See Hockey Psychology. He covers a lot in 15 minutes or less. I found this channel a few weeks ago.

This Child’s Play is the reboot of the long running franchise, ignoring every movie to update the mythos to fit modern times (the original is from 1988). Instead of a serial killer transferring his soul to a doll, this Chucky comes to life because of a disgruntled factory worker. When he’s yelled at by his boss for not working fast enough, he turns off all of the safety and behavior protocols of the high-tech doll before it’s packaged up. The original Good Guy Doll was like Teddy Ruxpin, it only spoke a few sentences. Here, the doll is called Buddi and is a connected device built by a huge conglomerate. It can talk and control a slew of other products and has the processing power and AI capability to learn and better interact with its owner. When 13-year-old Andy is gifted the doll by his mom, the AI begins to learn the wrong lessons from the other kids in Andy’s apartment complex. The priority for Buddi dolls is to become best friends with its owner and Chucky takes it a step further, becoming Andy’s protector by killing people it thinks are threats.

M3GAN, which came out 2 years later and did much better at the box office, is more or less the same movie. Child’s Play is rated R, unlike M3GAN, so Chucky sticks to the old-school horror and on-screen killing roots.

While this reboot changes the origins of Chucky, it sticks closely to the original themes and viewpoints. Andy is the new kid in the neighborhood and is isolated and lonesome because of it (single child with only his mom). Getting Chucky is really cool–it’s the hot toy of the year until the new version is released–and Andy makes some friends because of it. When Chucky starts getting aggressive, Andy does his best to get a handle on it. When it gets worse, it turns into paranoia and even greater isolation because no adult believes that the toy is dangerous, not him. As Chucky kills more, the guilt and panic escalate.

I think this take is 50% successful in revitalizing the movie series because it keeps much of what works so well in the series and does enough to keep it fresh. Today, tech going wild is more believable than a voodoo spell. It looks very good, most of the SFX are excellent, and the cast and suspense are good too. The kills are also sufficiently creative and gory for the franchise.

There are a few problems that are hard to overlook. This tech approach does take away all of Chucky’s personality. It’s a robot. You can hear the servos working as the doll moves its limbs and turns its head to look at people. It has a blank expression as it ‘thinks.’ In the other films (and the terrific show), Chucky is Charles Lee Ray, a psychopath hiding in a doll. When sitting still, he has the perfect camouflage as a doll. A ticking bomb that no one knows is there. The body has become bone and flesh on the inside. When he moves, his face becomes much more animated and expressive. That’s absent in this movie. The scary factor of a sinister person setting up traps to kill those in his way to transfer his soul into Andy is gone. That’s a fate worse than death for Andy. That notion of human intelligence and deceit is missing from the villain as is Andy’s body and soul being taken over to become a killer. It’s less scary.

While the movie is well-directed and does look very good, two things about the production bother me. The big one is Chucky’s redesign. The Good Guy was designed to look similar to Cabbage Patch Kids dolls. A round cherub face with freckles and a mop of red hair. He’s cute, something kids would want to pick up and play with. For some reason, they sculpted the face to look like Gary Busey. This doll that is supposed to appeal to kids looks like an old man with jowls. I don’t understand how anyone approved it. The cheek lines around the mouth aren’t round, they’re divots that look like they were molded from the side of a dirt road. The face looks weathered so it never looks friendly. No kid would ever want it.

The series has always had the problem of switching from what is obviously an actual doll being carried around/sitting on a chair/lying still to an animated puppet. The face is clearly different between the two as the detail, size, and shape are different (we won’t get into the jarring moments when a person that is too tall is used as a stand-in because making a puppet run and not look ridiculous is damn near impossible). I’ve always assumed that it’s because the animatronics wouldn’t fit into the size of the doll head so changes were necessary (especially in the ’80s-’90s). In this movie, that change never happens from doll/puppet/CGI Chucky so at least he looks consistent. But gad zooks is he always ugly. And oddly enough, the facial animation isn’t that good either. The puppetry on the Chucky TV show is also better.

Finally, the lighting can get so gaudy that it makes the backgrounds look fake. It is so theatrical like a stage play, that any realism gets ruined. There are times when everyday environments, like the back of a store, look like a club in Ibiza. Why are there so many different colored spotlights all over the place? I was getting flashbacks to the lens flares in JJ Abram’s Star Trek movie it’s so distracting.

