[SXSW 2024] I LOVE YOU FOREVER -- Well-Meaning Film Wants To Be, but Is Accidentally Insensitive3/23/2024
Review by Sean Boelman
Cazzie David and Elisa Kalani clearly want to be the next great social commentators. Produced by Diablo Cody, their feature debut, I Love You Forever, wants to defy the audience’s expectations so badly that it loses sight of what’s most important: exploring its themes in a way that’s intriguing or — at the bare minimum — tasteful.
I Love You Forever is described as a “subversive romantic comedy” about a young woman in an abusive relationship. Although there is a lot of potential in this premise, it ends up feeling like a recipe for disaster, as the jarring tonal shifts lean much more on the side of insensitive than provocative and insightful. The first half of the film is quite effective — an awkward but funny romantic comedy. There’s a ticking time bomb element, as things are clearly awry, but it’s mostly compelling. Unfortunately, when the movie attempts to make a (much) more ambitious swing in its back half, it ultimately falls flat. There is certainly a conversation that needs to be had about domestic violence and relationship abuse, but this is assuredly not the way to do it. David and Kalani lack the tact to pull off the delicate balance they’re trying to strike. The result is some scenes feel like they’re being played off as jokes when, in reality, they should be treated with incredible seriousness. The characters’ arcs also don’t make much sense. The timeline becomes erratic, and characters begin to turn on a dime. Perhaps this is entirely purposeful, intended to illustrate how unpredictable people can be in toxic relationships. But this also makes the cautionary tale aspect of the movie completely stall out. However, the script is not the only culprit for the film’s failures — David and Kalani’s direction is equally misguided. Some of the cheap looks can be forgiven because of a clearly small budget, but the editing and overproduction of the sound do the movie absolutely no favors when it comes to tone. The performances in I Love You Forever aren’t very good — well, at least in the second half — but more blame has to be put on the script than the actors. You can see Sofia Black D’Elia and Ray Nicholson's potential in their roles, but their delivery in the second half is atrocious. The only person who’s completely innocent is Jon Rudnitsky, who’s consistently fun to watch as the comedic relief/sidekick. Cazzie David and Elisa Kalani clearly meant well when making I Love You Forever, but the result is so bad and borderline offensive that it’s hard even to respect what the film was going for. It is baffling how many wrong choices the filmmaker duo made, creating one of the most infuriating misfires in recent memory. I Love You Forever screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 1.5/5
0 Comments
Review by Sean Boelman
Making a movie about a “current” topic like cryptocurrency is a challenging prospect. It could be incredibly prescient, or it could feel immediately dated. That’s the least of the problems with Cutter Hodierne’s Cold Wallet, though. Despite the endorsement of iconic and talented crime filmmaker Steven Soderbergh, Cold Wallet is just another run-of-the-mill B-movie — and not a very good one at that.
Cold Wallet follows a group of people who, after losing their life’s savings in a cryptocurrency scam, decide to take things into their own hands and steal the money back from the man who screwed them over. Despite this intriguing premise, this is about as vapid as they come, with nothing of artistic merit and little of entertainment value. The film is mainly held back by its dialogue, which is frankly atrocious. One line in the movie said with a completely straight face, “You have a missed call from a guy named Guy. Who is this guy?” sticks out as an example of John Hibey’s screenplay lacking the basics, not just of screenwriting but also of the English language. It’s like they didn’t even read the script through to see if everything made sense. Speaking of not making sense, the character motivations are completely illogical. You have a father trying to provide for his family, a rich billionaire trying to protect his wealth, and two people who are along for the ride, having lost their money. It’s basic enough. However, the third act tries to pit them against each other in different ways, and the dynamics it attempts simply do not work. The only person in the cast who manages to make something of their role is Raúl Castillo (Army of the Dead), and it’s hard not to feel bad for the actor. He’s trying to bring his usual charm and gravitas, but the role is so detestable by the end that he can’t save it. Josh Brener (Silicon Valley) gives what might be the laziest performance ever given in cinematic history. And Tony Cavalero (The Righteous Gemstones) is wasted on a role that fundamentally misunderstands its talents. One might be able to forgive Cold Wallet if its production values were at least sleek and energetic. It is “presented” by Steven Soderbergh, after all, so one might hope this would be an Ocean’s-esque crypto heist movie. Those hopes would be in vain, as the film has all the dour qualities of every crappy straight-to-VOD B-movie you’ve ever seen. Indeed, Hodierne’s second feature does not work on any level. As a home invasion thriller, it’s not tense; as a heist movie, it’s not exciting; and as a Robin Hood-esque revenge tale, there’s no compelling hero to root for. If anything, you’re watching to see the worse people get their comeuppance, but it doesn’t even deliver satisfying carnage in that regard. The fallacy of Cold Wallet can probably be best summed up by a promotion the filmmakers ran timed to the festival premiere. The film is unquestionably a cautionary tale about the dangers of crypto and obsession with these fads. Yet despite this, attendees were given the chance to enter a contest to win Bitcoin. If this sounds hypocritical, that’s because it is — but it doesn’t even touch the level of idiocy present in the script. Cold Wallet screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 1.5/5
Review by Sean Boelman
It’s hard to make a bad movie or show about the Holocaust because these stories tend to speak for themselves; however, it’s also challenging to make a great one because of how high the bar has been set. Hulu’s We Were the Lucky Ones has high production values and an incredible story but never breaks out of the mold of the Holocaust drama to deliver an experience that stands out.
