Author: The Blogging Banshee

Ever since my sister forced my to watch A Nightmare on Elm Street when I was four years old I have been hooked on horror movies. It doesn't take much for me to be entertained by a scary movie, but I can definitely be critical enough to give a decent review. Some of the most important things to me in a horror film are character development, cohesive plot lines, and of course an exciting twist! For me, the scariest movies will always be ghost and haunting films (probably because they seem the most realistic to me). Please feel free to give input on my reviews or suggest movies for me to watch. Email: thebloggingbanshee@gmail.com Facebook: facebook.com/thebloggingbanshee Twitter: @BloggingBanshee Instagram: blogging.banshee ________________________________ Special thanks to the Editing Elf (aka, my husband) for proofreading all my reviews before I post them.

Favorite Things: Feminist Films to Weed Out the Oafs

There has been a lot of clashing in the film community on social media. Much of it has been men targeting and attacking women for having a different opinion than they do. The opinions women are attacked for are often that a film with a feminist plot is good, entertaining, and/or has a great message. The fact that men attack women for these opinions is absolutely insane.

In honor of those troglodytes, I’ve created this list of five feminist films for women to show men (especially ones they are considering dating) in order to weed out the cretins from the good guys. To be clear: men don’t necessarily have to like all of these films since everyone has different taste. But if they sympathize with the men I point out in each film, or they’re against the feminist messages, then it’s time to kick them to the curb!

(This list will contain spoilers so avoid if you haven’t seen one of these films)

1. Black Christmas (1974)

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Many people seem to forget the feminist message sent in Black Christmas, but if you watch it again it will become glaringly obvious. In this classic slasher, we watch Jess (Olivia Hussey) as she reveals to her boyfriend that she is pregnant and intends to get an abortion. Her boyfriend, Peter (Keir Dullea), immediately reacts by trying to control Jess and force her to keep the fetus. However you feel about abortion, one person should not have control over another person’s body.

Peter, and his reaction, is clearly portrayed as a villain in the film. I’ve heard people say Peter is meant to be a red herring in the film, making the audience believe he could be the killer. To me, it was obvious he was never the killer, but he’s just as villainous as the serial killer. Both Peter and the killer are trying to ruin Jess’s life in their own way. If a man agrees with Peter and thinks he should have been able to force Jess to keep her pregnancy, effectively taking away her autonomy and destroying her life, then get rid of him now!

2. You’re Next

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This might be the least obvious choice on this list, but hear me out. In You’re Next Erin (Sharni Vinson), who is arguably the most badass final girl ever, has to fight for survival as a trio of masked men attack a family get-together. The twist comes when she discovers her own boyfriend, Crispian (AJ Bowen), was in on the murder plot in order to inherit his family’s fortune. While Crispian insists the plan was for Erin to survive as a “witness,” the betrayal and living hell he put Erin through leads to her stabbing him in the neck.

It’s bad enough that Crispian plotted to kill his family, who he didn’t seem to care much for, but to put the girlfriend he supposedly loves in danger is taking it too far. Erin was attacked, stabbed, chased, beaten, and almost killed by multiple people throughout the film. All of this is because her boyfriend and one of his brothers wanted the family’s wealth. If the person I loved and trusted put me through all of that, I wouldn’t care if he had instructed the killers to keep me alive; I would also stab him in the neck. If a guy you’re dating thinks Crispian did his best to keep Erin safe, run away immediately!

3. Revenge

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Horror fans are very familiar with the rape-revenge subgenre of horror. What makes Revenge a bit different is how the lead, Jen (Matilda Lutz), is portrayed. She isn’t the typical demure, innocent young woman typically seen in these films. She dresses provocatively, she flirts and dances with different men, and she is dating a married man. Jen is raped by the friend of her boyfriend. Then, instead of defending her, the trio of men push her off a cliff and leave her for dead. It is very satisfying to watch her take her revenge.

