Review by Adam Donato It's funny that the conversation around movie musicals seems so negative when there are so many out today: Wonka, The Color Purple, and now Mean Girls. The Color Purple is the closest comparison to Mean Girls as they're both musical adaptations of popular films from decades ago that got stage productions. While The Color Purple gets a shiny Christmas release date, Mean Girls is relegated to January. Why is Mean Girls not getting a big holiday release? Why is Mean Girls arguably the biggest offender of musicals with marketing campaigns that hold back the fact that they're a musical? The answer is that it's bad. Two significant things differentiate the original from the musical adaptation. The obvious one is the fact that this movie is filled with songs. If the songs aren't any good, then what's the point of the musical adaptation? At least it's adding music instead of just doing a shot-for-shot remake. The songs aren't horrible, but terribly underwhelming. You know you saw a good musical when you're adding multiple songs to your music playlist or even if they're stuck in your head after the movie. "Revenge Party" is probably the most memorable of the bunch, as it's led by the two most well-done characters. All the numbers are full of energy and colorful, but the lyrics and performances are lackluster. The villain song was especially disappointing as Renee Rapp reprises her role from the stage. It just feels like there's so much meat on this bone, and this soundtrack only eats the skin. The other major difference from the original is the cast, outside of Tina Fey and Tim Meadows. Angourie Rice looks the part more, especially since the main character is supposed to be this shy nobody. That's a lot easier to buy if it's played by the news girl from the Tom Holland Spider-Man movies rather than the star that Lindsey Lohan was at the time. That being said, Rice's lack of musical talent holds her back from the comedic heights achieved by Lohan. Rapp is similarly lackluster, but that's more understandable as the crowning achievement of the original film is Rachel McAdams's performance. Regina George is the most important character to nail, and for her villain song to be so basic was tragic. It's frustratingly hard to understand what she's even singing. There are some attempts to add "star power" to this cast with Jenna Fischer, Jon Hamm, and Busy Phillips. The only one of the three to utilize their screen time is Phillips, and even she is a significant step down from Amy Poehler. It's not all terrible, as Jaquel Spivey shines here. That's not to say he's better than Daniel Franzese — just that his interpretation is also appealing. Everyone else from the rest of the plastics and Moana herself is mid, especially in comparison to the original. It wouldn't be so easy to call out how this adaptation pales in comparison to the original if the songs were better.
If you're looking for a reunion special or a musical encore, Mean Girls is certainly the affair for you. People who are not fans of the original will not be as easily amused by lame cameos and references. Mean Girls is a great time if all you want to do is remember the original Mean Girls. While nothing is offensively bad about the music and performances, it's the cinematic equivalent of the question: "Is Pepsi okay?" That's why it comes out in January. Mean Girls hits theaters on January 12. Rating: 2/5
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Review by Adam Donato The best and worst thing for the marketing of this remake is that the original film was directed by Steven Spielberg (who also serves as a producer here). It puts butts in seats, but it also comes with lofty expectations. Luckily, there’s full support from the stars of the original. Still, remake holds its own because the changing of the genre. Who doesn’t like musicals? It seems a good chunk of audiences don't, as studios are disguising their musicals as regular movies. The Color Purple is the least of these recent offenders as the music is front and center in the marketing. Will this musical push pay dividends, or should this story have stayed in the eighties? Like it or not, the theater experience is a communal one. Some movies capture the passion of audiences in an almost interactive way. The Color Purple is sure to inspire elation from its audience as it is a full meal of a movie. The tragedy is heartbreaking. The struggle is torturous. The pursuit of justice is a triumph. The music puts an exclamation mark on all of these emotions. The story is one most of the target demographic has probably seen before, and they're rewarded with little winks to the original film. Save movies like The Holdovers for midweek afternoons, The Color Purple is for Friday night. It's sure to inspire people to feel their hearts out and join in on the fun. When it was announced there was a remake of The Color Purple, it was refreshing to hear they're coming at the story from a new angle. The musical aspect of the movie makes the story more upbeat than the original, which can sometimes conflict with a story mainly about female suffering. This line is toed well, though, as the music emphasizes how uplifting the story is supposed to be. The most fun number is "Hell No!" by Danielle Brooks. Meanwhile, the most powerful number comes from Fantasia Barrino with "I'm Here." While it does come too late in the story, it's such a triumphant number. Barrino and Brooks are definite stars in The Color Purple. Barrino is the more likely of the two to get nominated, but it would be no surprise to see Brooks getting a Supporting Actress nomination. What Barrino brings to the lead role is special. She has the kind of smile that looks like she's holding in a laugh. It's very infectious. Especially since it's a character that faces so many hardships, when the audience gets to see her smile, it's a blessing. These are two smaller-time actresses who hopefully get more of the spotlight going forward after these standout performances. The rest of the cast was good as well, including Colman Domingo and Taraji P. Henson. Hopefully, musical regulars of today, like Halle Bailey and Corey Hawkins, will keep the ball rolling as well.