Based on the novel by Georgia Hunter, the show tells the story of a family of Polish Jews during WWII as they are separated from one another and fight to survive and reunite. Inspiring Holocaust stories are a pretty safe bet for a crowd-pleaser, but We Were the Lucky Ones arguably plays it too safe, settling for bland inspiration rather than actually provoking viewers to reflect on the atrocities and devastation they are seeing. Part of the issue is that the show cannot juggle its multiple storylines. Jumping between the different siblings’ stories could have created a compelling juxtaposition, comparing their various paths to survival; instead, it feels anticlimactic. The structure feels more out of the need to set up cliffhangers than it does any thematic planning. Of course, as is often the case with shows following this structure, some storylines are more engaging than others. However, what’s unfortunate about this one is that there are even lulls in the individual storylines. Although the periods of (relative) calm are understandable within the context of the story, they aren’t very cinematic, dragging the pacing to a halt.
One of the more noticeable mediocrities of We Were the Lucky Ones is its cast. Joey King and Logan Lerman, the two main stars, are passable, but lack the humanity in their performances that makes this genre resonate. King gets a few flashy moments where she shines, but struggles with the quieter moments in the rest of her role. Surprisingly, the less well-known Henry Lloyd-Hughes is the most impressive of the leading trio when it comes to the subtler parts.
Still, by the time you reach the last episode, you will be unquestionably moved by the level of perseverance these people have shown in the face of adversity. Although the message that love (in this case, of the familiar variety) conquers all isn’t groundbreaking, it’s an important reminder in a time increasingly defined by division and vitriol. The one area in which We Were the Lucky Ones unequivocally excels is its production values; however, that is the bare minimum for a prestige period drama like this. The production design, costuming, and visual effects are all fairly impressive in how they create the show's setting — especially considering how international it is compared to other entries in the genre. In most ways, We Were the Lucky Ones is like virtually every other run-of-the-mill Holocaust drama you have seen — for better or worse. It’s certainly moving, although any piece of media that tells a story like this should be; it just puts in the minimum effort to get its emotional response. We Were the Lucky Ones streams on Hulu beginning March 28 with three episodes, with new episodes streaming subsequent Thursdays. All eight episodes reviewed. Rating: 3/5 Review by Joseph Fayed Revenge thriller Femme from directors Sam H. Freeman and Ng Choon Ping expands the idea behind their 2021 short into a feature. Addressing themes of sexuality, identity, and openness about the former, the film establishes conflicting narratives quite effectively. Two strong leading performances bring the heat to a script that prioritizes style and substance. Jules (Nathan Stewart-Jarrett) is a drag queen performing at a London nightclub. One night, outside the venue, he encounters Preston (George MacKay). The two exchange some words, which leads to Preston and his friends violently beating Jules. Months later, Jules, out of drag, encounters Preston, but he does not recognize him. The closeted Preston tries pursuing a relationship, but Jules is secretly in pursuit of something else: revenge. Jules' actions make them an anti-hero. The film's script does a good job of laying out the internal struggles both leads face in their lives. The film also lacks the use of internal monologue, a la Taxi Driver, and that decision alone gives the character of Jules more subtlety in their actions. We gradually learn more about Preston, and although he is more of an open book than Jules, his characterization makes the ending all the more worthwhile. The cinematography is exceptional. Certain moments leading up to something climatic are presented in hot pink or red, while scenes where the characters are supposed to feel isolated or alone are presented in blue. A color contrast like this is very creative and adds an extra layer of beauty to a story that is both figuratively and literally dark — in both subject matter and taking place mainly in the evening.