Unless you’re dating a complete monster, chances are they are against rape and will root for the victim seeking revenge in these types of films. Yet, because of the way Jen is portrayed, there are some men who don’t feel like she is justified in killing the men who wronged her. That’s why her character is so important, because it reinforces that what you wear or how you act doesn’t matter; no means no. If you know a guy that thinks Jen is just a slut who got what she deserved, kick him in the balls and kick him to the curb! (Full review here)

4. Midsommar

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One of the most popular horror films of the year, Midsommar takes the audience on a journey with Dani (Florence Pugh). Dani’s boyfriend, Christian (Jack Reynor), is a terrible boyfriend. He doesn’t seem to really want to be with Dani, but he stays with her out of familiarity and continually emotionally manipulates her and cheats on her. Watching how horrible he is to Dani, and to their friends, makes it all the more satisfying to watch his fate fall in Dani’s hands. The moment Dani finally smiles as Christian burns alive is quite the cathartic moment.

All of Christian’s actions in the film are for his own personal gain, including his manipulation of Dani. Even after everything she goes through with losing her entire family, he can only think of himself. It’s fine if you think Christian maybe shouldn’t have been burned alive. While I think it’s fantastic and well deserved, it can be interpreted as a bit extreme. Yet, if you’re with a guy who doesn’t see anything wrong with Christian’s treatment of Dani and their friends, definitely ghost his ass! (Full review here)

5. Black Christmas (2019)

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This newest re-imagining of Black Christmas has been engulfed in controversy. The only reason for the controversy: it has a feminist message that tells men their time is up, and they can’t get away with treating women like garbage anymore. This film depicts a group of strong, independent sorority sisters being hunted down and killed by evil frat boys. These guys are condescending, misogynistic men who are prone to violence against women. Unfortunately for them, these women fight back, and they make the frat regret coming after the sisters.

Even before the film was released, men were complaining about the message of this film. They make all sorts of claims about all the different reasons this film is going to suck when it all comes down to one thing: they can’t handle feminism and women being shown as strong enough to take down men. The film isn’t perfect, so it’s one thing for them to simply not enjoy the film. If a man doesn’t agree with the message the film sends or he thinks this message isn’t important, leave him out with the rest of the trash! (Full review here)

Black Christmas (2019)

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A group of sorority sisters at a prestigious college decide to stay at their sorority house over winter break. Unfortunately for these women, the school has a sordid tradition of misogyny and racism. This holiday, that tradition involves killing female college students who are “out of line.” The sisters will have to fight for their lives if they want to make it until Christmas.

Continuing a long and delightful tradition of Christmas horror films comes Black Christmas. This re-imagining of the 1974 classic is directed by Sophia Takal (New Year New You, Always Shine), who also co-wrote the film with April Wolfe in her feature film debut. Instead of recycling the same plot of the original film, Takal and Wolfe have created a culturally-relevant thrill ride that still has some of the same spirit of the original. The film focuses on Riley, a sorority sister who has had enough of the fraternity brothers. After a scandalous Christmas performance at the frat house, the sisters find themselves in mortal danger as a masked figure attacks them in their sorority house. The mythos created around the university and the founder of the school is very interesting, albeit not as well developed as it could have been. Either way it is still very entertaining. Even though this film is a complete re-imagining of the original, eagle-eyed fans of the 1974 Black Christmas will still see a few fun nods to the original film sprinkled throughout.

This film is incredibly politically charged, definitely written for women, and it’s going to piss off a lot of men. It addresses the rampant male toxicity in the world today and how it affects women. Much of the plot, both the normal interactions and the murderous ones, involve experiences that are unique to women. The most obvious female-specific experience is the sexual harassment and assault women deal with on a daily basis. It even shows how we can’t walk down the street alone without having to be completely aware of our surroundings. Some of the more subtle interactions are likely ones most men won’t pick up on. There are references to Diva cups, periods, and vibrators that are sure to get some good laughs from the women in the audience. What I especially enjoyed about the update of this film is how it essentially lets men know women are done taking all of their shit. These women are strong, powerful, and they are done with misogynistic men trying to control and ruin their lives.

While I love the update in this Black Christmas and commend the message it sends, that doesn’t mean it’s a perfect film. One issue I have with the plot is a lack of character development. Aside from Riley and maybe one other sorority sister, it doesn’t feel like the audience really gets to know the women very well. Another aspect that felt unnecessary is the character of Landon. While the character is nice and the performance is great, his character felt like an afterthought. It was almost as if the studio asked the filmmakers to include at least one guy to fit into the “not all men” category. Finally, I feel like Cary Elwes (The Princess Bride, Kiss the Girls) was greatly underutilized. It’s obvious from the beginning that he isn’t a good guy, and we’ve seen in him a great villain in past films, but his character just doesn’t quite reach that same malevolent level fans will likely want and expect.

