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LeftSideCut (3778 KP) rated American Horror Story - Season 9 in TV
May 10, 2020
The ninth season of AHS, subtitled "1984" is definitely up there in terms of silliness. However, where this has been an issue for me with a few previous seasons, this time around it's a huge strong point.
1984 is one big homage to 80s slasher films, in particular Friday the 13th. If you've read my any of my reviews before, you will know that I bloody love a slasher, even the shitty ones, so this premise was always going to be a winner for me.
A big change this time around is the absence of big AHS names. No Sarah Paulson, no Evan Peters, no Kathy Bates. Their presence is certainly missed in some sort of capacity, but the cast we have do a solid job at carrying the season. Emma Roberts and Billie Lourd take centre stage here, and are both great. We also see some familiar faces in Leslie Grossman, Cody Fern, John Carroll Lynch, Finn Wittrock, Leslie Jordan, Lily Rabe, and Dylan McDermott, so it still has that signature AHS feel. A couple of newcomers are introduced as well - Matthew Morrison and Gus Kenworthy are both hilarious. Zach Villa plays real life serial killer Richard Ramirez (who briefly appeared all the way back in Hotel) and the guy is genuinely menacing. If another season of Twin Peaks ever gets made - he's a dead ringer for Killer Bob.
One of the highlights is "villain" Mr. Jingles (John Carroll Lynch). He's such a finely crafted character, that he honestly deserves to stand next to the Jason and Freddy's of the slasher world.
The story is pretty fun. Mixing 80s campy horror with more familiar AHS elements (such as ghosts not being able to leave the place they died etc) and is pretty engaging for the most part. It gets a little convoluted near the end, and lacks the depth that seasons such as Asylum and Roanoke gave, but it's forgiveable considering the quality of everything else.
As a final thought - the synthwave version of the theme tune is fucking awesome.
1984 is one big homage to 80s slasher films, in particular Friday the 13th. If you've read my any of my reviews before, you will know that I bloody love a slasher, even the shitty ones, so this premise was always going to be a winner for me.
A big change this time around is the absence of big AHS names. No Sarah Paulson, no Evan Peters, no Kathy Bates. Their presence is certainly missed in some sort of capacity, but the cast we have do a solid job at carrying the season. Emma Roberts and Billie Lourd take centre stage here, and are both great. We also see some familiar faces in Leslie Grossman, Cody Fern, John Carroll Lynch, Finn Wittrock, Leslie Jordan, Lily Rabe, and Dylan McDermott, so it still has that signature AHS feel. A couple of newcomers are introduced as well - Matthew Morrison and Gus Kenworthy are both hilarious. Zach Villa plays real life serial killer Richard Ramirez (who briefly appeared all the way back in Hotel) and the guy is genuinely menacing. If another season of Twin Peaks ever gets made - he's a dead ringer for Killer Bob.
One of the highlights is "villain" Mr. Jingles (John Carroll Lynch). He's such a finely crafted character, that he honestly deserves to stand next to the Jason and Freddy's of the slasher world.
The story is pretty fun. Mixing 80s campy horror with more familiar AHS elements (such as ghosts not being able to leave the place they died etc) and is pretty engaging for the most part. It gets a little convoluted near the end, and lacks the depth that seasons such as Asylum and Roanoke gave, but it's forgiveable considering the quality of everything else.
As a final thought - the synthwave version of the theme tune is fucking awesome.
Lilyn G - Sci-Fi & Scary (91 KP) rated Winchester: The House That Ghosts Built (2018) in Movies
Feb 2, 2018
It was okay. Nothing more, nothing less.
So, when I saw the trailer for Winchester, I was a little intrigued. Not a lot, but a little. A bit more so when I realized that Helen Mirren was in it. Though I can’t say I could name anything else she’s been in off-hand, I did recognize that she had a bit of weight behind her name. Her presence, combined with Jason Clarke (who I recognize more as a “Hey, it’s that guy” than actually recognize) gave me some hope for the movie. Hence stealing away on a Friday afternoon, paying entirely too much money for a ticket and popcorn to get the big-screen experience.
Winchester could have been good, if it didn’t feel like they were scared to go outside the realm of jump-scares. (Though, I will give the directors credit for surprising me and putting a different spin on the typical mirror scare.) Most of the acting was decent-to-solid, but the actors were sorely limited by a distinctly yawn-worthy script.