I do admire the effort that went into this reboot. I think they really tried to re-ground Child’s Play and some of it does work out well. The problem is that the Child’s Play movies that are done by creator Don Mancini are so good because it’s a specific continuous world of escalating madness that doesn’t take itself seriously. I have no idea how Mancini consistently comes up with the wild story ideas that actually work. Each entry starting with Bride of Chucky are fresh and entertaining movies that build on the premise of the original. And he’s continued that love with the Chucky TV show. There’s no reason to settle for a so-so Chucky.

This vampire movie was released in theatres a few months ago and was more or less ignored. I remember seeing lukewarm reviews for Renfield and that’s a shame because I thought it was a lot of fun to watch.

Renfield is Draculas’ familiar. He’s been the thankless servant for around a century, trapped in the cycle of luring food to his master, cleaning up after him, and relocating the entire operation when Dracula gets too bold in public. As a young man, he gave up everything when he thought the job would benefit his new family but it just led to devastation.

Now in the modern day, Renfield has relocated the Count to New Orleans after Dracula’s close encounter with sunlight. He needs dozens of “pure” people to drink to regain his health and power. Renfield is sick of this cycle and soon after moving to the city, he finds a co-dependency support group. When Dracula finds out about this, he is not pleased that Renfield wants to get away from him and be a better person. He decides to hide no longer, the end of running from city to city. It’s time for Dracula to take over the world by turning every human into a vampire. For Renfield, this means a massive escalation in everything he hates about this life.

While Renfield tries to figure out his own life, Rebecca is caught in her own trap. She’s followed her father into law enforcement and finds herself surrounded by either lazy or corrupt cops. She wants to follow the code, working for the community and taking out only bad guys. When she gets mixed up with a prominent crime family, she runs into Renfield and they become a team of awkward heroes.

In short order, you find yourself in a buddy cop action movie. It’s funny, it’s stupid, the action sequences are great and because it’s vampire based (Dracula doesn’t play games here) it is crazy violent. A few people literally explode on screen and it’s a wonder to behold. Forget huge shootouts, you have all out superhuman brawls with bullets and ripped off limbs flying around. If you liked Blade or Day Shift, you’ll likely dig this.

I’ve been a fan of Nicholas Hoult since the Skins days so I’m always keen to check out the projects he decides to sign up for. He’s pretty adorable as Renfield. He’s a good person at heart but he does horrible things because of his bondage to Dracula. While he did sign up for it, getting out of it is far from easy. It’s not a job that he can simply quit and walk away. I liked watching his redemption arc, the guy truly benefits from group therapy. Awkwafina is well cast as Rebecca– she plays well with Hoult. But…Nicolas Cage steals every scene as Dracula. He completely commits to the role and is awesome. He loves playing the bad guy and portrays a powerful and intimidating monster that always gets what he wants when he wants it very well. There are a few scenes where he has to act through some very heavy prosthetic make-up and it doesn’t hinder him at all.

If you’re in the mood for some fun, spend 90 minutes with Renfield.

From Sweden, with love, The Conference.

I more or less picked this at random when I saw it recommended on my Netflix account. A straightforward horror movie that looked good, so I gave it a shot.

The Conference is about a group of co-workers from a local municipality on a team building retreat at a camp in the woods. They have just completed a major real estate project proposal to build a mall and construction is about to start. Lina has recently returned from a leave of absence and during a meeting to finalize the paperwork, she notices that the contract has changed since she last saw it and her signature is on it. She never signed this paperwork. She starts asking questions and the politics of the group swing into motion. Some don’t care, some want to know more, and some say everything is fine and it’s time to celebrate their latest success.

While Lina has questions, someone else shows up with an ax to grind and starts killing the attendees one by one. This leads to a deeper dive into what’s been going on behind the scenes as the group gets smaller and the goal to survive becomes harder to accomplish.