The Color Purple gives a musical adaptation that stands on its own with the original. The songs bring life to a sad tale, and the new cast is exciting. There's a world where this movie dominates the Christmas box office and sneaks its way into the Best Picture race. While the public opinion of musicals has not been too favorable, musicals like this are going out of their way to make a case for their continuation. The Color Purple hits theaters on December 25. Rating: 4/5 Review by Adam Donato George Clooney has had a remarkable career in filmmaking. He’s won Oscars for both his work as an actor and as a producer. The aspect of filmmaking he has tried and failed at has been directing. That might be a little harsh as his movies are more mid than terrible. His latest effort is The Boys in the Boat, a true story about a team of junior varsity rowers who make a miracle Olympic run. Starring Joel Edgerton and Callum Turner, The Boys in the Boat looks to duplicate its story’s underdog spirit at the box office. Does George Clooney have a surprise winner on his hands? Sports movies are pretty formulaic, and when they’re true stories, they aren’t full of surprises. The Boys in the Boat is about as standard as it gets when it comes to sports movies. The leads are so ordinary and uninteresting. As the buttoned-up coach, Edgerton plays the role well but isn’t given much to do. Turner is the lead character and is less than charismatic. He’s poor, likes his girlfriend, and has daddy issues. His story did not need to be front and center. It’s not outwardly bad — it’s just remarkably unspecial and bland. Clooney saps this story up for the old folks looking for an uplifting underdog true story. The guy who played Hitler in the movie had a better performance. If one of the main characters was more religious, it’s funny how Dennis Quaid would play the coach. You’ve seen this story before. The only thing the movie has going for it is that rowing crew is not an oversaturated type of sports movie. It’s one of the most beautiful sports in terms of terrain. There is beauty in how in sync the towers are as they glide through the water. There are some creative shots of the boys rowing in the boat that are pretty cool. It’s a niche sport as it’s very upscale, requiring commitment to physical fitness and high cost. The main character joins the team because it pays well, which is just a testament to the physical toll the position takes on someone at the highest level. Rowing crew is a beautiful sport that makes The Boys in the Boat stand out in a crowded genre.
To call The Boys in the Boat Oscar bait would be unfair. There’s no way Clooney is seriously expecting even to get nominated for any kind of Oscar for this. Pumping back on the hate for Clooney, though, there are much worse things than being mid. The Boys in the Boat is a competent sports film that showcases a gorgeous and underrepresented sport. The old guy made a cameo in The Flash movie; he can make his rowing movie in peace. Clooney better love this movie, as audiences will only have a mildly enjoyable time at the theater for this one. The Boys in the Boat hits theaters on December 25. Rating: 3/5 Review by Adam Donato Stop-motion animation fans rejoice! Another feature-length entry is added to a subgenre seldom given its due credit. Unfortunately, this entry comes in the form of a sequel that nobody was asking for. The original Chicken Run is a childhood classic at this point, straight from a time when it wasn't abnormal for a G-rated movie to be in theaters. In what world does the sequel require parental guidance, but the original is a whole rating safer? With the movie premiering on Netflix, parents will likely throw this on and leave the room anyway. Are people nostalgic enough to stream a sequel to Chicken Run? It's a cliche to call a sequel "The Empire Strikes Back of the franchise." Luckily for Chicken Run: Dawn of the Nugget, that won't be a problem. Characters keep using the word "again" in the movie. How original can a Chicken Run sequel be anyway? This time around, the chickens are trying to break into a chicken farm to save some chickens, instead of the chickens trying to break out of the chicken farm like in the original. The opening prologue recaps the original film as if audiences need catching up. One could watch this sequel without watching the original, but that's not necessarily a good thing. The animation is arguably a lateral move from the original film. Just watch the original instead. This sequel brings nothing new to the table whatsoever. Not even a new villain. We're doing the same thing again. This sequel isn't an exact carbon copy, as the lead roles are recast. Despite Julia Sawalha and Mel Gibson still kicking, their roles were recast with Thandiwe Newton and Zachary Levi — recent Netflix favorites as Newton stars in the Big Mouth series, and Levi recently starred in a Spy Kids reboot. One could argue recasting Gibson was necessary due to his poor public perception, but to replace him with Levi is hilarious. Levi is a worse version of Chris Pratt these days. Both of these recastings are unremarkable. Rising star Bella Ramsey from The Last of Us series stars as the daughter of the main couple. Casting celebrities as voice actors is a marketing attempt that doesn't seem fruitful here as nobody is watching the Chicken Run movie because these stars are in it — it's totally uninspired casting.
