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SummerLGrant (185 KP) rated The Limehouse Golem (2016) in Movies
Sep 10, 2017
Fantastic Victorian thriller
If you go in wanting to be blindsided about who did it then you're going to be disappointed, it's pretty obvious straight away who the Limehouse Golem is. Other than that this is a gripping film exploring the dregs of society in Victorian London as two cases come together for Scotland Yard's John Kildare (Bill Nighy) and George Flood (Daniel Mays). The story is constantly bubbling beneath the surface and as it rushes towards its conclusion the violence and gore gets more and more graphic, a lot of it doesn't add anything to the story but the dramatics of it does put the state of mind of the murderer into context.
Olivia Cooke, who plays Lizzie Cree a woman on trial for the murder of her husband, is fantastic in the role and has really put on display how good an actress she is.
Olivia Cooke, who plays Lizzie Cree a woman on trial for the murder of her husband, is fantastic in the role and has really put on display how good an actress she is.
Mark @ Carstairs Considers (2200 KP) rated Mardi Gras Murder in Books
Oct 10, 2018
Murder Dampens Mardi Gras This Year
Maggie Crozat's home town of Pelican was flooded out just three weeks ago, but the community is rallying together to repair and rebuild. And they certainly aren't planning to let that curtail this year's Mardi Gras celebration. Unfortunately, Maggie has gotten roped in to help with this year's Miss Pelican Mardi Gras Gumbo Queen Pageant, something she is definitely against. However, when she finds one of the judges dead, she begins to wonder if she is in danger because she's taken on this job. Or does it tie back to the body of the John Doe that was found during the flood?
This is a fantastic book with a creative mystery for us to solve. A strong sub-plot only adds to the fun of the book, and the climax ties everything together perfectly, including a plot point or two I'd forgotten about. The characters are fantastic as always; I truly love the large cast of series regulars. The suspects are strong, although it took a bit to remember how all of them are connected at first. The cast of characters at the beginning certainly helped with that. I did find the timeline felt a bit off at a few points, but this was a minor complaint. I love learning about a completely different region, and author Ellen Byron's love comes through. The recipes at the end will satisfy the cravings you'll develop while reading the book.
This is a fantastic book with a creative mystery for us to solve. A strong sub-plot only adds to the fun of the book, and the climax ties everything together perfectly, including a plot point or two I'd forgotten about. The characters are fantastic as always; I truly love the large cast of series regulars. The suspects are strong, although it took a bit to remember how all of them are connected at first. The cast of characters at the beginning certainly helped with that. I did find the timeline felt a bit off at a few points, but this was a minor complaint. I love learning about a completely different region, and author Ellen Byron's love comes through. The recipes at the end will satisfy the cravings you'll develop while reading the book.
LeftSideCut (3778 KP) rated Lifeforce (1985) in Movies
Oct 22, 2020
Fun fact - this is the second film I've seen where a female character uses Patrick Stewart's body to communicate with someone. Maybe this is some kind of niche sub-genre I'm just discovering...
Lifeforce is a film of three parts - it's one part sci-fi, one part British thriller, and one part ridiculous end-of-the-world horror, in that precise order.
The sci-fi part is decent enough, where a space crew discovers a strange object near Halley's comet, and further inspection reveals giant bats and sleeping naked humans in crystal coffins that turn out to weird space vampires (so on board with this ridiculous plot). It has a great aesthetic and some good special effects (keeping in mind this movie came out in 1985). The puppetry when some of the space-vampire victims come back to life is awesome.
Then the film shifts to Colonels Caine (Peter Firth) and Carlsen (Steve Railsback) as they track down one of the escaped aliens through London, whilst it kills and shapeshifts to it's hearts content.
This portion is slower, but Lifeforce has an engaging screenplay, and boasts a cast good enough to keep things entertaing. Patrick Stewart, Frank Finlay, Mathilda May, and John Hallam amongst others provide a solid ensemble that ensures the film doesn't fall into silly territory.