Each of the women in Black Christmas deliver great performances of complex and strong females. Imogen Poots (Green Room, 28 Weeks Later) stars as Riley. She is a survivor of a sexual assault and doubly strong because she persevered despite not being believed. Poots does a fantastic job of conveying Riley’s trauma and how it has changed her, but she is also able to be strong and powerful with the help of her friends. Aleyse Shannon (Charmed, Instinct) stars as Riley’s sorority sister, Kris. Kris is a very political character and a clear fighter who isn’t afraid to speak her mind. Shannon is great at exuding confidence as Kris while also being a great support system for her sisters. Honorable mention goes to Lily Donoghue (Jane the Virgin) as Marty, Brittany O’Grady (Above Suspicion), and Caleb Eberhardt (The Post) as Landon.

To keep up with the legacy of the original film, this Black Christmas had to be sure to have some great visuals. For one, the lighting in this film is phenomenal. There is a lot of great use of Christmas lights to draw the viewer’s eye while also creating gorgeous color play on the screen. While I feel as though the filmmakers shied away from showing the kills a bit too much, they did find a clever way to show some gore within the constraints for the PG-13 rating. I will leave this as a bit of a surprise since it relates to hidden aspects of the plot, but suffice it to say there is at least a bit of gore for the gore-hounds out there. Earlier I mentioned there are great Easter eggs from the first film, but also be sure to keep an eye out for a delightful little nod to The Exorcist III.

Black Christmas is a film made by women, for women, that is sure to bring in hoards of new young female horror fans. It is clear that Takal and Wolfe made this film for young women with the goal of empowering them and bashing male toxicity. If this film makes even one young woman feel empowered after leaving the theater, then it is a successful film. Naturally, the political message and the idea of empowering women is a threat to many men, as we see in the film and has already been evident on social media around the film. I for one really enjoyed Black Christmas. It has it’s flaws, but its fun, has great characters young women can look up to, and will definitely appeal to its target audience. Hopefully this will lead to many more studio horror films geared towards women who love horror. There are definitely going to be plenty of men who don’t like this film, which is fine, but if you’re a guy just remember: this film wasn’t made for you.

OVERALL RATING: 6.5/10

Daniel Isn’t Real

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As a child, Luke had an imaginary friend named Daniel. After a troubling incident, he locked Daniel away and moved on with his life. Now a freshman in college, Luke returns home to visit his mentally unstable mother. In rehashing past trauma, Luke releases his old friend to help him cope with his reality.

From the producers of Mandy comes an all-new film to blow audiences’ minds. Daniel Isn’t Real is based on the novel by Brian DeLeeuw titled This Way I Was Saved. DeLeeuw (Curvature, Some Kind of Hate) co-wrote the film with director Adam Egypt Mortimer (Holidays, Some Kind of Hate). This duo creates cinematic magic in this film and delivers a compelling story unlike anything I have seen before. The film introduces us to Luke when he is a child and dealing with his parents going through what is clearly a tumultuous divorce. It is during this time that Daniel makes his first appearance. Imaginary friends are a fairly common coping mechanism for children going through trauma, so his mother allows this fantasy to continue until that fantasy becomes dangerous. Then Daniel comes back into Luke’s life during another time of trauma. Daniel is a very alluring and charming person who is able to help Luke get through hard times, tap into his artistic abilities, and become more confident with women. But, as with most things, all of this is too good to be true and Luke’s life spirals out of control all thanks to Daniel. DeLeeuw and Mortimer clearly create a fantastic mythos for Daniel and relate it to real-world issues. It’s also a mythos that keeps the audience guessing as to whether Daniel is a figment of Luke’s imagination, a side effect of a mental health issue, or something far more sinister.

There are so many layers to the plot of Daniel Isn’t Real. The top layer primarily deals with mental health. Luke’s mother has schizophrenia that is clearly not being taken care of by a healthcare professional. Naturally, when Luke’s life starts to get out of hand he thinks he is like his mother. Not only is it sad to watch his mother lose her handle on reality, but it’s equally unsettling to see how much it alters Luke’s life both when he was a child and as an adult. With schizophrenia potentially being hereditary, it’s heartbreaking to see Luke question his own sanity and fear that he is becoming like his mother, despite his love for her. It’s really powerful to watch and creates a stunning yet depressing commentary on mental illnesses and how they affect more than just the afflicted.