In regards to the Winchester cast: Clarke has an undeniable charisma. The way Mirren portrayed Sara Winchester, she had that haughty, truth-speaking old lady thing going on that I appreciated and thought I was in for a treat. I was wrong, unfortunately. I felt very much like Mirren’s heart wasn’t in her role at all, and hiding her behind a veil was sometimes the only way to disguise the blue cardboard of her eyes. Sarah Snook reminded me a bit of Maggie Smith, and she had a way of keeping your attention on her. However, Henry, played by Finn Scicluna-O’Prey was barely worth noticing. Scicluna-O’Prey’s ability to command attention on the screen was pretty much solely limited to the well-light scenes featuring his brilliant red hair. (I feel really mean saying that about a younger actor, but it’s the truth.)
The pacing was middling. I definitely got the fidgets a few times during the movie. The dialogue had it’s moments. (There’s a scene between Mirren and Clarke that’ll have you snickering.) The action, such as it was, was bland and cliched. The ending scene had me rolling my eyes.
Overall, Winchester wasn’t god-awful, but it wasn’t something your average horror-movie watcher hasn’t seen 999 times before. It’s one to rent at your local Redbox, or when it his Amazon, but not worth paying movie theatre prices for right now.
Winchester could have been good, if it didn’t feel like they were scared to go outside the realm of jump-scares. (Though, I will give the directors credit for surprising me and putting a different spin on the typical mirror scare.) Most of the acting was decent-to-solid, but the actors were sorely limited by a distinctly yawn-worthy script.
In regards to the Winchester cast: Clarke has an undeniable charisma. The way Mirren portrayed Sara Winchester, she had that haughty, truth-speaking old lady thing going on that I appreciated and thought I was in for a treat. I was wrong, unfortunately. I felt very much like Mirren’s heart wasn’t in her role at all, and hiding her behind a veil was sometimes the only way to disguise the blue cardboard of her eyes. Sarah Snook reminded me a bit of Maggie Smith, and she had a way of keeping your attention on her. However, Henry, played by Finn Scicluna-O’Prey was barely worth noticing. Scicluna-O’Prey’s ability to command attention on the screen was pretty much solely limited to the well-light scenes featuring his brilliant red hair. (I feel really mean saying that about a younger actor, but it’s the truth.)
The pacing was middling. I definitely got the fidgets a few times during the movie. The dialogue had it’s moments. (There’s a scene between Mirren and Clarke that’ll have you snickering.) The action, such as it was, was bland and cliched. The ending scene had me rolling my eyes.
Overall, Winchester wasn’t god-awful, but it wasn’t something your average horror-movie watcher hasn’t seen 999 times before. It’s one to rent at your local Redbox, or when it his Amazon, but not worth paying movie theatre prices for right now.
BankofMarquis (1832 KP) rated The Woman in the Window (2021) in Movies
May 24, 2021
It is NOT Rear Window
A piece of advice for you when you start to watch the “Alfred Hitchcock-esque” thriller, THE WOMAN IN THE WINDOW. If you are at all a Hitchcock fan, you will be spending the first part of this film comparing it to the 1954 classic REAR WINDOW and this would be a disservice to this film.
For…THE WOMAN IN THE WINDOW is no Rear Window, nor is it intended to be. It has many, many elements that are the same as Rear Window (most notably, the setup: a housebound person thinks they have witnessed a murder in a neighboring apartment), and THE WOMAN IN THE WINDOW is just like Rear Window…until it isn’t.
And that’s when I started to like this film, when I stopped comparing it (in my head) to Rear Window.
Based on the Best Seller by A.J. Finn (adapted for the screen by Tracy Letts who also appears in the film), THE WOMAN IN THE WINDOW tells the tale of Anna Fox, an agoraphobic who watches life go on outside her window. When she thinks she has witnessed a murder, she (and the audience) must decide is it real? Did she truly witness a murder? If so, who dunnit? If not, is she just hallucinating things? Is Anna crazy?
The answers to these questions were satisfying enough to me that I ended up enjoying the film experience that I had - but I have to be honest and tell you that, for awhile, my enjoyment of this film was hanging by a thread.
