No film in theaters today is more of its time than Unfriended: Dark Web. In the Internet Age (at this point we may as well move into a new age, given how different the internet is in 2018 compared to 1991), a constant influx of computerized content is the norm. We live, breathe, and are governed on the internet.
I’m going to be transparent about something up front: I’m going to the mat for The First Purge. Not only do I think it is a passable movie, but I think it is the only good Purge film to date.
The Purge is a franchise whose premise showed so much promise from the beginning. An American political system in which an annual event allows all crime to be legal for one night. It has B-movie schlock written all over it.
Why, then, was The Purge a quaint home invasion movie? Sure, it had the high concept marketing gimmick of people in creepy masks (a concept that has reached pique kitsch by the fourth installment). But otherwise it was no different, narratively, from a Funny Games or a Panic Room (both of which: superior artistic efforts than The Purge).
There are some horror movies that make you jump. There are some that make you squirm. There are the rare ones that raise questions about the human condition. And there are the few horror movies that do all three and manage to conjure images that stick unshaken in your head long after you’ve left the theater. Hereditary is of this latter breed.
To be fair, Hereditary does some of these things much more effectively than others. Namely, the questions it raises about the nature of grief and the things we do or do not say about tragedy fall by the wayside when Continue reading Hereditary (2018) Movie Review→
The creative pairing of Aaron Moorhead and Justin Benson have produced three feature films: Resolution, Spring, and now The Endless. I will admit that I have not seen their previous two films (although, they made a short for the anthological horror sequel V/H/S: Viral that I did not care for).
On the last day of Spring Break in Mexico, Olivia (Lucy Hale) is convinced by a man she meets at a bar (Landon Liboiron) to travel to an abandoned and remote convent with her friends. There, the stranger asks them to play an innocent game of truth or dare. One of Olivia’s friends remarks with a flippant comment along the lines of, “What, like we’re in seventh grade?”
Just to be clear, they’re not. The grown adults proceed to play the game in one of the more tonally awkward sequences of Truth or Dare (or Blumhouse’s Truth or Dare, an attribution tagged on seemingly due to the success of last year’s Get Out and Happy Death Day). The scene is meant to Continue reading Truth or Dare (2018) Movie Review→
The rape-revenge genre is certainly not the most approachable one. It is one of the more controversial, to be certain. A squeamish one, for sure. Rarely can a film in this genre be called “fun.”
At its most primal, Coralie Fargeat’s debut feature Revenge is a bloody good time. In the tradition of its New French Extremity predecessors, the film goes full throttle into a place best described with words like Continue reading Revenge (2018) Movie Review→
The first sequence in A Quiet Place is one of the more immediately tense openings to a horror movie in recent memory. Without fully understanding the world, we understand almost from the first shot what sort of situation we have entered into. The film opens in an abandoned pharmacy, where a family is quietly perusing the aisles for supplies. The family speaks only in sign language, even though only the daughter (Millicent Simmonds) is deaf. It is clear that something bad comes with too much noise, so they don’t make a sound.