It’s a little bit like watching The Office merged with Friday the 13th which works surprisingly well. I can’t imagine a big budget for this, but every dime can be seen on screen. Nothing about the movie looks cheap. The cast is great, the cinematography is terrific, great sets and the horror gags are largely very good. The one makeup effect that I consider the highlight is when one of the men runs into a wire trap in the woods that gives him a huge gash across his forehead. It looks gross, realistic, and painful. The actor really sells it as he frantically runs around for the remainder of the movie.

This was a nice palate cleanser. Nothing complicated, just a straight-shot plot of corporate subterfuge and revenge. Yeah, it doesn’t do anything new for the genre, but it hits all of the right beats that make for a good horror movie.

No One Will Save You is an interesting alien invasion flick. The biggest element that sets it apart is that there is no dialog. It’s a heck of a goal that is hard to pull off, to say the least. Writer and director Brian Duffield largely pulls it off because lead actor Kaitlyn Dever who plays Brynn is so good.

Brynn is a young woman who lives alone in a rather rural area. The main town she lives near appears to be small, with one main street where all of the businesses are located. Her house is all alone in the woods. Going by the few shots of her road, you can’t see another mailbox or driveway. So when things pop off, she’s not running to the neighbors for help…not that they would welcome her with open arms.

At the start of the movie, it’s made clear that something happened in Brynn’s past that’s made her a loner. When she goes into town to do some errands, she’s anxious about being in public. All the side glances and murmurs aimed her way make for a rather uncomfortable experience. It’s hard to tell what this could be about. She looks like the girl next door who wouldn’t say or do anything bad to anybody. The way the scene is presented made me wonder if her anxiety was making her overreact. Maybe she was being paranoid, thus noticing unrelated things and attributing it to everyone being wary of her.

There is a lot of great foreshadowing done at the very beginning that quickly comes into focus before the second act starts. The aforementioned anxiety and then there’s the odd circular mark burned into her front lawn. It looks like it’s from the sun or animal urine. She puts some water on it when she notices and goes about her day. When she returns to the safety of her home, she gets a visitor at night.

And that visitor is an alien from another planet. I’m talking classic Grey. Humanoid with two arms and legs, a big head, two large black eyes, nostrils, and a mouth. Skinny too. One of the best parts of this movie is the phenomenal introduction to these creatures. I thought they’d be hidden from view for longer, but it works well. It’s an encounter, the alien isn’t trying to hide so the worry goes quickly from “What is that outside?” to “That’s not human and it is in the house, right by the stairs!”

The visitor is aggressively curious and Brynn wants nothing to do with that. It has wild telekinesis powers too, so there is a scary difference in strength despite Brynn being similar in height (my man clearly does not lift). So she manages the fight or flight response and survives the night, which is a wild time. In the morning, she makes it back into town to get help at the police station and that’s when the next layer of Brynn’s past is peeled back.

The movie deftly moves between and intertwines the mystery of her conflicted past and the mystery and danger of the alien invasion. Brynn is truly alone battling for her mind and body for the entire movie and it’s a harrowing experience. She’s constantly being chased, even when an alien isn’t around.

The action scenes are done well, I frequently found myself wide-eyed in anticipation. Brynn is a smart character who does logical things. She doesn’t get in trouble because of boneheaded decisions that were written to create inorganic danger and tension. While the CGI is mostly excellent, the lighting of the creatures frequently doesn’t match the scenery, so it’s obvious they’re digital. There are also mannerisms–the way the aliens communicate–that came off as really goofy to me. I definitely laughed when no laughs were intended, so that knocks down the spooky factor a few pegs. The sound design is 100% fantastic though, which helped suspend my disbelief when the visuals didn’t.

I’m on the fence about the ending. I thought I’d settle one way or the other, but days later from seeing the credits, I’m still not sure. It doesn’t ruin the movie, but I was hoping for more. I don’t think it reaches the highs of the rest of the movie.

Totally Killer is another Blumhouse production with a wacky concept to send you off on a wild ride. 17-year-old Julia Hughes is the daughter of Pam and Blake, who were part of a group of friends in high school that survived the rampage of the “Sweet Sixteen Killer.” 35 years later, the killer comes back, killing Pam the same way as the previous victims, with 16 stab wounds with a knife. Julia is then attacked by the masked killer and is accidentally sent back in time to 1987 where she tries to stop the killer to save her mother’s life.