Another layer to the plot of Daniel Isn’t Real is the allure of power and control. Daniel is able to improve Luke’s life in virtually every aspect at first. His mother finally goes into the treatment she needs, he gets into photography, and he finally is connecting with other people. The effect Daniel has is intoxicating to Luke, but it also means he lets his guard down around his newfound friend. Daniel ends up taking over his entire life. There is even a psychosexual element as Daniel’s power over Luke extends to the bedroom, yet Daniel appears to almost be jealous of these interactions. It’s a bizarre dichotomy that makes you wonder who is truly in control at any given moment. Yet, despite that battle for control, the two are very much dependent on each other as well.

Daniel Isn’t Real contains many truly phenomenal performances. Miles Robbins (Blockers, Halloween) stars as Luke. Up until this film I had only really seen comedic performances from Robbins. His portrayal of Luke absolutely blew me away. Robbins shows such emotional depth in this role and conveys Luke’s unraveling mental state perfectly. It’s the kind of performance that stays with you long after the film ends. Patrick Schwarzenegger (Scouts Guide to the Zombie Apocalypse, Grown Ups 2) stars opposite Robbins as Daniel. At first Schwarzenegger’s performance is quite subtle. He’s charming, helpful, sleek, and sexy. Then as the cracks in Daniel’s facade grow and his true nature shows, Schwarzenegger is able to really let his acting ability shine. He makes the character ominous and dangerous and pure evil in the best way possible. Both Robbins and Schwarzenegger also play off of each other very well. Other delightful performances can be found in Sasha Lane (Hellyboy) as Cassie, Mary Stuart Masterson (Fried Green Tomatoes) as Claire, and Chukwudi Iwuji (John Wick: Chapter 2) as Braun.

There are many gorgeous artistic elements throughout Daniel Isn’t Real. The filmmakers utilize a combination of both practical and CGI effects. While both are impressive, the practical effects are especially striking. They manage to be both beautiful and disturbing in a way that commands the screen and draws the viewers’ eye. The effects become more prominent and elaborate as the plot progresses and beautifully blends different worlds. Throughout much of the film, artwork is prominently featured as well. The most disturbing, beautiful, and iconic images are of Daniel. Along with the visual artistry, Daniel Isn’t Real also has a bewitching musical score by composer Clark (National Treasure: Kiri, Rellik). The score has an eeriness to it that matches the tone and look and the film.

Daniel Isn’t Real is a triumph of filmmaking. It claws its way into the minds and souls of audience members and never lets go. Both DeLeeuw and Mortimer deliver a masterpiece of a film. The performances from Robbins and Schwarzenegger demand attention and their on-screen chemistry is delightful to watch. What might be the biggest feat of Daniel Isn’t Real is how it takes ideas that wouldn’t traditionally work on screen and executes them perfectly. As an indication of how much I enjoyed this film, I went online and bought the novel Daniel Isn’t Real is based on as I wrote this review. This is a must-watch film and one that has solidified its place in my top films of 2019.

OVERALL RATING: 9.5/10

The Fare

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A taxi driver finds himself on a remote road at night to pick up a fare. A mysterious woman ends up in his cab, but before they reach their destination she vanishes. Unbeknownst to the taxi driver, he will meet the woman again as soon as he switches the meter back to vacant.

D.C. Hamilton (The Midnight Man) brings audiences his sophomore film as the director of The Fare. Written by Brinna Kelly (The Midnight Man), who also stars in the film, The Fare tells the story of a taxi driver named Harris. When he is sent out to the remote location at night to pick up a fare, he half expects it to be a prank call. That is until he finds a beautiful and mysterious woman named Penny there waiting for him. They have normal polite conversation until they approach an oncoming storm, then the woman suddenly vanishes. Harris, confused, resets his meter back to vacant and ends up right back where he started. The only problem is, he doesn’t seem to know he’s been reset. The audience watches as Harris and Penny go through the same time loop, that is until Harris finally starts to remember.