Few Netflix films have stood the test of time. Even if they're good, they fade into the background of the streaming service unless they have clout like The Irishman. Chicken Run: Dawn of the Nugget is franchise nostalgia bait that will almost certainly fade into obscurity. The only way this sequel getting nominated for Best Animated Feature is a good thing is if it means Wish doesn't score a nomination. There are too many quality animated films this year to justify recommending people prioritize this one. I respect the animation style, but other than that, it's an uninspired whatever of a movie. Chicken Run: Dawn of the Nugget hits theaters on December 8 and Netflix on December 15. Rating: 2/5 Review by Adam Donato The uninitiated would be surprised to find out that Bad CGI Gator is not associated with 2019’s Bad CGI Sharks. At least that movie had a 90-minute runtime, despite most of the cast lacking pictures on their IMDb profile. Danny Draven directs Bad CGI Gator, which makes sense since his last feature was Weedjies: Halloweed Night. He’s been directing crappy movies since the early 2000s. With a title self-aware about its budget, will the joke be as funny as the movie thinks it is? Six sexy college students vacation at a cabin in the middle of the woods. When one of the girls has aspirations of going viral, she convinces the gang to throw their laptops into the water as a form of protest. The group is split into couples for the most part: the meathead and the social media-obsessed; the douchebag guy with the airhead girl; The meathead’s shy younger sister; and then a third guy who is a dork and the other two couples hate. The audience is supposed to root for the two dorks and enjoy watching the other two obnoxious couples become fodder for a bad CGI gator. In this regard, the story does function, as the characters are over-the-top annoying. Luckily, the run time is just under an hour. Imagine if they inflated the run time to ninety minutes to make it feel more like a real movie. Enough time is spent with these characters as it is. It’s mildly funny to laugh at how cartoonishly ridiculous everyone is. The bad CGI gator is the real audience grabber here. When the gator bites the laptops the group ignorantly threw in the water, it starts to electrocute him, and he grows a few sizes. Ironically, the CGI gets better when he grows bigger. Maybe it’s just because more detail can be seen when it enlarges and looks like it actually has a design. This is opposed to earlier in the movie, where it’s just this small, dark shape. Of course, the bit of the bad CGI gator is only a jumping-off point. The gator does many silly, impossible things throughout the film’s back half. The absurdity in the situation is where most of the humor is derived. It’s a pretty awful bit, as the bad special effects are far from the worst elements in the movie. Low budgets limit filmmakers, and this limitation is leaned into for a big joke.