Amy Adams (ENCHANTED) is terrific - if unspectacular - in the title role. Her Anna Fox is murkey (that is meant as a compliment) and struggles through most of the film trying to determine what is real and what is an illusion. Adams does a “journeyman’s” job with this role. She acts her way through it in such a workmanlike fashion that I almost forgot that it is Adams on the screen.
Wyatt Russell (Kurt’s son who is also the new Captain America in THE FALCON AND THE WINTER SOLDIER) fares the best of the Supporting players for he has the most to do. Unfortunately, Director Joe Wright (ATONEMENT) and Screenwriter Letts wastes such strong actors as Gary Oldman (DARKEST HOUR), Julianne Moore (STILL ALICE), Anthony Mackie (The Falcon in the Marvel Movies), Jennifer Jason Leigh (HATEFUL 8), Brian Tyree Henry (GET OUT) and Letts himself in terribly underwritten roles that serve (mostly) as red herrings - and each of their characters are interchangeable and forgettable.
And that, ultimately, is where this film comes apart. While I cared about Anna and the solution to the mystery - I didn’t care very much about the other characters involved.
Which is why, I think, I’ll pull my DVD of Rear Window out and watch that film for the umpteenth time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
For…THE WOMAN IN THE WINDOW is no Rear Window, nor is it intended to be. It has many, many elements that are the same as Rear Window (most notably, the setup: a housebound person thinks they have witnessed a murder in a neighboring apartment), and THE WOMAN IN THE WINDOW is just like Rear Window…until it isn’t.
And that’s when I started to like this film, when I stopped comparing it (in my head) to Rear Window.
Based on the Best Seller by A.J. Finn (adapted for the screen by Tracy Letts who also appears in the film), THE WOMAN IN THE WINDOW tells the tale of Anna Fox, an agoraphobic who watches life go on outside her window. When she thinks she has witnessed a murder, she (and the audience) must decide is it real? Did she truly witness a murder? If so, who dunnit? If not, is she just hallucinating things? Is Anna crazy?
The answers to these questions were satisfying enough to me that I ended up enjoying the film experience that I had - but I have to be honest and tell you that, for awhile, my enjoyment of this film was hanging by a thread.
Amy Adams (ENCHANTED) is terrific - if unspectacular - in the title role. Her Anna Fox is murkey (that is meant as a compliment) and struggles through most of the film trying to determine what is real and what is an illusion. Adams does a “journeyman’s” job with this role. She acts her way through it in such a workmanlike fashion that I almost forgot that it is Adams on the screen.
Wyatt Russell (Kurt’s son who is also the new Captain America in THE FALCON AND THE WINTER SOLDIER) fares the best of the Supporting players for he has the most to do. Unfortunately, Director Joe Wright (ATONEMENT) and Screenwriter Letts wastes such strong actors as Gary Oldman (DARKEST HOUR), Julianne Moore (STILL ALICE), Anthony Mackie (The Falcon in the Marvel Movies), Jennifer Jason Leigh (HATEFUL 8), Brian Tyree Henry (GET OUT) and Letts himself in terribly underwritten roles that serve (mostly) as red herrings - and each of their characters are interchangeable and forgettable.
And that, ultimately, is where this film comes apart. While I cared about Anna and the solution to the mystery - I didn’t care very much about the other characters involved.
Which is why, I think, I’ll pull my DVD of Rear Window out and watch that film for the umpteenth time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Ghostbusters: Afterlife (2021) in Movies
Nov 16, 2021
Back in 1984 when big hair and neon were the norms; a movie appeared that soon became a cultural phenomenon. The movie involved a team of unlikely Paranormal Investigators and the mix of comedy, FX, and Ghosts turned the movie into a smash hit and a Pop Culture mainstay. The abundance of products that followed and the inescapable theme song and tagline soon gave rise to a sequel which while a success; did not resonate the way the original film had and thus the “Ghostbusters” film franchise became dormant.
While a successful video game and merchandise line kept the franchise alive; the 2016 reboot with an all-female team failed to capture the magic at the box office and again put the franchise’s cinematic future in question.
Thankfully after several delays due to the Covid 19 Pandemic; “Ghostbusters Afterlife” has arrived and is the worthy sequel that does justice to the original film and sets the stage well for future cinematic exploits.