This movie wisely doesn’t take itself too seriously. It feels a lot like the original Scream as it references a lot of horror movies and it balances out the mayhem with the culture shock of a Gen Z girl being thrown into 1980s society. Since the crux of the movie is time travel and saving people in the future, there are a lot of Back to the Future vibes as well (which is referenced by Julia). The conceit of getting Julia back in time works well enough, but it is a scenario that you just need to go along with.

Julia is played by Kiernan Shipka, who I know best from Mad Men (Don Draper’s daughter). She’s terrific, playing the character just right as she goes from ordinary girl to heartbroken daughter, to fish-out-of-water heroine. She puts some serious work in as she tries to figure things out to keep everyone alive while often running for her life.

The killer is in the Ghostface archetype who more or less only hides in closets to ambush their victims. The deaths are very straightforward and simple, so nothing on the intensity scale of the Halloween or Friday the 13th franchises. It’s just above PG-13 in terms of gore content. The Sweet Sixteen Killer has a stupid costume and the amount of comedy far outweighs the horror, so I didn’t find this scary at all. Scream does that more effectively. That said, Totally Killer still does the genre justice. It works well as a who-is-it, like Scream, and the killer is a menacing and intimidating presence. The deaths are effective when they happen. The cast is great and I did get attached to a few of them. I think that comes from Julia interacting with all of these people she knows as adults as kids her age, so the character building is done much better here compared to many slasher movies.

I’ve mentioned Scream a lot, but this movie’s tone and presentation are most similar to Happy Death Day (which I’m a fan of. The sequel, not so much). The main characters even look so similar they could be confused as sisters. Totally Killer actually feels like alt-Happy Death Day, which was also produced by Blumhouse. I don’t mean that as a slight in any way, in fact, you could watch them as a double feature and have a great time.

Can we talk about how good of an actor Dave Bautista is? For me, he’s the biggest highlight of Knock at the Cabin. The guy has tremendous range, he can do comedy and drama, and despite how recognizable he is (like how you could pick Dwayne Johnson out of a crowd) I forget his real name and personality and only see the character on screen.

This movie is an adaptation of the book The Cabin at the End of the World by Paul Tremblay. It gives you a rather mind bending scenario to chew on and make a decision about: What would it take for you, with only a few hours., to believe that you could save mankind from impending doom?

A young girl named Wen is on vacation with her adopted dads, Eric and Andrew. The ride to the cabin was fun, and the cabin and surrounding environment are beautiful. Not long after they arrive, Wen is sitting outside in front of the cabin when a large man walks up to her and starts talking to her. She’s wary at first but the man is friendly and speaks kindly. He seems okay but then he starts talking about things–scary stuff about threats to the world that make her run inside to her parents. She immediately tells them about the big weird guy and before Eric and Andrew can process the torrent of information she yells out, there’s a knock at the cabin door. A man calmly introduces himself through the door, asking to be let in so they can talk. Taking a look through the window, the parents see 4 adults with very big, melee weapons.

As you can guess, the drama starts from here. The strangers tell their story that the apocalypse is only moments away and Eric and Andrew are the only people who can stop it…with one of their lives. That conversation goes the way you’d likely react. These people are nuts, go away and leave us alone. The strangers break into the cabin to better sell their ideas. There are some negative reactions to that, as you can imagine.

I found Knock to be a compelling movie. This is an M. Night Shyamalan joint and he’s been putting out some good projects in recent years (I like Old, the movie he made just before this one) and this thankfully continues the trend. It’s a wild concept that lives or dies on the dialogue. Casting is integral too, which is why I brought up Dave Bautista at the top. If the actors can’t sell the premise, you’ll never buy into it. Bautista plays the leader, Leonard, and he is totally committed to this role. I came to believe that he completely believes everything he says. It’s crazy stuff to imagine happening to you. He’s asking you to either kill yourself or your spouse right now with outlandish claims. But he says the proof will start coming if they continue to wait. All four of them have come to this cabin through ordained faith and are ready to prove it. They aren’t important, the rest of humanity is.

When the “proof” starts appearing every bit of rightful skepticism comes out. It’s easy to dismiss. Eric and Andrew work every angle they can think of to keep Wen safe and get the hell out of there. And then the horror escalates and more “proof” is given. It starts to become compelling and makes you start thinking…what if…?

