I once said not-nice things about Blake Lively as an actress. I will retract that statement, as she's since proven herself quite good. This film is pretty much her entire show, as there's only one or two periphery characters, and a very nasty shark. I enjoyed this film immensely, as I have a soft spot for sharks and add this one to my top five. This is a survival scenario, where Blake's character is extremely intelligent and resourceful in the face of the threats she faces. The tension and direction is quite well done, and the only real issues I have with this film are issues of plausibility, as I don't believe a shark would behave in this manner and the last act gets a little wonky, further sacrificing believability for over-the-top thrills. But the movie remains exciting and suspenseful, well made and certainly worth your time, especially if you feel sharks gotta eat.
Green Room
This is probably the best horror film I've seen this year, by simple virtue of being the most plausible, but it also qualifies as best acted and best written. A touring punk band accidentally takes a gig at a neo-nazi compound, and things progress steadily worse from there. There's exponential escalation in tension and suspense, even before the brutality begins. Once that starts, it's pretty horrible, as no one has ever scolded neo-nazis for being cuddly, but the villains are well written and intelligent. The main characters are extremely likable with great chemistry, especially between the late Anton Yelchin, who turns in a fantastic performance with his previous co-star Imogen Poots. Because you genuinely grow to like the characters, its more impactful when one of them suffers. It is a terrifying scenario, good morality play, and one of the more horrifying films to come out this year.
B+
Lights Out
This movie is entertaining, but suffers in that the producers took a two minute idea and stretched it out to full movie length. The expansion allows to better flesh out a cast of characters, but suffers in that they 'show' far too much of the monster, detracting from its effectiveness. That being said, the expanded running time allows the filmmakers to explore the haunting elements within as an allegory for dark depression. This is a deeper movie than its blueprint, though never dwelling too long on the psychological aspects, instead more content to create a tense thrill-ride. While the ending could seem unsatisfying to many, I feel it works. This is certainly a movie I can recommend, but I'd recommend the short much more. The short: B+ The film:
C+
The Boy
Lauren Cohan is a pleasure to watch, despite the limited venue she's had with which to demonstrate. This film doesn't exactly stretch her portfolio, as she gets to act: sweet, curious, apprehensive, scared, terrified, horrified, angry and tired. Her character's very likable, and there's a curious initial setup, hinting at one type of film, but shifting in a meh 'twist' two-thirds through. I can't fault the internal logic, or atmospheric setup and earnestness by which mrs Cohan cavorts, but this feels excruciatingly generic, attempting salvation though last-act ridiculousness.
D+
Cell
Oh my gods, this started out promising. I"ll admit a slight bias, in that I've read the book that based this film, but thought the book was crap. Like the novel, the initial scenes of a technologically induced zombie apocalypse are quite well done, with a not subtle jab at the isolated self absorption living in our digital world induces. The onset is brutal and shocking, but that's about the only thing both film and novel have going for them. There is an attempt to 'evolve' the zombie scenario, introducing hive mentalities, zombie 'alphas' and hinting at greater agendas, but the film relies on old tricks and never actually takes an interesting idea thread to fruition. At gunpoint, I couldn't actually tell you the sequence of final events. The ending is surreal, and employs some dream logic only decipherable to the director and three audience members stoned to the gills. It feels like this film is more enamored with the star-studddedness of its main cast than presenting a coherent vision or narrative. In this way, I'd say this is a perfect adaptation of the source material.
D+
Bite
Last year there were a string of body-horror movies treating decomposition as a STD (Contracted, Thanamorphose). This movie does similar, but instead of decaying, the main character is transmogrifying into a nasty insect monster. This movie is attempting a far grosser modern update to 'the fly', as she begins spewing gallons of multicolored slime, translucent eggs, and building a nest. There's no one or anything worth investing in, character-wise, as the movie goes exclusively for gross-out moments, trying to top itself in with successive levels of escalating foul fluids and body horror. At some point it crossed a threshold from gross to boring, as I reached peak disgust and simply rolled my eyes at further escalation. It is rather well made and directed, if this is your cup of gelatinous festering pus-slime. The vast majority of elements are practical effects (there is some last-act shoddy cg work at the end but it is sparing) so everything looks and sounds as horrible as you'd expect things to be.