The film follows a down on her luck mother named Callie )Carrie Coon) and her children Trevor (Finn Wolfhard); and Phoebe (Mckenna Grace), as they are forced to move to a dilapidated farm in rural Oklahoma following the passing of Callie’s estranged father and her subsequent eviction.
A series of unexplained earthquakes clues the smart and precocious Phoebe that something is up and with her new friend Podcast (Logan Kim), and teacher Mr. Grooberson (Paul Rudd); help her uncover her connection to the original Ghostbusters and the abundance and significance of the gear that her Grandfather has left on the farm.
Things soon take a turn for the worse and despite skeptical locals and the emerging danger, Phoebe, Trevor, and their friends have to battle the forces of evil to save the world.
The movie takes its time getting to the action and spends plenty of time establishing the characters, their motivations, and their relationships with one another. There are abundant homages to the original film; some of which are very subtle and clever but never seem gratuitous or tacked on.
The film also does not rely on the FX to tell the tale as while there are some solid effects in the film; this is a character-driven tale and the new cast works well with some surprise guests who pop up throughout the film.
Director Jason Reitman; son of the Director of the original film; clearly knows and loves the material as he not only helped craft the story but deftly weaves a new tale into the franchise which also fits well with the first film and does not attempt to reboot but rather continue the franchise.
There are two extra scenes in the credits that you will not want to miss as not only are they great fun; but also tease of future adventures to come.
The film also has a few touching moments that caused some unexpected emotion from the audience at our Press Screening and helped establish “Ghostbusters Afterlife” as not only a winning entry into the series but also one of the most enjoyable films of the year.
4.5 stars out of 5.
While a successful video game and merchandise line kept the franchise alive; the 2016 reboot with an all-female team failed to capture the magic at the box office and again put the franchise’s cinematic future in question.
Thankfully after several delays due to the Covid 19 Pandemic; “Ghostbusters Afterlife” has arrived and is the worthy sequel that does justice to the original film and sets the stage well for future cinematic exploits.
The film follows a down on her luck mother named Callie )Carrie Coon) and her children Trevor (Finn Wolfhard); and Phoebe (Mckenna Grace), as they are forced to move to a dilapidated farm in rural Oklahoma following the passing of Callie’s estranged father and her subsequent eviction.
A series of unexplained earthquakes clues the smart and precocious Phoebe that something is up and with her new friend Podcast (Logan Kim), and teacher Mr. Grooberson (Paul Rudd); help her uncover her connection to the original Ghostbusters and the abundance and significance of the gear that her Grandfather has left on the farm.
Things soon take a turn for the worse and despite skeptical locals and the emerging danger, Phoebe, Trevor, and their friends have to battle the forces of evil to save the world.
The movie takes its time getting to the action and spends plenty of time establishing the characters, their motivations, and their relationships with one another. There are abundant homages to the original film; some of which are very subtle and clever but never seem gratuitous or tacked on.
The film also does not rely on the FX to tell the tale as while there are some solid effects in the film; this is a character-driven tale and the new cast works well with some surprise guests who pop up throughout the film.
Director Jason Reitman; son of the Director of the original film; clearly knows and loves the material as he not only helped craft the story but deftly weaves a new tale into the franchise which also fits well with the first film and does not attempt to reboot but rather continue the franchise.
There are two extra scenes in the credits that you will not want to miss as not only are they great fun; but also tease of future adventures to come.
The film also has a few touching moments that caused some unexpected emotion from the audience at our Press Screening and helped establish “Ghostbusters Afterlife” as not only a winning entry into the series but also one of the most enjoyable films of the year.
4.5 stars out of 5.
BankofMarquis (1832 KP) rated Ghostbusters: Afterlife (2021) in Movies
Nov 24, 2021
The True Successor to the Original Film
I am a huge fan of the original, 1984 Bill Murray/Dan Ackroyd/Harold Ramis GHOSTBUSTERS - so much a fan, in fact, that I devoted an entire hour of my podcast, the BANKOFMARQUIS MOVIES PODCAST (which can be found in your favorite Podcast app) last Halloween to this film (Episode #23 to be precise). I found that the next 2 follow-up films - GHOSTBUSTERS 2 and the all-female GHOSTBUSTERS from a few years ago - did not even come close to recapturing the magic of that first film.