Nathan Stewart-Jarrett and George Mackay both drive it home with their performances. Stewart-Jarrett walks the fine line between authenticity and a persona he is putting on, and I don't mean his drag act. MacKay portrays his character as both short-tempered and with convincing cognitive dissonance. Directors Freeman and Ng pose the question of whether identity could ever be tainted if it is stripped away from us. They give their perspective answer on that and do not make the film feel like it has been dragged out beyond the opening act. The chemistry between Nathan and George is strong and their scenes together feel genuine whether they are acting as friend or foe. Femme builds its suspense in all the right places. It is both stylish and sexy and has the bark and bite to show you how complex revenge can be. The fluidity of these characters and how they become intertwined is so well done, and I hope that now that all eyes are on them, this is just the first of many more collaborations between the filmmakers. Femme is now playing in theaters. Rating: 5/5 Review by Daniel Lima There’s something to be said about the power of art as communication, a universal language that allows one to convey complex and intimate experiences to others. In the case of The Fox, that is the experience of telling a deeply personal story to yourself, only to realize that it lacks any structure, meaningful insight, and ultimately anything of interest to anyone without a personal relationship with it. Which is to say, a bad one. The film is based on the life of director Adrian Goiginger’s great-grandfather. Born in the mountains of Austria, he was given away to a farmer at a young age, and upon reaching adulthood, he joined the army after his country was willingly incorporated into Nazi Germany. A withdrawn, introverted man, his only friend was a small fox he raised for about a year. He served through World War II and eventually left military service. That’s it. That’s the movie. It is interesting, to the point of suspicion, how carefully Goiginger portrays the Austrian forces, as well as his great-grandfather’s participation in the Nazi cause. We never actually see the devastation that the Axis powers visit upon Europe; there is no conversation about the culpability of the Austrian people to Nazi crimes. Most curiously, nothing is made of the protagonist’s voluntary enlistment and service as a dutiful soldier within the Nazi war machine. We don’t even see him handle a weapon; conveniently, he was the one front-line soldier who managed to keep his hands clean. That, or everything condemnable is within the significant gaps of time the narrative skips over. The director claims he deliberately wanted to avoid making a war film, instead focusing on his ancestor’s personal journey. This is, frankly, a dishonest approach to telling his story, which falls neatly in line with a tendency to ignore uncomfortable truths about the past. Neo-Nazism and other far-right ideologies have a strong foothold in Austria, and historical revisionism surrounding the country’s participation in prosecuting the Second World War was official government policy until a few decades ago. In this context, Goiginger chose to sandblast away the most unpleasant parts of his great-grandfather’s life. As the war passes out of living memory, it is important to question the ethics behind such a choice. At the very least, it would have provided a sorely needed contour to the man. That the excuse for this is a desire to delve into his progenitor’s internal life is laughable, considering how little there is as written. He is defined solely by his inability to be defined: he cannot relate to others, has no goals or desires, and displays no outward personality. Lead actor Simon Morze fails to imbue the character with any humanity, but given that he has so little to work with, that’s hardly surprising. It is possible to center a story on such a repressed, socially inept protagonist.