The entire premise of The Fare is far more interesting and unique than I expected. In the past few years there have been a number of time-loop films. Each one has its own distinctive flare and reasons for the time loop. This film manages to stand out from the crowd by delivering a compelling story and an unexpected reason for Harris and Penny being stuck in that loop. The filmmakers do a fantastic job of keeping the audience guessing. At times the film hints at aliens, gods, and other potential reasons. The truth is revealed in layers, only divulging small pieces of the puzzle at a time and ultimately making the big reveal incredibly satisfying. More importantly, it makes sense! Often times the plots of time-loop films can get convoluted, but The Fare delivers something audiences will understand and enjoy.

When you strip The Fare down to its core, it is much more of a love story than it is a time-loop film. Once Harris becomes aware of his situation and remembers more, we see his relationship with Penny grow. It’s especially interesting to watch because they are at such different stages of coming to terms with their situation. Penny’s memory goes much further back, so she’s already gone through the various stages of grief such as anger and bargaining, but she’s now accepted her situation. Since Harris is starting from the beginning, he has a harder time coming to terms with his situation. Yet it all brings them closer together, which only strengthens Harris’s quest to escape the loop with Penny and find the truth.

Both leads in The Fare deliver great performances. Gino Anthony Pesi (Shades of Blue, Battle Los Angeles) stars as Harris the taxi driver. While more handsome than people might expect of a stereotypical taxi driver, Pesi still fits the role well. There is a roughness to him, but he is still a very personable individual. What I especially enjoy about Pesi and his portrayal of Harris is his gradual change. Throughout his character arc, the audience sees Harris go through a wide range of emotions. When Harris and Penny become closer, Pesi even conveys a soft and caring side that is unexpected. Writer Brinna Kelly stars as Penny. Kelly brings a certain amount of poise and elegance to Penny that is very fitting for the character. Yet it’s when her barriers are broken down and her affection for Harris grows that Kelly really creates memorable moments for Penny. Pesi and Kelly have great on-screen chemistry throughout the film and will hold the attention of audiences.

Overall, the look and feel of the film reminds me a lot of an episode of The Twilight Zone and old noir films. At first, The Fare is in black and white. As Harris’s memory comes back, more and more of the film is in color. It creates a great visual cue for the audience to designate when Harris knows he is in the loop or not. The filmmakers also wisely chose to have the film set almost entirely within the taxi. Not only does this create a very intimate setting for the two leads, but it also allows for a lot of possibilities when it comes to the “why” behind the time loop. This decision likely gave the filmmakers the opportunity to spend the budget in more valuable areas instead of building elaborate sets or paying to use various locations.

The Fare is an unexpected gem that delivers something new to the time-loop subgenre of film. Hamilton and Kelly prove to be an effective filmmaking duo as they take audiences on a journey that goes to strange new places. Kelly also shows her acting prowess along with Pesi. Both actors deliver stunning performances and create dynamic characters. My only truly negative criticism of The Fare is at times the small budget is quite apparent. Yet the plot is novel enough and creates a mythos that is sure to bewitch audiences.

OVERLL RATING: 8.5/10

Doctor Sleep

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It’s been many years since the events at the Overlook Hotel. Dan Torrence is all grown up and battling his own demons. He meets a young girl named Abra, who also “shines.” When a deadly cult called The True Knot comes for Abra and her power, it is up to Dan to protect her.

Writer and director Mike Flanagan (Gerald’s Game, Haunting of Hill House) once again shows he is a master of storytelling and filmmaking. To be clear, I have not read either The Shining or Doctor Sleep, so I do not have the context other Stephen King fans have. From what I understand, Flanagan’s adaptation of King’s Doctor Sleep honors King’s work while also incorporating elements of Stanley Kubrick’s adaptation of The Shining, which many horror fans cherish. Even more amazing is how Flanagan still creates a film with his unique stamp on it. Both in terms of stylistic choices and the emotional content, there is no mistaking Flanagan’s work.