GHOSTBUSTERS:AFTERLIFE does and is, in my opinion, the true successor to this all-time great film. This is because Afterlife is nothing more than what it pretends to be - a 2 hour homage to the first film and, most importantly, a wonderful tribute and send off to the late Harold Ramis while creating a whole new “Ghostbusters” Universe and characters along the way.
The plot is fairly simple, the daughter and 2 grandchildren of Original Ghostbuster Egon Spengler (Ramis) arrive at his remote farm after his passing, They start discovering old Ghostbusters equipment (including the Ecto-1) and strange Supernatural events begin to occur.
So…who ya’ gonna call?
This film is lovingly created and produced by Writer/Director Jason Reitman (son of original Ghostbuster Director Ivan Reitman) and it succeeds not because it reveres the first film, but because it loves and respects it and leans into whenever it needs to while also becoming its’ own animal.
Nothing shows this more than the performances in this film. Previous attempts at revising this series tried to hard to regenerate the unique chemistry of the original Ghostbusters. This film realizes that was a mistake and lets these characters do their own things in their own way.
Paul Rudd and Carrie Coon are very good - if somewhat restrained - as the “adults” in this film, but it is the kids - that shine. Finn Wolfhard (STRANGER THINGS, IT) is rock solid as Trevor - one of Spengler’s Grandkids while Logan Kim as “Podcast” one of their friends is also fun and interesting.
But, it is the performance of McKenna Grace (THE HANDMAID’S TALE) as Phoebe, the Granddaughter most like the Grandfather, that really catches your attention and holds this film together in a way that is remarkable for one so young. She really is the secret weapon in this film.
And, of course, there are some fun cameos - cameos that would be spoilery if mentioned, but you can probably guess.
Reitman keeps the action moving along at a fine clip - though the first hour does drag out a bit - and the CGI is much improved since 1984, so that helps things out here as well.
More than a nostalgia play, GHOSTBUSTERS:AFTERLIFE is a fun romp that will be enjoyed by those who know (and love) the original as well as those who are coming to it for the first time.
Oh…and make sure you stay for the 2 End Credits scene - one comes about 2 minutes in and the other is right at the end, they are both worth staying for.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
GHOSTBUSTERS:AFTERLIFE does and is, in my opinion, the true successor to this all-time great film. This is because Afterlife is nothing more than what it pretends to be - a 2 hour homage to the first film and, most importantly, a wonderful tribute and send off to the late Harold Ramis while creating a whole new “Ghostbusters” Universe and characters along the way.
The plot is fairly simple, the daughter and 2 grandchildren of Original Ghostbuster Egon Spengler (Ramis) arrive at his remote farm after his passing, They start discovering old Ghostbusters equipment (including the Ecto-1) and strange Supernatural events begin to occur.
So…who ya’ gonna call?
This film is lovingly created and produced by Writer/Director Jason Reitman (son of original Ghostbuster Director Ivan Reitman) and it succeeds not because it reveres the first film, but because it loves and respects it and leans into whenever it needs to while also becoming its’ own animal.
Nothing shows this more than the performances in this film. Previous attempts at revising this series tried to hard to regenerate the unique chemistry of the original Ghostbusters. This film realizes that was a mistake and lets these characters do their own things in their own way.
Paul Rudd and Carrie Coon are very good - if somewhat restrained - as the “adults” in this film, but it is the kids - that shine. Finn Wolfhard (STRANGER THINGS, IT) is rock solid as Trevor - one of Spengler’s Grandkids while Logan Kim as “Podcast” one of their friends is also fun and interesting.
But, it is the performance of McKenna Grace (THE HANDMAID’S TALE) as Phoebe, the Granddaughter most like the Grandfather, that really catches your attention and holds this film together in a way that is remarkable for one so young. She really is the secret weapon in this film.
And, of course, there are some fun cameos - cameos that would be spoilery if mentioned, but you can probably guess.
Reitman keeps the action moving along at a fine clip - though the first hour does drag out a bit - and the CGI is much improved since 1984, so that helps things out here as well.
More than a nostalgia play, GHOSTBUSTERS:AFTERLIFE is a fun romp that will be enjoyed by those who know (and love) the original as well as those who are coming to it for the first time.
Oh…and make sure you stay for the 2 End Credits scene - one comes about 2 minutes in and the other is right at the end, they are both worth staying for.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Jackjack (877 KP) May 10, 2020
LeftSideCut (3778 KP) May 10, 2020