-thirds feel rushed, shoving all of the creativity and intensity into a short period of time. Perhaps even more frustrating is the fact that the ending is so anticlimactic and predictable that it leaves a sour taste in one’s mouth. 
Wimmer also fumbles the character development. The inciting incident of the script is the fact that they are heading to a funeral, and yet this theme of family is almost completely abandoned after the first twenty minutes. At that point, it turns into a much more basic fight for survival, and while there is excitement there, it’s a shell of the movie it should have been.
The main saving grace of the film is Loretta Devine, who gives a devilishly fun performance in her supporting role. An otherwise average horror movie can be significantly elevated by a memorable villain, and Devine’s character fits that bill and then some. Omari Hardwick’s lead performance is fine, although he’s really just another hero fighting back against an evil antagonist. Tonderai also does a good job of shooting the film in a way that is eerie and atmospheric. The production design is minimalistic but is able to make the viewer feel immersed in this world that exists in the modern world yet is trapped in the past. As for the effects for the more horrifying moments, they’re surprisingly great. Most of the problems with Spell are in its script, not its execution. It’s entertaining and creepy enough to be a satisfying watch, even if the narrative weaknesses keep it from being as disturbing as one would hope. Spell hits theaters and VOD on October 30. Rating: 3/5
Review by Sean Boelman
(L-R) Lourdes (Zoey Luna) Frankie (Gideon Adlon) Tabby (Lovie Simone) and Lily (Cailee Spaeny) perform rituals and talk about being cautious with their gifts in Columbia Pictures’ THE CRAFT: LEGACY. Photo Credit: Rafy Photography.
The thing that made the 1996 supernatural horror flick The Craft such a beloved cult classic is that it connected with the teens of the day. Zoe Lister-Jones hopes to recapture that magic (or more accurately, witchcraft) with her reboot The Craft: Legacy, but in trying to appeal to both ‘90s kids and today’s youth, it ends up being an enjoyable but superficial witch saga.
The film follows a teenage girl who, after moving to a new school, discovers that she has supernatural powers and forms a coven with three of her classmates. Compared to the original, the story here is much more conventional, with a more generic villain, although Lister-Jones deserves some significant props for not simply rehashing the story of the first. Much of the conflict feels like it is included out of obligation rather than a legitimate storytelling need. The first hour, which really just features the four characters having fun as they discover their powers, is inarguably the most enjoyable portion. By the time the villain becomes a more major factor in the third act, it feels as if the story is scrambling to its end. Another one of the movie’s misgivings is that its ideas feel a lot more mainstream. A significant appeal of the original is how it appeals to counterculture. Since ‘90s nostalgia has become part of pop culture at large at this point, it often feels like the movie is trying too hard to be cool rather than being more naturally fun. 
(l-r) Tabby (Lovie Simone), Lourdes (Zoey Luna), Lily (Cailee Spaeny), and Frankie (Gideon Adlon) deep in conversation in Columbia Pictures’ THE CRAFT: LEGACY. Courtesy of Sony Pictures.
That said, Lister-Jones does a very good job with the character development. The biggest strength of this reboot is the fact that all four of the girls are written in a compelling way, and the dynamic between them is both believable and fun. As a film about friendship, this delivers in a sentimental but honest way.
Cailee Spaeny is good as the main teen witch, bringing a charming naivete to the role. Lovie Simone, Gideon Adlon, and Zoey Luna round out the coven and all do a solid job. As for the adult cast, the two big names are Michelle Monaghan, who is decent but underused, and David Duchovny, who goes too over-the-top. Visually, the Twilight influence is palpable (the script even name-drops the series and its stars on multiple occasions). It’s less emo and more hipster, the four girls and the visual style as a whole being fashionable and bright. That said, the film still makes it known that it very much wants to be in the ‘90s, with the first needle drop being “Hand in My Pocket”. For what it is, The Craft: Legacy is an enjoyable little teen movie. It’s definitely not going to connect with today’s youth like the original did in its time, nor is it going to revitalize the property as a hit franchise, but as a nostalgia trip, it’s decent enough. The Craft: Legacy is now available on VOD. Rating: 3/5
Review by Sean Boelman
Documentarian Kim A. Snyder has spent much of her recent career commenting on the issue of gun violence that has plagued the country, particularly in regards to school shootings. Her newest film Us Kids isn’t the first movie on the Parkland shooting, nor is it without its flaws, but it’s a step in the right direction.
In the film, Snyder follows some of the survivors of the Parkland shooting as they become activists speaking out against gun violence and in support of legislation that would prevent tragedies like this from happening again. At this point, with all the news coverage, everyone knows this story, but Snyder takes a more personal approach to the subject. Most of the other documentaries so far have focused on the more outspoken and higher-profile voices that surfaced after the tragedy, like David Hogg and Emma González. Although both of them have a part in this documentary, Snyder focuses more on the people whose experiences and perspectives haven’t gotten as much screen time. Something that people often forget when telling this story is that these activists have wisdom beyond their age, but as the title suggests, they were kids when this tragedy happened to them. Snyder does a great job of humanizing them as more than just their trauma by having multiple sequences that simply show them being kids doing things that kids do. 
Obviously, as is the case with the rest of Snyder’s movies, there is a clear message to be taken away about the epidemic of gun violence. But what makes this film stand out is the fact that it succeeds in exploring the nuances of the discussion. It’s not black-and-white by any means, and Snyder is among the first filmmakers to truly acknowledge that.
Additionally, Snyder doesn’t go for the easy emotional punches. There is minimal use of footage from the incident, and to good effect, but the focus is more on getting the audience to recognize the power in how they are taking the pain they have suffered and using it to educate and inspire the rest of the world. Snyder’s fly-on-the-wall style is very effective here. The largely interview-based method that has defined most previous documentaries exploring the Parkland shooting forces survivors and family members to relive the horrors they experienced on that fateful day, whereas Snyder allows them to tell their story more organically in a way they would have regardless of whether or not the camera was there. Us Kids is arguably the most empathetic documentary on Parkland yet. Featuring lesser-known yet still compelling perspectives, Kim Snyder does an excellent job of perpetuating the conversation about gun violence. Us Kids streams exclusively on Alamo on Demand beginning October 30 here. Rating: 4/5 |