Doctor Sleep expands upon the mythology fans know and love from The Shining. We get to see a bit of what happened to Danny and Wendy not long after the events at the Overlook Hotel. Then there are multiple time jumps to when Dan is an adult. It is then that the audience is introduced to Abra and her powers. We also meet The True Knot cult of individuals with powers who want to be immortal. The leader of the group, Rose the Hat, is as beautiful as she is dangerous. When Rose sense’s Abra’s power, she becomes determined to find the girl. Much of the mythos of this film focuses on Dan, Abra, and Rose. Dan and Abra help the audience learn a bit more about the shining and those who have abilities. Rose introduces a new set of individuals with different abilities who essentially want to eat those who shine. The film even expands on the mythos of the Overlook Hotel and the permanent inhabitants Dan encountered as a child.

One thing that was arguably lacking in Kubrick’s film that Flanagan’s film has in abundance is heart. This is most evident in how Doctor Sleep deals with trauma and addiction. Between the burden of his shining and the horrific events he experienced at the Overlook, it’s no wonder Dan has many demons. He grows up suppressing his gift and compartmentalizing the trauma of his past, which leads to alcohol addiction. We meet adult Dan at his worst and when he begins his quest to overcome his addiction, but it isn’t until he meets Abra that he is truly forced to take a hard look at himself and his past. While the supernatural aspects of the film are likely what will bring in audiences, as well as King’s name, it’s Dan’s character arc and his struggle for sobriety, acceptance, and self-discovery that will stick with you long after the film has ended.

The entire cast of Doctor Sleep is perfect in their roles. There are so many superb performances it’s hard to narrow it down to just a few standouts. Ewan McGregor (Moulin Rouge, Trainspotting) stars as adult Dan Torrence. We all know McGregor is a phenomenal actor, but this might be one of his best performances yet. The way he conveys Dan’s struggles with his past as well as his battle with alcohol is stunning. There is one specific scene at the climax of the film where those struggles culminate in a truly heart-wrenching way and McGregor gives the scene his all. Young newcomer, Kyliegh Curran (I Can I Will I Did), absolutely dazzles as Abra. In many ways she is the polar opposite of Dan. She cherishes and practices her power, although she does try to hide it from her parents. Abra is such a strong character despite her young age and Curran is perfect in the role. Curran and McGregor play off of each other very well and create a striking juxtaposition between Abra and Dan. Then there is Rebecca Ferguson (Life, Mission: Impossible – Fallout) as Rose the Hat. As soon as she is on screen Ferguson has a powerful presence that demands your attention and fills the screen. Rose can appear disarmingly warm and kind, but she quickly shows her darker, cutthroat side. Ferguson makes Rose the Hat an iconic and memorable villain. As I said, many of the other actors deliver great performances, but there are too many for me to give honorable mention to. Suffice it to say, everyone is amazing.

Doctor Sleep does a great job of being it’s own story separate from the events from The Shining. Yet it is vital to note the scenes Flanagan recreated from Kubrick’s film and the absolutely perfect casting for those recreations. With the exception of a couple exterior shots, each scene from The Shining is an exact replica with new actors. The fact that Flanagan was able to so perfectly recreate these scenes is already astounding, but it’s the casting that stands out. Some of this amazing casting I will keep a secret for those who are planning on seeing the film as it relates to a pivotal scene in the film. A few casting choices I will talk about are Alex Essoe (Starry Eyes, Tales of Halloween) as Wendy Torrence, Roger Dale Floyd (The Painter, Kronos) as young Danny Torrence, and Carl Lumbly (A Cure for Wellness, Men of Honor) as Dick Hallorann. Each of these actors perfectly embodies the characters from The Shining from the way they talk to their mannerisms without feeling like a caricature. At times it’s even difficult to tell the difference between these actors and the ones they are imitating. It’s not only a testament to their talents, but it also serves as evidence that casting great actors who look like characters/actors is much more effective than implanting a CGI replica of the original actor.

Every single artistic aspect of Doctor Sleep is meticulous and purposeful to create a gorgeous film. Right away audiences will likely notice the stunning set design and cinematography. From the recreations of Kubrick’s film to the entirely new world created throughout the film, there is so much beauty filling the screen that it is impossible to look away. It all speaks to Flanagan’s signature style, even down to the overall green coloration of much of the film. There is also a fantastic mix of practical and CGI effects. Most of the physical wounds and injuries are done with very realistic practical effects. The CGI is most evident when powers are being used and in various dream-like sequences. The dream-like sequences also utilize forced perspective and rooms that move and turn to create striking imagery.