Still, there has to be something for an audience to cling to: a sense of character development, an approach to film craft that externalizes how they relate to the world, even simply using them as a lens through which to examine the world around them. Instead, the character is static, the film’s handsome cinematography does nothing more than look handsome, and we certainly gain no perspective on wartime Europe because that might lead to some tough questions about dear old great-grandpa. Thus, the film places all dramatic weight on a void that cannot support it. One might assume that the soldier’s relationship with the titular creature would serve as the emotional foundation of the story. Frustratingly, nothing is done to emphasize their bond beyond a handful of scenes where they frolic, sandwiched between all his other ambling wartime experiences. The fox is given no distinct personality; his growth into adulthood is skipped over, and he doesn’t even receive a proper name. Their dynamic does not change until the very end of the movie, and even then, it does not actually serve as the final leg of what passes for the soldier’s journey. Instead, that is offloaded onto his relationship with his father — a figure absent from his life for over a decade and the narrative for almost the entire runtime. It’s a baffling decision that speaks to difficulty finding a clear arc to a real life — at least, one that ignores all the Nazi bits. It is, of course, possible that the filmmaker is actually doing the story of his great-grandfather justice. Perhaps his service through World War II as part of the Axis powers really was entirely bloodless. Maybe he really had no dimension to his as a young man. Perhaps he really didn’t bother to name this animal that served as his only companion for a year. If all this is true, however, it begs one question: “Would anyone who isn’t a blood relative of this guy actually care?” There is only one answer. The Fox is now available on VOD. Rating: 2/5
Review by Sean Boelman
Although Brazilian-American filmmaker Bernardo Britto has already made his feature debut, he’s arguably more known for his work in animated shorts. Britto’s sophomore feature, Omni Loop, shares some of the quirky sensibilities of his animated work but also has an extremely strong emotional core, allowing it to resonate strongly.
The film follows a middle-aged woman with a rare condition: a black hole in her chest. This sets off a perpetual loop, forcing her to relive the same week over and over again — the “last” week of her life — until she sets out on a quest to understand why she got there. Like much of the sci-fi genre, Omni Loop isn’t subtle with its existentialist message, but it’s incredibly poignant either way. The first act is pretty much what you would expect from a high-concept sci-fi comedy: the characters get into hijinks as the rules of the situation are explained. Britto wisely makes the decision not to go too in-depth into the logistics of the loop, trusting the audience and their suspension of disbelief. The result is some solid laughs. As is often the case with movies with this premise, the initial novelty wears off rather quickly. The pacing slows down significantly, and the story takes what — at least at first — seems to be a tangent. While this could cause some viewers to check out of the story, this is the type of movie where the pieces all make sense once you can see the entire picture (even the oddly-shaped ones in the middle act). The last third of Omni Loop ties everything together in a way that’s wonderfully poignant and emotional. Although the end of the film is somewhat predictable, it feels like such a natural conclusion to the story we watched unfold that it feels entirely satisfying on an emotional level. Britto also knows how to milk the most possible emotion out of this moment. What’s most surprising about Omni Loop is just how good Mary-Louise Parker’s performance is. In many ways, it feels like a “born for this” type of role because of just how well she slides into the role. Ayo Edibiri is fine in her supporting role, often funny even, but Parker has such a gravitas of an “I didn’t know she had this in her” variety that she commands the screen. Visually, Omni Loop is somewhat straightforward but mostly effective. It’s not the type of sci-fi movie that’s heavy on visual effects and production design — Britto instead wants to immerse us in the (very hot, very crowded) real world of Miami, Florida. It’s a wise decision, as it allows Britto to make the story feel more grounded despite the absurdity of the premise. At first, one might think that Omni Loop suffers from pacing issues. However, Bernardo Britto’s sophomore feature is very intricate — and patient — in nature. He takes his time letting the story and themes fall into place, but when they do, it’s profoundly moving in more ways than you could hope for. Omni Loop screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 4.5/5
Review by Sean Boelman
After premiering at the Sundance Film Festival to raves, filmmakers Kelly O’Sullivan and Alex Thompson’s Ghostlight made a stop at SXSW, where their debut Saint Frances premiered in 2019 to win the top prize. Poignant and emotional, Ghostlight is flawed, but those rough edges are part of what makes it feel so profoundly humanistic.