Not to give this movie any technical credit, but it’s surprising how much effort went into shooting scenes in the water. There are several sequences where they do a perspective shot, like in Jaws, where the gator bobs through the swamp water on the prowl. There’s a person with the camera outside in the water. The shot is used to try to create a tension-filled scene without showing the gator that early into the movie. That being said, this movie doesn’t pretend to showcase a convincing-looking creature effect. It’s just nice that any amount of effort was made. Bad CGI Gator is certainly the type of bad movie to watch with your friends. Make fun of the audacity and stupid characters. It’s trying to be a "so bad it’s good" experience, so have some drinks and have a good time. Expect to see this one on the SyFy channel at 4 am. For better or for worse, this movie knows exactly what it is. Bad CGI Gator is now available on VOD. Rating: 2/5 Review by Adam Donato About a decade after The Hunger Games franchise came to a close, audiences find themselves back in Panem for another installment in the franchise. As if splitting the finale into two parts didn’t stretch out this story enough. The Ballad of Songbirds & Snakes is a prequel detailing the rise of one President Snow, complete with another Hunger Games and more backstory on their genesis. With Francis Lawrence coming back to the director’s chair and a cast of stars both old and new, it will be interesting to see the public reception of this prequel. Was the story of Katniss lightning in a bottle, or does this world have more to explore? No franchise extension is complete without constant reminders of its association with something the audience already loves. The characters may as well wink to the camera every time they mention District 12. Hardcore fans may enjoy these cheer desperate moments, but they really hinder this story’s ability to stand on its own. This is a real shame because, for the most part, this story really does stand on its own. A young President Snow is a compelling lead to follow, especially when entangled with the fate of Lucy Gray. Their budding romance is essential to making the target demographic of this type of movie maintain interest, but it’s interesting to see them hold back on building up their forbidden romance. Audiences are more than familiar with the standard Romeo and Juliet setup, so putting their own spin on it here was a good choice. Tom Blyth stars as Coriolanus Snow alongside Rachel Zegler as Lucy Gray. Blyth is relatively new, only previously starring in Ridley Scott’s Robin Hood movie. Zegler, on the other hand, is no stranger to the limelight as of late. Here she gets the opportunity to flex her singing skills, which initiated her start in Spielberg’s remake of West Side Story. She also sports a thick southern accent throughout the movie, which makes sense, as her district is in the area of the Carolinas. The two have solid chemistry together as they play mind games with each other throughout the movie. The most inspired casting in the film is Jason Schwartzman as Lucky Flickerman, an ancestor of Stanley Tucci’s standout character from the original series. He adds much needed comic relief and does a great job driving home the satire of the situation. Viola Davis is unhinged, and it’s a shame she didn’t get more screen time. Same can be said for Peter Dinklage. The veteran talent in the cast is responsible for holding down the fort here. The story takes an interesting departure, leaving us devoid of these three cast members, and the film grinds to a halt when that happens.
The main theme of the movie is muddy and feels like it comes out of nowhere. It’s hard to connect the dots between the character we saw during this film and the villain we get in the original series. Granted, there’s a big time difference between films, but from the journey presented here, it’s hard to justify Snow continually backing up the games. The ending is quite unsatisfying and leaves too many unanswered questions — not as much in an interpret for yourself way, and much more of the movie has to end at some point. Sporting a run time of over two and a half hours, getting through the movie is somewhat of a trek. Unfortunately, it’s easier to see something like this being historically compared to something obligatory like The Hobbit, rather than a passion project like Prometheus. Despite the qualms with The Hunger Games: The Ballad of Songbirds & Snakes, it’s a solid viewing experience for anyone already invested in The Hunger Games franchise. Studios can’t have their cake and eat it too. Enticing audiences with a continuation of the franchise, but alienating new viewers and facing comparison to the standard set in the original movies. That being said, it’s much more on par with the lot of The Hunger Games movies, except for The Hunger Games: Catching Fire, which is The Empire Strikes Back of the franchise, if there is one. Fans should catch this one in theaters, despite the onslaught of holiday releases this season. The Hunger Games: The Ballad of Songbirds and Snakes hits theaters on November 17. Rating: 3/5 Review by Adam Donato Blumhouse is a pillar of modern blockbuster horror movies — especially when it comes to their franchises. Five Nights at Freddy’s has been floating around for years before it finally got its opportunity. It’s an interesting horror demographic, as it appears targeted at older kids. YouTube certainly helped popularize the franchise and has its DNA all over this new movie. Starring Josh Hutcherson and Matthew Lillard, this video game adaptation is looking to appeal to existing fans, while also remaining hip to casual horror fans. With a fairly unknown director in Emma Tammi, does Jason Blum have his next hit horror franchise in Five Nights at Freddy’s? The press screening was packed to the brim with fans of the game. People were wearing merchandise, and it was surprising to see how many children were present. Without spoiling anything, there were several moments in the movie that had the audience erupt with joy. From an outsider's perspective, it was very hard to see the appeal. The movie is dogwater. The story totally misunderstands what seems to be the appeal of the franchise. What should be a cheesy horror romp is filled with child displacement and never-ending trauma. It’s encouraging that the story attempts to have characters with emotional depth, but we’re talking about the evil Chuck E. Cheese parody. With a runtime of 110 minutes, there’s plenty here that could’ve been cut. It’s a shame, too, because two years ago there was a very similar movie in Willy’s Wonderland. That movie understood the B-movie assignment and accomplished so much more than Five Nights at Freddy’s -- and in just under 90 minutes. What’s most disappointing about this movie turning out to be a dud is that the effects were quite good. The Jim Henson company worked on the animatronics for this film, and it’s easily the crowning achievement of this feature. This aspect feels like the hardest part about realizing this concept, so for that goal to be accomplished and for the surrounding elements to be so poor, it feels like a wasted opportunity. Still, the practical effects are a feather in its cap.