Doctor Sleep is a stunning film that seamlessly combines the supernatural with trauma and addiction. Flanagan yet again delivers a film that is as visually striking as it is unsettling and emotional. He clearly took great care to blend King and Kubrick’s work, while still making the film his own. The storytelling, the expansion of the mythology, and the beauty of the film are incredibly well done. McGregor, Curran, and Ferguson, along with the rest of the cast, deliver striking performances fans won’t soon forget. Honestly the only negative thing I can say about the film relates to a couple characters who die, but I can’t get into details without giving things away. Luckily, the rest of the film is practically flawless. I can honestly say Doctor Sleep is now one of my top 5 favorite Stephen King adaptations, if not my favorite. This is a film fans need to experience on the big screen, so be sure to catch it in theaters while you can.

OVERALL RATING: 9/10

Creepshow: Season 1 Episode 3

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This week brings another all new episode of Shudder’s hit series, Creepshow. While the first two episodes had tonally similar segments, either both being spooky or both being humorous, this episode brings viewers a bit more variety.

First up is a Halloween-inspired segment titled “All Hallow’s Eve.” Here the story follows a group of teens on Halloween night. They’re probably a bit too old to go trick-or-treating, but they claim it will be their last time. As the friends venture out to collect their treat, it becomes clear they are looking for more than just candy and the townspeople dread these trick-or-treaters. This fun little throwback is written by Bruce Jones (Deadly Nightmares, Masters of Horror) and directed by John Harrison (Dune, Tales From the Darkside: The Movie).

This first segment of episode 2 has a very nostalgic feel to it. The style looks like something out of the 90’s, as do the costumes worn by our trick-or-treaters. It gives the overall look and feel of an episode of Goosebumps or Are You Afraid of the Dark? While some viewers might not appreciate this style and prefer more of the effects heavy 80’s horror typically associated with Creepshow, I personally loved “All Hallow’s Eve.” It took me back to my childhood and delivers a great classic Halloween tale.

There aren’t many effects in this story, but the four teens deliver strong performances. “All Hallow’s Eve” stars Connor Christie (Missionary) as Pete, Madison Thompson (Henry Danger) as Jill, Jasun Jabbar Wardlaw Jr. (Black Lightning) as Binky, and Andrew Eakle (Crimetime) as Bobby. While all of them want this to be their last Halloween night, Pete and Jill are clearly the more mature of the group and rein the other two in while Binky and Bobby enjoy a bit of mischief. These kids all feel like normal every day teens, but they all do a great job of gradually showing why there is more than meets the eye.

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The second segment is “The Man in the Suitcase,” directed by Dave Bruckner (The Ritual, V/H/S) and written by Christopher Buehlman in his debut as a screenwriter. In this segment we meet a down on his luck college student. After accidentally taking home the wrong suitcase from the airpot, he discovers a man trapped inside. Even more bizarre is the man seems to cough up gold coins whenever he’s in pain.

Horror fans who are familiar with Bruckner’s films likely know his films tend to be very dark, atmospheric, and sometimes rather terrifying. “The Man in the Suitcase” is a huge departure from that, leaning more towards a dark comedic tone. What makes the story so compelling is it creates a scenario where the viewer is forced to think about what they would do in a similar situation. Would you free the man from the suitcase or would you inflict pain upon him in order to get rich on his gold coins?

While the entire cast does a great job, there are two clear standouts. Will Kindrachuk (Preacher, Boy Erased) stars as Justin. Justin is the one who finds the suitcase. Kindrachuk excels at portraying Justin as he grapples with his desire for the gold and his desire to be a good person. Opposite him is Ravi Naidu (The Hunger Games: Catching Fire, Homeland) as the man in the suitcase. From the unfortunate position his character finds himself in to the way he manages to exude pain in a darkly comical way, Naidu gives it his all in this performance.

It was nice to finally get two tonally different stories in a single episode of Creepshow. The series is truly showing a diverse range of tales that can appeal to many different types of horror fans. At times, the budgetary constraints of the show can be felt, but it still stays true to the look and feel of the film that inspired the series.

You can catch this episode of Creepshow today on Shudder.