In the film, a grieving construction worker finds solace in the most unexpected of places — with a community theater troupe putting on a production of Romeo and Juliet. However, as he begins to dive into the art and craft of acting, he finds similarities between the drama in the play and his own life. One of Ghostlight's strongest aspects is its cast, and no one stands out quite as much as Keith Kupferer. Kupferer has a pretty robust career as a background and character actor, which is exactly what a role like the lead in Ghostlight calls for. He has an everyman quality about him that allows the character to be intensely sympathetic and relatable. However, there’s a poignant, subtle emotion to his turn that really shines through. Although Kupferer is the cast's clear high(ghost)light, the rest of the ensemble isn’t too shabby, either. The most recognizable face is probably Dolly De Leon, who is going strong after her breakout in Triangle of Sadness. Her performance is charming and tender — maybe not what one would expect, but incredibly powerful nonetheless. Other memorable supporting turns come from Katherine Mallen Kupferer (who plays her actual father’s daughter; no wonder they have great chemistry) and Tara Mallen. The problems with the film come in with its dialogue and editing. Much like a theatrical production, Ghoslight is full of exposition — failing to trust the audience to come to their own inferences regarding the conflict. There’s no denying the power of some of the film’s moments, but others feel so on the nose that they nearly ruin the narrative's authenticity. Additionally, the film’s scenes are cut in a way that makes it feel like there is little to no breathing room. It falls victim to the editing problems that affect many dialogue-heavy dramas, namely cutting immediately after lines are delivered or actions end. Each scene feels like it could use at least 2 or 3 more seconds to sit with the emotion; though, with a runtime of an hour and 50 minutes already, this might have caused the film to feel a tad bloated. Still, O’Sullivan’s script succeeds in giving the audience a set of incredibly sympathetic characters. Although the meta-narrative structure of the film isn’t exactly innovative (Drive My Car recently did the same thing incredibly well with Chekov instead of Shakespeare), O’Sullivan keeps the film feeling authentic and never veers into gimmicky territory. Ghostlight has many incredible elements that make it a stirring, emotional watch. Although some aspects of the film could have been refined, like its dialogue and editing, the performances are so phenomenal that they absolutely speak for themselves. Ghostlight screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 3.5/5
Review by Sean Boelman
Star Wars sequel trilogy actress Daisy Ridley has discussed how she’s struggled to get work after the end of her franchise contract, so why not create work herself? That’s what she did with Magpie, an erotic thriller written by her husband, Tom Bateman (who’s also an actor, making his screenwriting debut here), based on an original idea by her. While a tad generic, Magpie is a great acting showcase for Ridley and is undeniably fun to watch.
The film follows a seemingly happily married couple whose daughter is cast in a film production alongside a controversial budding starlet, causing an unexpected rift in their relationship. Although Bateman’s script thinks it’s smarter and more original than it is, it’s still effectively built within its tropes. The cast of the film is excellent. All three leads — Ridley, Shazad Latif, and Matilda Anna Ingrid Lutz — are bringing their A-game. Latif, in particular, stands out, playing the sleazy but charming protagonist troublingly well. However, Ridley is an excellent foil to Latif, giving a similarly two-faced turn, albeit in the opposite direction. Lutz is just incredibly lovable and sympathetic. That being said, one of the things that doesn’t really work about Magpie is its character development. Ridley’s character isn’t given enough personality to justify the actions of Latif’s character, who is, therefore, maybe a bit too sympathetic. Lutz’s character is objectified and shallow but not quite enough to be satirical. Furthermore, although Magpie was made well before Saltburn came out, the comparisons are sure to be inevitable — it’s a British thriller with an ending reveal that spells out everything for the audience with absolutely no ambiguity. Still, with a tight 90-minute runtime, the film has an undeniable narrative momentum that will draw viewers in. Don’t get me wrong, it’s an enjoyable ride. Watching Ridley and Latif go back and forth is entertaining, much like it was fun to watch Daniel Day-Lewis and Vicky Krieps in Phantom Thread. However, the film does feel very shallow. The commentary on obsession is nothing new, and while it shows a lot of potential in exploring themes of objectification and the toxicity of online culture, these are tangential to the story. Director Sam Yates doesn’t bring much of a distinct style to the film, but he is able to lend the film an effective atmosphere. This is the type of film set in haute couture that you almost expect to be a little more glamorous and flashy than it is, but in many ways, it’s down and dirty. A few scenes are very kinetically edited in a way that will keep viewers on their toes. Magpie pales in comparison to many of the other erotic thrillers that came before it, but it’s a ton of fun to watch nonetheless. Still, if I were a marriage counselor, I’d knock on Tom Bateman and Daisy Ridley’s door. For the couple to come up with something like this, something must be going on between them. Magpie screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 3.5/5
Review by Sean Boelman
Coming-of-age stories are a dime a dozen, and recently, we have seen a wave featuring queer protagonists. I Wish You All the Best doesn’t break the formula narratively; however, it does defy expectations in other ways, delivering a deeply empathetic portrait of growing up from a diverse and often underrepresented perspective.