The characters were obvious and weird. Josh Hutcherson is unlikable as this down bad security guard who just wants to take care of his daughter. This role is not a welcomed return for the once-frequent child star, as he just has not developed into a compelling lead. Matthew Lillard is a welcomed return, though, but his character is given such little screen time. Elizabeth Lail, star of Countdown, is the most out of place character here. She acts as the love interest and voice of reason, but her inclusion is so awkward and forced. There’s also a weird subplot where the aunt is trying to steal custody of Hutcherson’s little sister. Cut it. Cut it all. Hardcore fans of the franchise may be satisfied with just seeing their favorite characters represented so well on the big screen, but everything with humans is a snooze fest. It was a baffling direction to take this movie in with all the lost child drama. A horror concept that is so inherently childish should be more fun/scary and less depressing. Hopefully, the day and date release on Peacock will stymie the box office enough to prevent a continuation of this garbage. Rest in pieces. Five Nights at Freddy's hits theaters and Peacock on October 30. Rating: 1/5 Review by Adam Donato NYAD tells the true story of a sixty-year-old woman determined to accomplish her lifelong dream of swimming from Cuba to Florida. Such meaty subject material was able to catch the attention of A-listers like Jodie Foster, Annette Bening, and Rhys Ifans. This story of man versus the elements is tackled by the directing duo behind Free Solo, Jimmy Chin and Elizabeth Chai Vasarhelyi. As awards season inches closer, NYAD will certainly try to push their female leads into the conversation. Netflix has done a great job being a part of the dance the last few years, and they just might have another hitter in their lineup with this one. Watching a Netflix movie in theaters is quite the treat — especially when it’s a movie that’s actually trying to be anything more than just content. NYAD is a story about relentlessness in the face of an insurmountable obstacle. For modern audiences, it's even a struggle to sit through an entire movie with all the distractions in the home and the power of the pause button. Netflix releasing a crowd-pleaser that will almost never be seen with a crowd is counterintuitive to the point of the movie, like if Apple TV+ made a movie about sweatshops. Nevertheless, NYAD is effective as a powerful story about a woman refusing to quit. It’s sure to make anyone who watches it feel strong enough to accomplish their goals. It will be even more powerful for women, the elderly, and members of the LGBTQIA+ community. The message succeeds in rousing inspiration in its audience. Bening and Foster are fantastic. They play long time friends (not lovers) who stick together in the face of adversity. Foster’s character coaches Bening’s character, and like a lot of sports movies, this relationship is the crux of the film. With great chemistry between the two of them, one would think they had been friends forever. The end of the movie shows clips of what actually happened, and it’s amazing how close the cast looks to the subjects in real life, not to mention the makeup used on Bening’s character — especially after scenes where she had been swimming for days at a time. Seeing the negative effects on her physically is heart-wrenching, which makes it that much more inspiring that she powers through.
Ifans’s character plays the voice of reason on this team as he navigates them through these waters. It’s interesting to see what obstacles get in their way because it’s not as simple as swimming and not stopping. The team deals with extreme currents, weather, and wildlife. Seeing how the team adapts to these problems is what makes the multiple attempts hold focus. Awards voters are suckers for real life stories that lift people up. How close does the actress look to the real thing? Does the story follow what actually happened? NYAD does an excellent job capturing not only the subjects of the story, but also the message of their accomplishment. Be sure to check this one out on Netflix if you want to feel invincible. NYAD hits theaters on October 20 and streams on Netflix beginning November 3. Rating: 4/5 Review by Adam Donato The announcement that Big Mouth will be ending after season 8 was a big bombshell for fans of the series. It may not be a bad thing, though, as the show has maintained its quality, but is due for a finale. Middle school is nearing an end for our favorite preteens. The penultimate season now has the end on the horizon, which allows the story to build up to a great final season. With a special guest star this season, how good of a set up is this season of Big Mouth? Megan Thee Stallion makes her debut on Big Mouth as the hormone monstress for Nick’s new crush. Her musical number is easily the best of the season, and arguably one of the best in the entire show. She doesn’t get too much time to shine, as she’s only involved with Nick’s flirtation with going to a different high school. Meanwhile, Andrew is facing his own grossness, and Jessie has to choose what crowd she fits into. These are interesting directions for these characters to go, as Andrew needs a redemption arc after all his sexual atrocities, and Jessie needs to branch out from the main cast. A character who is given the spotlight more in this season than any prior is Caleb. What previously was a character reserved for deadpan zingers is given a whole storyline, friendship, and sexual identity. His discovered friendship with Matthew feels earned, and seeing a side character’s relationship with a hormone monster after so long is rewarding. Missy and Jay’s storylines are probably the weakest of the season, as their relationships feel played out and lacking any real intrigue. Characters from the spin-off show Human Resources are integrated seamlessly. Everyone is pretty primed to have a good final act as the gang transitions to a new stage of life.