Everything leads up to the absurd finale however. London is completely aflame, hordes of vampire zombie things flood the street, there are bodies everywhere, shit is blowing up, vampire aliens are being vanquished with giant swords, people are being thrown out of helicopters - Tobe Hooper doesn't fuck about with this kind of stuff, and Lifeforce has a final sequence that puts a lot of other horror films to shame, and looks fantastic. It's glorious - This sci-fi-horror gem is well worth checking out.
Lifeforce is a film of three parts - it's one part sci-fi, one part British thriller, and one part ridiculous end-of-the-world horror, in that precise order.
The sci-fi part is decent enough, where a space crew discovers a strange object near Halley's comet, and further inspection reveals giant bats and sleeping naked humans in crystal coffins that turn out to weird space vampires (so on board with this ridiculous plot). It has a great aesthetic and some good special effects (keeping in mind this movie came out in 1985). The puppetry when some of the space-vampire victims come back to life is awesome.
Then the film shifts to Colonels Caine (Peter Firth) and Carlsen (Steve Railsback) as they track down one of the escaped aliens through London, whilst it kills and shapeshifts to it's hearts content.
This portion is slower, but Lifeforce has an engaging screenplay, and boasts a cast good enough to keep things entertaing. Patrick Stewart, Frank Finlay, Mathilda May, and John Hallam amongst others provide a solid ensemble that ensures the film doesn't fall into silly territory.
Everything leads up to the absurd finale however. London is completely aflame, hordes of vampire zombie things flood the street, there are bodies everywhere, shit is blowing up, vampire aliens are being vanquished with giant swords, people are being thrown out of helicopters - Tobe Hooper doesn't fuck about with this kind of stuff, and Lifeforce has a final sequence that puts a lot of other horror films to shame, and looks fantastic. It's glorious - This sci-fi-horror gem is well worth checking out.
Gareth von Kallenbach (980 KP) rated Ice Age 2: The Meltdown (2006) in Movies
Aug 14, 2019
It has been almost four years since audiences last embraced the animated misadventures of a pack of prehistoric animals in the runaway smash Ice Age.
As the calendar moves into spring the multiplexes throughout the land prepare to welcome the arrival of the early summer season films which like the warming of spring also indicates a warming at the box office as scores of moviegoers look forward to the latest releases which often contain a fair number of sequels.
In the new film, Ice Age 2: The Meltdown things are going well for the animals as they frolic the days away in a scenic glacier. Sid (John Leguizamo) has taken it upon himself to open a camp for younger animals much to the dismay of his friends Manny (Ray Romano), and Diego (Denis Leary).
Things take a turn for the worse when a rapidly warming environment threatens to melt the ice and flood the valley which results in a mass migration of the animals to a new locale where they will be safe from the flooding.
Along the way, Manny, Diego, and Sid encounter an odd trio of refugees, a family of possums. What makes this family different is that one of the possums named Ellie (Queen Latifah) is actually a Mammoth who thinks she is a possum after she was taken in at an early age by the two brothers Crash (Seann William Scott) and Eddie (Josh Peck).
Along the way this eclectic band of creatures must bond with one another as they face all manner of obstacles ranging from the elements to dangerous animals and the growing bond/tensions between Manny and Ellie who Manny fears may be the last two mammoths left.
Of course it would not be an Ice Age film without the misadventures of Scrat, the loveable squirrel from the first film who is still trying desperately to secure his beloved acorn and has all manner of misadventures as a result. As good as the other characters are the comedic interludes with Scrat are the funniest moments in the film which is saying something as there are many, many shining moments in the film.
The animation is first rate and is greatly improved from the first film as the animal’s now show greater texture and motion in their furs as well as a realistic weight transfer when they walk.
While this is not vital to the film, it does show a level of attention and detail that infuses the film with a vitality and flair not often shown in family entertainment that did not come from Disney.