The film follows a nonbinary teen who, after being kicked out of the house by their parents, moves in with their estranged adult sister, setting off a journey of mutual discovery and understanding. Based on a novel by Mason Deaver that’s only a few years old, I Wish You All the Best is a very comfortable entry in its genre, but does some things notably well. Clocking in at just over 90 minutes, it often feels like the movie is rushing through many beats. The arcs move incredibly quickly, with characters changing in what feels like the blink of an eye. However, the script has several remarkable moments. These scenes are wisely given the time they deserve and carry much of the film. Yet, though the movie adheres to many of the familiar tropes of the coming-of-age genre, it does it with a unique perspective and level of representation that makes it feel refreshing. Trans filmmaker Tommy Dorfman adapts this story of a nonbinary teen with a necessarily subtle hand. It feels like a queer story that just is — not something that’s meant to be flashy or showy. It’s invigorating to see a film about the queer experience that is as hopeful as this. Although the movie doesn’t shy away from the darkness, it also shows the support the character receives from others. It’s a reminder that, with kindness, the world can be a better, much more compassionate place. The cast also deserves a lot of props for elevating I Wish You All the Best beyond the usual level of the coming-of-age drama. Alexandra Daddario has never been better than she is here, showing a range you might not expect from the actress. Cole Sprouse plays more to type — quirky and awkward but charming — but his performance works well. Lena Dunham also has a supporting role, and while it’s much smaller, she gets a few scenes that either get really hard laughs or a few tears. However, the real discovery here is Corey Fogelmanis. Calling him a “discovery” might be unfair because he’s had a decade-long career as a child star — mostly in young-adult television — but this role has breakout potential and star power. Fogelmanis brings a necessary vulnerability to the character, even during the more conventional or melodramatic beats, that keeps the film thoroughly sympathetic. I Wish You All the Best stands out in a crowded coming-of-age genre thanks to its distinct perspective and authentic approach to these common themes and tropes. Many young people are going to feel heard, thanks to this movie, and that makes it an essential work of cinema for the current generation. I Wish You All the Best screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 4.5/5 Review by Camden Ferrell Late Night with the Devil is the newest film from the Carines Brothers, a writing/directing duo that made their feature film debut in 2012. Their third feature had its premiere at the 2023 SXSW Film Festival. Led by a captivating performance from David Dastmalchian and utilizing the found footage format to shocking effect, this indie horror is one that is simple yet crazily effective. Jack Delroy is a late-night talk show host who, despite once being touted as Johnny Carson’s successor, is now fearing his show is nearing its end. In order to boost ratings, he hosts a Halloween special on his show where he invites a parapsychologist and her troubled patient among other guests. Then, on live television, unthinkable and horrifying events unfold. This is a unique premise that really grabs your attention and combines the found footage style of storytelling with behind-the-scenes action to tell its story. From a writing standpoint, the script does its job. It doesn’t say anything too poignant for the most part, but it does lay a solid foundation for the actors and horror to build off of. I’d go as far as to say, the writing is just adequate for most of its runtime, but the movie works on so many other levels that the script doesn’t need to be revolutionary in any way. The aspect of this movie that deserves the most praise is its acting. Dastmalchian has cemented himself as one of the best current character actors, and in this movie, he proves his worth as a leading man. Playing the charismatic yet troubled Jack Delroy, he impresses on every level, handling both the light and heavy material wonderfully. The supporting cast is also quite strong including a chilling performance from young actress Ingrid Torelli.
As a horror movie, it’s not going to make you jump out of your seat, and it’s not trying to get a cheap thrill out of the audience either. It feels like every scene of anxiety or terror is truly earned, and the Carines Brothers really nail the pacing required to pull of these scary moments. They know when to go big and bold, and they also know when it’s appropriate to reign it in. This tango they do allows the movie to flow nicely while making viewers eagerly await the next scary moment. At 90 minutes, the movie breezes by in an instant and knows when it’s time to pack it up. Admittedly the final sequence does get quite ambitious and loses some of the film’s found footage charm, but they thankfully recover nicely for its chilling final moment. Late Night with the Devil is an indie horror gem that will hopefully find a large audience upon release. It’s a great showcase for its leading man while also displaying the horror filmmaking prowess of its directors. It’ll always leave you guessing, and it’ll never make you feel bored. While it’s not the best that the genre has to offer, it’s still an entertaining movie worth your time. Late Night with the Devil is in theaters March 22. Rating: 4/5 |
Archives
March 2024
Authors
All
|