I’m leaving out a lot of stuff because I think it’s best for viewers to go in as blind as possible so the premises can pick you up the way it’s designed to. It may or may not, but that’s the challenge this movie sets out to do. It worked on me. I think this was a great ride that has some fantastic character work. It goes pretty deep on belief and the human condition. Fight or flight, rationalization, love, anger, purpose, sacrifice, the stages of grief. It’s a rather intense journey that I was happy to go on in the end.

We all know and love Ethan Hawke from his decades in the biz but watch out for him in The Black Phone. He is straight-up scary. I can’t remember him playing the bad guy before (I need to brush up on his filmography) but man is he good at it.

Ethan Hawke plays “The Grabber” in this horror/thriller movie that takes place in the late ’70s. As the nickname suggests, he grabs his victims off the street of the otherwise quiet suburban neighborhood. The town is on edge and the police aren’t close to finding who is doing it let alone finding where the kids are being taken.

Finney and Gwen live with their dad and things at home aren’t…great. Finn and his sister have to protect each other inside and outside of the home. Finn feels the personal threat of The Grabber first when one of his friends, Robin, disappears. One afternoon, when Finn is walking alone, he’s approached by a man wearing a black hat and a theatrical-looking face mask. He says he’s a magician and he drives the big van because it has all of his performance stuff in there. It’s a good cover to get a child close…

Finn then wakes up in a bare basement that’s been made soundproof. Just one door, a broken black phone on the wall, and a dirty old mattress on the floor. Now Finn has to fight for his life. He gets help from the outside and the inside of the house. Gwen doesn’t leave things up to the police and does everything in her power to find her brother. She rules. Inside the house, Finn’s other lifeline comes when the broken phone rings. The Grabber’s previous victims talk to Finn through the phone.

The Black Phone is a really cool mix of a grounded police and survival thriller with supernatural elements. I was wary of the ghost idea coming into this, and I’m surprised a how well it works. The way it’s introduced and how each victim reaches out and expands the story comes across as believable and a great way to push character development and the plot along. The spirits that visit Finn are angry, so they aren’t really pleasant experiences for him or the audience. The suspense is great from the start with the setup that The Grabber is active, nearby, and very dangerous. Once Finn is captured, that suspense turns into tremendous tension.

Ethan Hawke has such a presence whenever he’s on screen. He has a weird, disturbing voice and has multiple masks that cover different parts of his face. It’s almost like he’s making a stage play out of his madness. I also liked that he doesn’t go over the top with The Grabber. He always feels like a real threat that could be preying on any town USA. The scenes with him and Finn (Mason Thames) are captivating. The threats and cat-and-mouse aspects create terrific action sequences.

The film also has older filmmaking aesthetics that go beyond the decades-old setting. Just about everything looks aged and worn out. It doesn’t really have that super sharp digital image that most movies have today. I think a lot of it comes from how the scenes are lit. The special effects all look real too which is another bonus.

The movie nails the landing too so this is a complete experience from start to finish. This is one of the best films Blumhouse Pictures has produced.

Let’s kick off the spooky season with a classic monster!

Werewolves Within is an adaptation of a multiplayer video game released a few years ago. In the game, all the players are sitting around a campfire and the goal is to figure out who the werewolf is. As the werewolf, you want to throw everyone’s suspicions onto anyone but you. The movie spins the gameplay into a more traditional whodunnit plot where a few residents in a small remote town get trapped together, and a monster starts picking them off one by one.

This was a lot of fun to watch with the slow build-up and ratcheting tension. Everything seems normal and then odd things start happening. Questions are asked, the first person is attacked and then the suspicions and paranoia move in full force. Everyone is a suspect and that makes the people just as dangerous as the werewolf. I liked the Jaws approach they took with the werewolf, keeping it basically hidden for the entire movie. Not very violent or gory, but the blood does flow a few times.

Simple premise, small environment, and smart production decisions make for an expensive-looking movie that actually had a very small budget. A lot of fun, and I highly recommend it.