The season also includes a special episode, as other seasons do. The hormone monsters tell stories of what horny teens are doing around the world. It's mostly the same stuff, but it’s cool to see other countries represented like this. As a surprisingly progressive show as Big Mouth is, it was an interesting departure from the main storyline. Overall, season 7 of Big Mouth yet another solid season of streaming’s horniest show. The direction of the show feels strong, as they’re giving themselves a runway to go out with a bang in season 8. A celebrity guest star helped amp up the musical aspect of the season. Previously sidelined characters are given the spotlight. The humor is just as gut busting and edgy as ever. Appreciate the show while it lasts, as streaming shows usually are not given the amount of respect that Big Mouth is receiving, as sudden cancellations and improper endings run rampant in this media landscape. Big Mouth streams on Netflix beginning October 20. All ten episodes reviewed. Rating: 4/5 Review by Adam Donato A trend with horror lately has been comedians tackling the genre. David Gordon Green is one of the most notable examples of this with his take on the Halloween franchise. Universal and Blumhouse reward him with a second horror trilogy based on an iconic horror movie with terrible sequels. The first Halloween requel was a hit, but the sequels fared worse both critically and at the box office. Will David Gordon Green learn from that experience with The Exorcist trilogy? The bar seems lower this time, as The Exorcist sequels aren’t as popular as the Halloween sequels. Not to mention, it’s been almost twenty years since the latest movie in the franchise. Should you believe in The Exorcist: Believer? For the most part, this requel really works. The weakest elements of the movie are when they reference the original. Ellen Burstyn is GOATed, but unnecessary in this movie. With a run time of a minute over two hours, cutting her would probably knock off fifteen minutes. The original had a similar run time, but this over-reliance on flexing the brand is the biggest weight on this story. This is not detrimental, as the main story is very compelling and is carried by Leslie Odom Jr. It’s full of moral conundrums and tragic fates. Like the Halloween franchise, it’s nice to see a director try to have some themes in their blockbuster horror movie. David Gordon Green feels like he’s matured with The Exorcist: Believer. It’s arguably just as funny as any of the Halloween movies, but it’s much more reserved here. The themes are already far more concise with the first Exorcist movie. It’s a movie about faith — a man who has lost his faith and a family that misuses theirs. The original aspects of this movie are where it truly shines, so Gordon Green deserves massive credit. That being said, the necessary trappings of an Exorcist film are fully delivered. In fact, they're doubled. That’s right, two girls need to be exorcised this time. Both are creepy as all hell, with terrifying performances from Olivia O’Neill and Lidya Jewett. Ann Dowd does a lot with significant screen time here, specifically the monologue she gets. Jennifer Nettles is put through the emotional wringer as much as anyone. While the rest of the cast was good, Leslie Odom Jr. Is such a compelling lead and likable character overall. DGG’s Halloween movies always had a main character problem, but it’s clear that won’t be a problem here. He had a character arc and everything. If there is going to be an Exorcist legacy sequel, the franchise is in good hands going forward.
It’s nice when a horror film is able to accomplish hitting the emotional beats as well as the horror beats. The Exorcist: Believer will have two sequels, unless it totally bombs. Saw X received positive reviews last week, It Lives Inside is a box office dud, and The Nun II is too far removed. Other than that, it won’t have to compete in the horror department until Five Nights at Freddy’s at the end of the month. It's a quality horror film all around, so be sure to check The Exorcist: Believer out in theaters. The Exorcist: Believer hits theaters on October 6. Rating: 4/5 |
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