Creepshow: Season 1 Episode 2

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After a successful first episode, it’s time for episode two of Shudder’s hit new series, Creepshow. This week features two tales that lean more towards the comedic side compared to what fans saw in episode one. The two stories told in this episode are “Bad Wolf Down” and “The Finger.” These are two very different tales, but each one is sure to deliver the laughs.

The episode starts with “Bad Wolf Down.” This segment is written and directed by Rob Schrab (Monster House, The Sarah Silverman Program). The plot follows a small band of American soldiers fighting Nazis in France during WWII. They are forced to retreat and take shelter in a small building that once served as the jail for the remote area. Inside the men find a French woman locked inside the jail cell. Yet this woman isn’t as helpless as she appears.

“Bad Wolf Down” definitely takes the audience back to 80’s b-horror films with clunky dialogue, overacting, and somewhat laughable practical effects. This is clearly a deliberate choice made by Schrab. It is an intentional cheesiness that creates a hilarious throwback for horror fans. The most humorous aspect is the dialogue. Much of what the soldiers say to each other is so over the top and stereotypical of what you might expect soldiers to say to each other. It’s almost impossible not to laugh.

Of all the actors in this segment, horror fans will immediately recognize Jeffrey Combs (Re-Animator, From Beyond) as the vengeful Nazi commander, Reinhard. Combs is a gem and a great comedic actor, which leads me to believe his absolutely atrocious German accent is another purposeful choice to add to the humor. The other standout performances come from Dave MacDonald (Stranger Things, Doom Patrol) as Captain Talby, Scott “Kid Cudi” Miscudi (Need For Speed, Two Night Stand) as Doc Kessler, and Callan Wilson (A Mermaid’s Tale, All Hallow’s Evil: Lord of the Harvest) as Pvt. Rivers.

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So far, “Bad Wolf Down” has utilized the comic book style that normally bookends the stories more than any other segment. Some of this is more subtle, like including the blue and red backlighting fans will likely recognize from the first Creepshow film. Since this is a werewolf story, there is naturally a scene where the viewer is shown people transforming from a person to a wolf. Schrab and team wisely used the comic book style to show the transformation in an animated comic panel rather than blowing the budget on practical effects. It looks great, is smart and unique, plus it adds to the humor. The werewolves themselves are also a bit on the cheesy side, but each wolf has a really fun and individual look to them.

From there our beloved creep flips open a new comic for the second segment. This one is titled “The Finger.” Written by David J. Schow (The Crow, The Texas Chainsaw Massacre [2006]) and directed by Greg Nicotero (The Walking Dead), the story introduces viewers to a man named Clark. Clark likes to collect things other people would likely consider garbage. One day he finds a weird, shriveled up finger. He takes it home and realizes it is growing; first an arm, then an entire body. He names the strange creature Bob and cares for it, but Bob has a murderous way of showing his affection.

This is an absolutely laugh out loud story. “The Finger” stars DJ Qualls (Supernatural, The Core) as Clark. Clark is kind of a loner, so when Bob comes into his life he’s happy to care for the strange creature. Qualls’ performance is hysterical for two main reasons. First, he often breaks the fourth wall to talk directly to the audience, giving amusing commentary and summarizing events to save time. Second, he reacts to the bloody things Bob does the same way someone might react to their cat being annoying or bringing him a dead mouse. It is entirely relatable, but taken to such an unbelievable extreme it is sure to make viewers crack up.

“The Finger” also includes amazing practical effects. From the lone finger to the body that eventually grows out of it, Bob is a gross and creepy little creature that you also want to cuddle because he’s so cute. It is great creature design that fans are sure to remember as the series continues. On top of that, the little presents Bob brings home for Clark are also very well done. The entire episode is filled with fantastic practical effects, as one would expect in something directed by Nicotero.

Episode two of Shudder’s Creepshow took the series in a much more humorous direction. Both “Bad Wolf Down” and “The Finger” deliver laughs, although they are very different types of humor. On top of that, the performances are highly entertaining and the practical effects are delightful, even the somewhat hokier werewolves of “Bad Wolf Down.” Just like the first episode, be sure to look for the hidden Easter eggs in episode two, including a special quick cameo in “The Finger.”

The second episode of Creepshow will be available to stream on Shudder on Thursday, October 3rd. You can also watch it live on the Shudder channel at 9pm EST/6pm PST the same night.