Werewolf By Night is technically not a movie. It’s less than an hour long and is officially called by Marvel/Disney a TV Special. It doesn’t matter though because it’s totally rad and Marvel needs to make more adaptations like this.

I’ve never heard of this comic before, and I remember when this adaptation came out last year but I quickly forgot about it. I never hear anyone talking about it either which is a shame because it’s so much fun. Maybe now that it’s Halloween time this will get mentioned more.

With the death of Ulysses Bloodstone, his wife Verussa calls in the top monster hunters of their secret group for his memorial. Their daughter, Elsa, is one of them and tensions are high between mother and daughter from decisions Elsa has made. The memorial quickly becomes a deadly competition for a powerful relic that is stuck on the creature known as…Ted.

One in the order is more than they seem, hiding a secret that is exposed with deadly results.

The show goes on the road real quick with this one! Everyone is gathered together within minutes of the start and after everyone is introduced and Verussa lays out the competition, it’s a mad dash to the thrilling end. Much like Werewolves Within, this takes place in closed quarters with characters running around from room to room between intense standoffs. Well-directed and great production design with the black and white presentation that highlights the deep contrasts between shadow and light. A cool take on horror that goes a little farther than what you typically see in the consequences of violence in Marvel shows. The fight and weapon choreography is well done too. A pleasant surprise that’s perfect for October viewing.

Stop-motion animation is one of the oldest and most labor-intensive animation styles. There aren’t many studios that are crazy enough to do this kind of work. It’s my favorite style as it’s truly three-dimensional art coming to life. You can see the brains and hands that put all of this in motion as it dances around in front of you. With modern technology aiding in the design of sets and puppets and expanded possibilities of scene complexity, it’s stunning what can be accomplished. Over the holiday I’ve had the time to dive into three great works.

Wendell and Wild– This is the latest show from legendary animation director Henry Selick. Based on a book by Clay McLeod Chapman, Wendell and Wild are two demons who convince 13-year-old Kat to summon them to the land of the living. The pair is stuck managing a more powerful demon’s balding head and they have much greater ambitions with the living. Kat feels responsible for her parents’ death and that makes her an easy mark to agree to the pact. Thankfully Kat has some good people looking after her and they help her manage her own crisis as well as her rotting hometown.

This show falls firmly into Selick’s wheelhouse as you can see many of his other shows (Coraline being the biggest one) peaking through here. Great visuals and animation that looks very clean. The story feels pretty rote and doesn’t do much that’s new. It’s still a good story but of these three movies, this is my least favorite.

Missing Link– Mr. Link is a sasquatch who finds Sir Lionel Frost, a great explorer, to help him find his long-lost family. Frost quickly agrees to help Link in the hopes that this will make him the envy of all of his peers. A rather selfish and egomaniacal man, Frost comes to learn a few life lessons in this globe-trotting adventure. The duo doesn’t travel alone after a wild run-in with compatriot adventurer Adelina Fortnight.

This is largely a buddy/fish out of water story and it works really well. Link, Frost, and Fortnight are different personalities who work as great foils to each other. It reminded me a bit of Indiana Jones and the Mummy movies (the ones with Brendan Fraser) but with one main cast member being a different species. The voice acting is great and it’s really funny.

This is a Laika Studios production who are responsible for some of my all-time favorite stop motion pictures, Paranorman and Kubo and the Two Strings. Stunning animation. The backgrounds are so rich and colorful that it makes you want to step through the screen. I had this on my list for a while, I regret not watching it sooner.

Pinocchio– Officially titled Guillermo del Toro’s Pinocchio, this show is simply stunning. It’s a del Toro production done with animation. They went as far as lighting the sets to look like his live-action movies. There are a handful of monsters and they look like they came from The Devil’s Backbone and Pan’s Labyrinth (in fact, you can run these movies in a row for a theme night). Just unending artistic beauty from top to bottom in every frame. The thing that really struck me is that the characters (puppets, actually) don’t look like they were made for a movie. It’s like they were living their lives and some camera guys with microphones showed up in this small town in Italy after the World War ended and decided to follow them around. Perfect voice casting as well.