Fox is at the top of their game, and “Ice Age: The Meltdown” is a further reminder that Disney no longer has a lock on animated family classics as this is a film that will delight viewers of all ages.
As the calendar moves into spring the multiplexes throughout the land prepare to welcome the arrival of the early summer season films which like the warming of spring also indicates a warming at the box office as scores of moviegoers look forward to the latest releases which often contain a fair number of sequels.
In the new film, Ice Age 2: The Meltdown things are going well for the animals as they frolic the days away in a scenic glacier. Sid (John Leguizamo) has taken it upon himself to open a camp for younger animals much to the dismay of his friends Manny (Ray Romano), and Diego (Denis Leary).
Things take a turn for the worse when a rapidly warming environment threatens to melt the ice and flood the valley which results in a mass migration of the animals to a new locale where they will be safe from the flooding.
Along the way, Manny, Diego, and Sid encounter an odd trio of refugees, a family of possums. What makes this family different is that one of the possums named Ellie (Queen Latifah) is actually a Mammoth who thinks she is a possum after she was taken in at an early age by the two brothers Crash (Seann William Scott) and Eddie (Josh Peck).
Along the way this eclectic band of creatures must bond with one another as they face all manner of obstacles ranging from the elements to dangerous animals and the growing bond/tensions between Manny and Ellie who Manny fears may be the last two mammoths left.
Of course it would not be an Ice Age film without the misadventures of Scrat, the loveable squirrel from the first film who is still trying desperately to secure his beloved acorn and has all manner of misadventures as a result. As good as the other characters are the comedic interludes with Scrat are the funniest moments in the film which is saying something as there are many, many shining moments in the film.
The animation is first rate and is greatly improved from the first film as the animal’s now show greater texture and motion in their furs as well as a realistic weight transfer when they walk.
While this is not vital to the film, it does show a level of attention and detail that infuses the film with a vitality and flair not often shown in family entertainment that did not come from Disney.
Fox is at the top of their game, and “Ice Age: The Meltdown” is a further reminder that Disney no longer has a lock on animated family classics as this is a film that will delight viewers of all ages.
Gareth von Kallenbach (980 KP) rated Evan Almighty (2007) in Movies
Aug 14, 2019
Evan Baxter (Steve Carell) is a man who is going places. When last we saw Evan in “Bruce Almighty”, he was playing the foil to Jim Carrey and having one of the most spectacular on air meltdowns ever recorded.
In the new film “Evan Almighty”, Evan has left his job as a Buffalo anchorman to take his place as a newly elected member of Congress. Evan ran under the campaign of “Change the World” and with his wife Joan (Lauren Graham), and their three sons, heads off to their new home in Virginia to embark on their new life.
Evan’s first day seems to be going well as he finds that he has been reassigned to a much larger office, and that he has been approached to co-sponsor a bill by prominent Congressman Long (John Goodman). This huge honor is not lost on Evan and he sets out to read the very long bill proposal at the sacrifice of a planned family outing. Needless to say this does not sit well with his children.
Evan’s life soon takes a series of unexpected turns when his alarm starts to go off at 6:14 every morning and mysterious shipments of wood and tools begin to arrive at his home. They are quickly dismissed as oddities, but even Evan has a hard time dismissing the arrival of a man who claims to be God (Morgan Freeman), who instructs Evan to build an Ark to prepare for a new flood.
Try as he might, Evan cannot avoid the facts as he soon finds himself followed by all manner of animals and growing a beard that will not go away, despite numerous shaves.
Those around Evan are convinced he is cracking from the stress of his new job, when he finally relents and begins to build the massive ark on lots adjoining his home. As the ark takes form, Evan begins to change and soon sports long hair and a beard and is clad in biblical robes.
This sudden transformation as well as his declaration before Congress and the television public that God has instructed him to build an Ark soon leads Evan to be barred from his duties in Congress, and a laughing stock to the nation.
Undaunted, Evan presses on, even though the strain is wearing on his family and friends as he is convinced he is doing the right thing.