D+
They Look Like People
Independent films are a tricky lot, as often their budgets (or lack) become their downfall. Then there is a film like this, which is low budget to the point of no budget, but relies upon sharp character building and exploration to lay the groundwork for an excellent examination of paranoia and mental illness. This is an extraordinarily effective psychological thriller, based in no small part at how well written and acted the core relationship at this movie is presented. Onscreen friendships are often very difficult to write, but this film gets right so much of the dynamic between the two leads it elevates this movie to a greater whole. Along with taut writing and extremely well defined characters the director uses limited camera angles and sparing effects to create an intense aura of claustrophobia, paranoia and tension. There is never anything bombastic or gory in this film, it is for the most part a tight and restrained examination of mental issues and friendship, but it doesn't need showy locations, extensive budget, jump scares or unfettered gore to create a dark and intense experience.
B
The Forest
Another movie that squanders its unique setting to deliver cliched storytelling and sub-par chills. This movie takes place in the famous Aokigahara Forest, which is certainly a rich and disturbing location to explore, but the movie itself is a nigh-incoherent mess. This is always the peril when dealing with a mentally unstable protagonist, but the issues are compounded by a resoundingly stupid protagonist. There are several disturbing images, and there's a worthy attempt at creating a chilling atmosphere, but these are also squandered with an absolute dearth of actual scares. Even as the middle of the movie becomes a disjointed, jumbled mess of poorly executed jump scares, unfathomable behaviors and stupid dialogue, the ending is still predictable beyond measure. Likely you can predict the ending of this movie from watching the trailer, so I'd recommend passing on both.
D
Outcast (Season 1)
This is the second Kirkman comic adapted for television, arguably the far superior work. Outcast is a more personal tale than its zombie cousin, although the stakes are metaphysically larger. Possession is used in a metaphor for domestic violence, and the show is unreserved in demonstrating the physical and mental trauma upon the victims. There is examination of the dark shadows in any small town, and how complicity and perpetration of abuse stains an entire community. While scenes of possession and exorcism are unfettered in their violence, gratuitous gore lovers lurk elsewhere. The show itself is more a character study than reliant upon shocking events and showy set pieces. Violence is used sparingly, but it is shocking in its brutality. Religious themes are; of course, explored, the inversion being that the possessing entities are smart enough to to play to an audience. Easy answers and agendas are not very forthcoming, leading to speculation about actual motives and nature of these beings. This show will always go subdued as opposed to bombastic, but the show is building towards something still as inscruitable as the possessor's agendas. The season ending has me hooked and ready to see where season 2 might go.
B
The Other Side of the Door
Wasted potential. The unique factor here is that the movie uses India as a setting, and attempts injecting some local mythology into a standard 'came back wrong' haunting story. This film squanders an interesting setting and location upon predictable jump scares, cliched storytelling and outdated stereotypes. The protagonist is one of those characters whose every action is worthy of being squirt in the face with a training bottle. No! To be fair, the plot requires the protagonist to take the idiot ball as far as she can run. Ignore every rule, warning, omen, threat, and random bits of sound advice issued by every possible vector in the film's first half. Everything else is a retread of 'monkey's paw' with the latest in overused modern horror conventions in some admittedly cool locations. This movie loves abyssal-eyed undead youngsters and jump scares, with every possible variant fake out and combination of above within the film's running time. I can say I like the setting and the last minute of the film, everything else is wasted potential.
D
The Veil
Far more entertaining that I suspected, partially buoyed on the strength of Thomas Jane's wacky performance. He plays a barely concealed Jim Jones espy, and the movie riffs on the notion of dealing with a suicide cult whose crazy motives might be sincere. There's a fairly decent cast of B actors involved, and everyone is making an attempt to turn in a quality product, though Jane seems to just be having fun. The acting and production values are a notch over average, and the writing is sharper than I'd initially thought. Granted, there are cringe-worthy bits of dialogue and acting, but for the most part, the character's actions and motives are consistent, the twists are fun, and the movie is entertaining. The downside is the 'frights' are pretty cliched, and scares nonexistent. However, they do a decent job of exploring some gnostic notions, and the payoff at the end is worthwhile.
C+
Train to Busan
I admit, I suffer zombie fatigue. This taints my opinion of an otherwise exceptionally well done Korean film. Its got great characters. Great arcs. Good writing. The movie has interesting commentary on parenthood, career ambition, government propaganda and control, life priorities. And zombies.
Lots of zombies. On a train! These are of the swarming rage-fueled hyper-rabid undead humanoid variety. Incubation time: minutes, transformation immediate upon death.
To be fair, the train setting works for this film, creating a uniquely claustrophobic and intense atmosphere. Interestesting in the horde of zombie films: no one has guns. At best you get a club. So the characters have to think carefully about how to handle the situation. Again, I think this is a very well done movie on every front, and the actors truly sell their plight. The movie does a fantastic job of getting you to care about the victims before they become eventual infected zombie fodder. If you're not burnt out on zombies and do not mind subtitles, I would very much recommend.