Oh yeah, the story. Most people know the Disney version of this show and many of the big beats from the source material are used here, like Pinocchio getting manipulated into joining the circus and the whale swallowing Cricket and Geppetto. This is a rather deep dive into what it means to live a life. Why we do the things we do and how we treat ourselves and each other. This isn’t for young children. It’s pretty complex, it has a lot of scary imagery and it’s two hours long. I’d say ten, maybe twelve-years-old and up.

The Wood Sprite brings the puppet that Geppetto made in the grief of losing his son to life in an attempt to heal his heart and take away his crushing loneliness. She puts Cricket in charge of being Pinocchio’s guiding light. Together they attempt to raise Pinocchio. Mistakes are made by Cricket, Geppetto, and Pinocchio but they do come together in this gorgeous story of love and family. This adaptation is so touching to me in ways that the Disney version never reached.

This is my favorite film of 2022.

Raw

I’m on the fence about this French horror film. I like the general ideas presented throughout the movie; the actors are very good and the look and feel of the production are high. The way characters interact frequently threw me off though.

Justine shows up on her first day at veterinarian school where her older sister Alexia also attends. She’s a quiet girl, a vegetarian looking to fit into this new environment. When she is pressured to eat meat, she ends up developing a taste for human flesh. Yeah, her freshman year is an intense one.

The first odd thing to me is how buck wild veterinarian school is in France. It’s like a college campus in Florida, with kids partying hard every chance they get and the hazing, which looks like it started generations before based on the chants and songs, is something to behold. It’s like the university’s social life revolves around Greek life without having sororities or fraternities to pledge to. This is all on me as this is just something that doesn’t match my narrow conception of what this kind of school is like. No idea how accurate it is.

The one thing that really made me question things is how Justine and Alexia interact once things start getting wild. It’s pretty obvious what’s going on with Justine even if you don’t know the synopsis of the movie. Alexia gets involved as things escalate but there’s this odd acceptance from Justine that doesn’t make sense to me. There are a few obvious questions she should be asking (You’re oddly ok with this, why? How do you know about this? Why did you do that? Whoa, why are you doing that?) and it’s never asked. Instead of talking, there are just, odd looks and…running away? It really takes me out of it. I kept thinking of all this stuff that should be happening to ground people’s natural reactions instead of things just pushing forward until the end.

That said, I really like the ending. It makes the subtle background info from the start of the movie come full circle into a new light. That’s always fun to see and is good storytelling. There’s some real skin-crawling stuff in here too. The makeup for Justine’s rash is incredibly real and watching her scratch like a maniac makes it impossible not to have your own visceral reaction to it. Violence and gore are pretty minimal, but there is some gruesome stuff shown and it looks very realistic. This will make a lot of people feel very uncomfortable. So despite my misgivings about how the story is told, overall it is a successful horror movie.

Hellhole

This neat little religious horror movie is from Poland. I’ve seen one movie from writer and director Bartosz M. Kowalski a few years ago (also on Netflix) called Nobody Sleeps in the Woods Tonight. That’s a good homage to Friday the 13th and Texas Chainsaw Massacre. Hellhole feels like a more mature and advanced effort from Mr. Kowalski. He’s growing in his craft and I think he’ll be able to make even greater films in the future.

In this macabre tale that takes place in 1987, we follow undercover police agent Marek into a monastery. There have been a lot of disappearances around the area and the rumors and evidence point to the monastery being the hub of it. Apparently, they handle a lot of exorcisms. Anything more than one exorcism once in a while is a lot if you ask me and these guys have blown way past that number only for the women to all die in their soul-saving efforts.

This movie does a really good job of setting up and exploring the mystery. Everything feels off right away and Marek is a great vessel for the audience to go through this nightmare with. He’s easy to like and root for. The atmosphere is fantastic, the oppressive fog of the area practically becomes a character. I like the pace of the movie, there’s a good amount of suspense and psychological horror. This doesn’t rely on violence or gore at all for its scares. In what seems like a big trend for me this Halloween, the ending really won me over. Some of the best direction and visuals are from the last five minutes. Leaves a lasting impression!

The Midnight Club

This is the fourth show from Mike Flanagan for Netflix. I’ve liked them all so far aside from Bly Manor which I got distracted from watching after the first episode and never went back to (it didn’t grab me right away as Hill House did). Midnight Club is based on the book by Christopher Pike and is aimed more at young adults.