What follows is a funny and touching adventure as Evan and company learn about priorities, life, and what truly matters in one of the most enjoyable family comedies in years.
The film works very well without being over the top or preachy in its messages. Carell once again shows why he is one of the funniest individuals in film and television.
Morgan Freeman is delightful as the almighty himself as he has a very smooth and compassionate style that helps him recapture the performance he did so well in the first film.
While not side-splitting funny, “Evan Almighty” has a lot going for it, and Carell and Freeman as well as the fine supporting cast keeps the film afloat.
In the new film “Evan Almighty”, Evan has left his job as a Buffalo anchorman to take his place as a newly elected member of Congress. Evan ran under the campaign of “Change the World” and with his wife Joan (Lauren Graham), and their three sons, heads off to their new home in Virginia to embark on their new life.
Evan’s first day seems to be going well as he finds that he has been reassigned to a much larger office, and that he has been approached to co-sponsor a bill by prominent Congressman Long (John Goodman). This huge honor is not lost on Evan and he sets out to read the very long bill proposal at the sacrifice of a planned family outing. Needless to say this does not sit well with his children.
Evan’s life soon takes a series of unexpected turns when his alarm starts to go off at 6:14 every morning and mysterious shipments of wood and tools begin to arrive at his home. They are quickly dismissed as oddities, but even Evan has a hard time dismissing the arrival of a man who claims to be God (Morgan Freeman), who instructs Evan to build an Ark to prepare for a new flood.
Try as he might, Evan cannot avoid the facts as he soon finds himself followed by all manner of animals and growing a beard that will not go away, despite numerous shaves.
Those around Evan are convinced he is cracking from the stress of his new job, when he finally relents and begins to build the massive ark on lots adjoining his home. As the ark takes form, Evan begins to change and soon sports long hair and a beard and is clad in biblical robes.
This sudden transformation as well as his declaration before Congress and the television public that God has instructed him to build an Ark soon leads Evan to be barred from his duties in Congress, and a laughing stock to the nation.
Undaunted, Evan presses on, even though the strain is wearing on his family and friends as he is convinced he is doing the right thing.
What follows is a funny and touching adventure as Evan and company learn about priorities, life, and what truly matters in one of the most enjoyable family comedies in years.
The film works very well without being over the top or preachy in its messages. Carell once again shows why he is one of the funniest individuals in film and television.
Morgan Freeman is delightful as the almighty himself as he has a very smooth and compassionate style that helps him recapture the performance he did so well in the first film.
While not side-splitting funny, “Evan Almighty” has a lot going for it, and Carell and Freeman as well as the fine supporting cast keeps the film afloat.
Hazel (1853 KP) rated Station Eleven in Books
May 30, 2017
Horrifyingly Plausible
This ARC was provided by the publisher via NetGalley in exchange for an honest review
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between Station Eleven and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled Station Eleven.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of King Lear. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of King Lear, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two Station Eleven comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with Station Eleven is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, Station Eleven is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between Station Eleven and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled Station Eleven.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of King Lear. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of King Lear, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two Station Eleven comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with Station Eleven is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, Station Eleven is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
Hazel (1853 KP) rated Station Eleven in Books
Dec 7, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review</i>
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between <i>Station Eleven</i> and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled <i>Station Eleven</i>.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of <i>King Lear</i>. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of <i>King Lear</i>, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two <i>Station Eleven</i> comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with <i>Station Eleven</i> is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, <i>Station Eleven</i> is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between <i>Station Eleven</i> and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled <i>Station Eleven</i>.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of <i>King Lear</i>. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of <i>King Lear</i>, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two <i>Station Eleven</i> comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with <i>Station Eleven</i> is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, <i>Station Eleven</i> is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
Bob Mann (459 KP) rated Halloween (2018) in Movies
Sep 28, 2021
“He’s waited for me; I’ve waited for him”.
A blood-soaked history.
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!