The show takes place at a juvenile hospice called Brightcliff. The eight kids all have terminal illnesses and voluntarily decide to go to this facility. They get a lot of leeway in what they get to do and it’s a comfortable place where they are well cared for. Their favorite thing to do is what they call The Midnight Club, where they gather in the library at midnight and tell each other scary stories. They also have a pact; when they die they will try to send a sign from the other side. This show is mostly about facing our mortality, and as these are teenagers, they are forced to deal with this much sooner than anyone should.

While this series is rather slow–Flanagan is never in a rush–I liked it a lot by the end. With a large cast there is a lot going on, hence 10 nearly one-hour-long episodes. The cast is excellent. Diverse and interesting, everyone has unique backgrounds and that is reflected in the stories they tell (the stories are taken from other Pike books). While death and children is already a heavy topic, it wouldn’t be a Flanagan show without the supernatural and cults involved.

I was surprised by how attached I got to a few of the characters, which is what propelled me through the show. It can drag on in places but I think the payoff is worth it. The main cast all get their time so no one is two-dimensional and forgotten about. The supernatural and cult plots propel the mystery of the show while to stories offer up the majority of the scares. There’s a lot of world-building done in this series and a lot isn’t answered at the end. There’s plenty to keep this going, which I hope they get to do. There’s nothing major in the violence and gore department, it’s mostly bump-in-the-dark and spooky threats like monsters and ghosts that bring the disturbing images. This is a very mature show though, the themes are heavy and the topics of fear, regret, hope, faith, and death are well discussed. The teenagers aren’t coddled, they’re respected as intelligent young adults. I really like the tone and messages of this show, it’s really well made.

The Curse of Bridge Hollow

This one is for the kids. Think Hocus Pocus but with fewer witches.

Halloween is a big deal in the town of Bridge Hollow. Everyone is gearing up for the big fair except for Sydney Gordon is mostly concerned about abruptly leaving everything and everyone behind in Brooklyn for this suburb in the woods. Her dad Howard took a new teaching job midsemester at the high school and it’s going to be an adjustment for everyone. Her life gets even more disrupted when she accidentally lets an ancient spirit out of captivity. This specter is on a mission to take over the living realm by bringing all the Halloween decorations to life to use as an army.

This is one of the better family movies I’ve seen in a while! It’s cute and goofy with just a little bit of scary moments (think giant spiders and clowns with big teeth) to keep everyone on their toes. I was really impressed by the VFX, they got a good budget to bring this script to life. The kids are fun, there’s a lot of running around to save the day and the funniest part is that we’ve reached the point where Marlan Waynes can be typecast as the awkward but loveable father.

The Wretched

Ben’s life is a bit of a mess. At 17 years old, his parents are getting divorced. He’s been acting out (there’s a story behind that broken arm) in frustration and good old-fashioned rebellion. His parents have separated and now Ben and his little brother go to live with their dad for the summer. His dad works at the marina and gets him a job there so he’s not going on vacation here. Things start out okay. He makes friends with his co-worker Mallory but he’s got to deal with some hazing from the local kids.

A couple and their two young kids move into the rental next to Ben’s place and they seem cool until Ben notices some odd things around their house. He investigates but doesn’t find anything but he can’t shake the feeling that something is lurking around them. The mother next door then starts acting really sketchy and Ben is put on high alert. Before long, the threat comes out of the shadows, and Ben is left to defend everyone from being taken.

This movie uses the most effective horror movie techniques to great effect. Keep your monster mysterious for as long as you can, giving only glimpses of it. Ratchet up the tension by making the threat slowly move closer to the protagonist in more and more disturbing ways. Isolate the protagonist; when no one believes you, it makes you an easier target. This makes survival feel even more difficult because the idea of help coming to save you goes out the window.

All of this with excellent cinematography and direction make The Wretched a lot of fun, I liked it a lot. There are a lot of nods to classic thriller and horror films that are done really well. The atmosphere is really great, the pacing is basically perfect and the ending is satisfying. Another horror movie with great VFX work that makes the monster look and feel real. There’s not much violence but scenes of body horror are used to get your hair standing on edge. I think it’s kept pretty tasteful. I highly recommend this one.